PAST FORWARD

The future of India’s creativity

.....Towards the
NATIONAL MISSION FOR
CREATIVE AND CULTURAL INDUSTRIES

THE TASKFORCE FOR CREATIVE AND CULTURAL INDUSTRIES

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 The Asian Herita
Heritage Foundation
C-52, South Extension- III, New Delhi -110049
phone- 0091.11. 26263984-7.
26263984- Fax: 0091.11.26263988
mail@asianheritagefoundation.org
mail@asianheritag
www.asianheritagefoundation.org
www.asianheritag
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In the transition to a knowledge based economy, the creative and cultural industries have become the most rapidly growing phenomena in
the world. Take, for example, the United Kingdom where it accounts for 7.9% of the GDP, growing by an average of 9% per annum be-
tween 1997 and 2000, compared to an average of 2.8% for the whole economy.

Following the UNESCO charter, a number of countries initiated a slew of policies, programmes, pilot projects and administrative mecha-
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they all acknowledge the synergy of the cultural and creative industries and see them together as the primary drivers of their economy.

The importance of culture and creative potential is also increasingly recognised by the international community as a key to more sustainable
development models. Cultural industries are generally small, decentralized and mobilize communities for self empowerment (especially the
women and the poor) and require more grassroots participation than any other industry. Furthermore, they utilise resources that are geo-
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capital than agriculture, IT or large industry. In India, Agriculture employs 37-40% of the workforce while other Industries together employ
around 17-20%; the skilled and semi-skilled people that could constitute India’s legacy, cultural and creative industries form the bulk of the
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Most developed nations have already lost their traditional skills and are now attempting to nurture what is left as heritage while simultane-
ously capitalizing on the creative design-led industries where they have an edge.

India is in the enviable position of having a large variety of living, skill-based traditions and a number of highly versatile creative people
capable of carrying this unique legacy further (approx. 145-175 million skilled practitioners). We have a nascent but expanding design and
media industry that can help us reposition our traditional knowledge and thereby create original inroads into the global market.
We must exploit this edge to our best advantage…by combining the vast resources of heritage we have at our disposal and
the advances made in technology to create distinctively Indian products and services – India’s own USP that can hold its own
against the best the world has to offer. For example, our pictorial traditions of Madhubani, Warli, Saura, Pithora, Gondh, Patuas,
Patachitra, miniatures and painted textiles could extend their vocabulary through animation, an industry where the Indian share
of the global market (US $70 bn) is already about a billion dollars and is predicted to rise to $15 billion by 2009-10. Similarly,
India’s share of the global Gifts, Handicrafts and Handlooms market (over US$ 250 bn) is growing consistently at an average
of over 20% year on year mostly due to product development.

To this end, there is a pressing need to encourage planning, investment and engagement in key areas such as mapping and statis-
tical analysis, human resource development, capacity building, design innovation, creativity indices and benchmarking systems,
infrastructure development, protection of intellectual property rights and copyright regulation, support policies for developing
businesses, small and medium enterprises and targeted promotional and export measures. Simultaneously, urgent assistance
is also required to facilitate structured private/public sector cooperation, access to credit and loans, market research and the
deployment of information and communication technology to ensure cross-sectoral linkages and access to data and the global
market.

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sion for Creativity in Cultural Industries (draft enclosed) is urgently required to delineate a cohesive strategy and to spearhead
cooperative ventures, private sector participation and civic engagement.
 CHAPTER LEAD-INS AS /AN OVERVIEW OF THE REPORT

Volume - 1
Chapter 1 Chapter 3
POSITIIONING A BIG IDEA GLOBAL PHENOMENON
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Volume - 2
Chapter 4
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34
 MESSAGES

President of India

UPA Chairperson

Former Prime Ministers of India

 CONTENTS
VOLUME I

By Shri Manmohan Singh, Honourable Prime Minister of India

On the need for out- of- the- box solutions for nurturing India’s heritage
and the importance of creativity in a global Market place
1 POSITIONING THE BIG IDEA
CREATIVE AND CULTURAL INDUSTRIES AS A LEAD SECTOR IN INDIA

,d By Dr Montek Singh Ahluwalia, Executive Head of the Planning Process,

Government of India

2 MAKING, DOING, BEING : A TIME FOR JOINED-UP THINKING

By Rajeev Sethi, Chairman and Founder Trustee of the Asian Heritage Foundation,

nks Advisor to the Ministry of Panchayati Raj and Vice-Chairperson of the Taskforce on
Cultural and Creative Industries, Planning Commission

3 A GLOBAL PHENOMENON : EVOLUTION OF THEORY, POLICY & PRACTICE

 ‡ 0(7$0253+26,6$'251272¶$57632/,&<·
Cross cultural milestones
 ‡ &5($7,9,7<$1'&217(17,1$.12:/('*((&2120<

rhu  ‡
Shift from Manufacturing to Services to Knowledge
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An overview of multilateral global mechanisms in place
Case studies of Nine Countries : Forward Group -UK, Singapore/Hongkong & China, Canada/USA;
Peer Group - Philippines, South Africa, Brazil/Columbia
 Overview
Shri Montek Singh Ahluwalia took a pioneering step by setting up the Taskforce for
Creative and Cultural Industries within the Planning Commission. In his introduc-
tion he outlines why positioning this sector in the lead is a big idea.
Positioning The Big Idea

Positioning The Big Idea

Creative and Cultural
Industries
as a Lead Sector

Buying a papier-mache box from a Kashmere crafts person while walking around the Silk Route
Festival in Washington with my wife, provided a brief but talismanic experience of global trade
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artistic sensibilities through import and export have united a large part of the world in its pursuit
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to look for contemporary ways of transforming ‘unorganized’ economic talent and aspirations with
By Dr Montek Singh Ahluwalia VXVWDLQDEOHUHYHQXHPRGHOVZLWKFURVVFXOWXUDOPRGHUQHQWHUSULVHV

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“Culture springs from the roots
and seeping through to all the shoots
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A sticky mess”.
Hassan Fathy, Egyptian Architect
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more, the innovative action and positioning of facilities with a blue print for this sector,
will not only help us save scarce resources, do more with less, but also involve the largest
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recommendations they have suggested a more tentative ‘mission’ mode composed and
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activities, addressing the needs of a vast and varied multitude- yet, with the parameters
clearly enunciated and understood, there is a chance that this sector may actually prove
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 Positioning The Big Idea
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LQVWDQFHZRXOGWKHÀHOGVWKDWDUHUHFLSLHQWVRI VXEVLGLHVDOUHDG\SURYHWKHLUFDSDFLW\WR
VXUYLYHZLWKRXWWKHSURSV":KDWLQGHHGQHHGVVXSSRUWWRVXUYLYH"+RZZRXOGWKHGLYHUVH
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“Culture blooms as naturally as mother earth.
task of exhaustive mapping as a start to the recommended actions, be completed in the
WLPHSHULRGRI WKHPLVVLRQ"7KHTXHVWLRQVDUHPDQ\EXWDVZLWKHYHU\QHZLQLWLDWLYHDOO
In one earth grow many trees— mangoes and guavas,
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If it takes the crutch of a wall it dies.
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VNLOOHGDQGDVHQVHRI DPLVVLRQDPRQJVWLWVRUJDQL]HUVHYHQDVWKHUHVRXUFHVIRUWKHLU
It has to be below the sky, rooted to the earth.
implementation of projects and programmes suggested by them are assessed, raised and Roots lie in darkness.
FROODWHG When nourished they shoot up and gain luminosity.
A seed should not be shy of germination.
$ ELUG LQ ÁLJKW DQRQ\PRXV SLFNV D VHHG DQG ZKHQ LW
,IHHOWKLVERRNLVRQO\WKHÀUVWVWHSKHOSLQJXVXQGHUVWDQGWKHEDFNJURXQGRI DFRPSOH[ drops it becomes a plant, then a tree.
JOREDO SKHQRPHQRQ ,W DOVR SURYLGHV XV WKH EOXH SULQW IRU D GHOLYHU\ PHFKDQLVP WKDW Cultur’e like a seed has an organic growth.
UHTXLUHV VSHFLÀF SLORWV WR EH VXSSRUWHG E\ SULYDWH SXEOLF SDUWQHUVKLS IRU D FULWLFDOO\ Sanskriti ek shehed ki nadi hai jo chup chaap behti hai.
important sector that has suffered enough with sentimental subsidy, little coordination, Water makes sound not honey.
XQIRUWXQDWHDSDWK\DQGGHOD\HGLQWHUYHQWLRQ Mun ki pehchaan jis se hai woh hi sanskriti hai.
)LQDOO\,KRSHWKLVHIIRUWRI ‘dressing’WKLVUHSRUWVRDV127WRORRNRUUHDGOLNHRWKHU BABA AMTE, Anandwan, Nagpui
government reports, will help take it beyond the shelf, to a broader public and kick start a
GLDORJXHIRULPPHGLDWHDFWLRQLQWKHÀHOG

7
 To be a painter one must know sculpture
To be an architect one must know dance
Dance is possible only through music
And poetry therefore is essential

(Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)
Making... Doing... Being...

Making, Doing, Being...

Occasionally rebuked since childhood as a ‘jack of all trades’ I was mostly at a loss in describing what I did in life.
With the overarching umbrella offered by the new nomenclature of “cultural and creative industries”, I now have rea-
son to feel comfortable. Being labeled “designer”, “theatre scenographers”, “artist”, “activist”, even “policy planner”
or “impresario”, I know that making things happen in today’s world requires more muscle than one’s core-competency.
Being a designer itself places one on the larger canvas of what a mentor in youth, Romesh Thapar called, ‘Design for
Life’. Charles Earns used to say, “Everything Connects”. My Gurus, Smt. Kamala Devi Chattopadhyay and
Smt. Pupul Jayakar held a seed and sourced the sap, Gira Sarabhai offered talismanic views, while charismatic lead-
HUVOLNH6PW,QGLUD*DQGKLDQG6KUL5DMLY*DQGKLVKRZHGKRZÁXLGHQHUJ\FDUYHVFRQQHFWHGSDWKZD\V

This publication is also a tribute to the indomitable courage of India’s extraordinarily gifted people who’s ‘never-say-
die’, tenacious identities, coupled with their skills to make or to do, allows them to be special. We marvel at India’s
legacy of cultural industries seamlessly infusing tradition with new vitality. We bow to India’s vision of remaining still
and centered, while surging ahead …. to the strength of our roots that go deeper even as our spirits continue to sour.

11
 PART I
,QDSUHVHQWDWLRQ,PDGHWRWKH3ODQQLQJ&RPPLVVLRQODVW\HDU,VWUHVVHGRQWKHQHHGWRHVWDEOLVKD
dialogue with related governmental initiatives running in parallel and sometimes opposite directions
ZLWKOLWWOHFRRUGLQDWLRQ7KHQHZO\IRUPHG.QRZOHGJH&RPPLVVLRQZDVDQLGHDOSODWIRUPIRUXVWR
share our concern for the future of our traditional and contemporary knowledge systems, creative
LQGLFHVDQGFXOWXUDODVVHWV

&RQVLGHUWKLV0RUHPRQH\LVPDGHE\PRUH,QGLDQVLQGRLQJZKDWWKH\GRZLWKRXWXELTXLWRXVWUDGH
OHDGHUVRUSROLWLFRVGHGLFDWHGPLQLVWULHVRUSODQQHUVWRKHOSWKHP7KH\VXUYLYHLQDV\VWHPVRPHKDYH
WHUPHGDVDIXQFWLRQLQJDQDUFK\

0HHWLQJDVZHGLGLQWKH0HFFDRI FDVKULFK,7FRPSDQLHV,VSRNHIRUWKHVPDOODQGPDUJLQDOL]HG«
)RUWRRORQJ,QGLDKDVKDG&RPPLVVLRQVWRORRNLQWRWKHQHHGVRI LWVVRFDOOHGunRUJDQL]HGVHFWRUDQG
not take stock of its scale and strength as a selfRUJDQL]LQJPHFKDQLVP<HWJLYHQDQLQFKWKLVVHFWRU
has the capacity to go a mile! On the other hand, the far more visible large industry and high-tech
service sectors grab all the goodies, adding negligibly to the pool of gainful employment that remains
,QGLD·VSULRULW\1RUGRWKHLUUHGRXEWDEOHDFKLHYHPHQWVKHOSPXFKWRSRVLWLRQ,QGLDDVDQLQQRYDWLYH
ODERUDWRU\RI G\QDPLFDQGLQQRYDWLYHLGHDV0RVWWDNHWKHSLQNSDJHFHOHEULWLHVPRUHVHULRXVO\EH-
FDXVHWKH\KDYHFUHDWHGDUHFRJQL]DEOHHQWLW\RI QHZ,QGLDDQGDUHVHHQWREHPRGHUQ,I WKHSDUWRI 
,QGLDZHFHOHEUDWHZDVWRJHWWKHVDPHDWWHQWLRQLWZRXOGPDNHWKHZKROHV\VWHP\LHOGPXFKPRUH
PDNLQJHYHU\RQHVKLQH :KHUH D VPDOO IUDJPHQW RI  FRDUVH FRWWRQ G\HG $DO DQG 0DQMLWKD RU
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With the inevitability of our future being so heavily informed and shaped by the forces of globalisa-
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ORQJEHIRUHDQ\RWKHU

7KLVLV¶$DO·PDGHIURPGU\LQJWKHURRWVRI 5XELDWLQFWRUXPWKHPDG-
der plant evoking sakthi, the chance discovery of which marks the begin-
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12 5HGZLOOWDNH\RXEDFNWRWKH,QGXV9DOOH\DFLYLOL]DWLRQPRUHWKDQ\HDUVROG« WH[WLOHVFRXOGZHOOEHWKHVWRU\RI ,QGLD·VZHDOWK
 Making, Doing, Being...
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7KHVHFRQGFRORXULQWKLVHPEURLGHU\«¶1LOD·ZDVG\HGIURPLQGLJR
5HSOHWHZLWKGDUNPDJLFDOQXDQFHVWKLVFRORXUWDNHVXVLQWRWKHJDUGHQVRI DQFLHQWDOFKHP\«ODERUDWRULHVZKHUHWKHVHDUFKIRUWKHHOL[LU
RI OLIHWKHIUHHLQJRI WKHERG\DQGPLQGIURPWKHRQVODXJKWRI WLPHZDVWKHPDLQSXUVXLW/LNHLQGLJRHYHQWRGD\PDQ\SODQWVXVHGLQ
QDWXUDOG\LQJSURFHVVHVDUHIRXQGOLVWHGDQGGHVFULEHGLQ$\XUYHGLF3KDUPDFRSRHLD

13

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FRORURI 2[EORRGRI OLIHJLYLQJHWHUQDOIRUFHV$QG1HHOGHHSHOXVLYHHYRNLQJ
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Now look at these specimens found in
/RZHU(J\SW Made much later in the pe-
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known as the ‘Fustat’ fragments these
are composed largely of printed cottons
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Used probably as tomb cover-
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used in barter between Egypt and
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also a part of this intercontinen-
tal trade that was a precursor to
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 Making, Doing, Being...
The Silk Route at Smithsonian,Washington produced in deferent
part of the world by an entirely Indian team

15
 :KDWDP,VD\LQJ")LUVWO\,QGLD·V7UDGLWLRQDO.QRZOHGJHDVDVXEWOHZDUS««
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6HFRQGO\,QGLD·VQHYHUVD\GLHFDSDFLW\KDVKHOSHGLWOLYHLQPDQ\FHQWXULHVUROOHG $SDVWWKDWKDVFUXPEOHGFDQRQO\EHUHYLWDOL]HGIRUWKHSUHVHQWLI LWKDV

LQWRRQH UHOHYDQFHIRUWKHSHRSOHZKRDUHOLYLQJLW

16
 Making, Doing, Being...
2OGLVUHF\FOHGLQWRQHZ0UV3XSXO-D\DNDUXVHGWRVD\“negating the linear movement of history; the
tradition develops like a spiral that re-coils and un-coils.
Within this movement, nothing is totally rejected.”

'U.DSLOD9DWV\D\DQGHVFULEHVWKLVLVVXHYHU\SRHWLFDOO\6KHVD\V ¶¶7KHÁRZRI DWUDGLWLRQPD\EHFRPSDUHGWRDGRXEOHUHHGÁXWH2QHUHHGLVDSHUHQQLDOVWUDLQDWRQDO

consistency, immutable across space and time; the other reed plays the tune of immediate time and space. One then is repetitive but stable; the other changing. The two
together create the music that sounds different at different times.’’
In an era when tradition and modernity are seen as two polar realms, devoid of any mutual interaction, we have much to learn from
these two wise women.
17
 $QGWKLVLVZKHUHWKH7DVN)RUFHRQ&UHDWLYHDQG&XOWXUDO,QGXVWULHVWDNHVLWV
FXH

While staggering statistics are being widely acknowledged in the developed

FRXQWULHVLQWKLVÀHOGWKHLUIRFXVKDVEHHQWKH¶FUHDWLYHVHFWRU·WKHVDPHDG-
vancement has not occurred in developing countries which draw more on tra-
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however, that this imbalance is due to the fact that most developed nations that
have put in place mechanisms for cultural industries are bereft of traditional
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HGJH

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traditions and a number of highly versatile creative people capable of carry-
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SUDFWLWLRQHUV

How is this sector perceived in India today?

Let’s open up the Big devide

MODERN INDIA TRADITIONAL INDIA

• Science
• Large Industry = IT Telecom
• Textiles = Techno mechanized multi-fiber
• Energy = Nuclear, hydel power
• Irrigation=Big Dams, Canals
• Agriculture = Green Revolution
• Health = Allopathic Medicine
• Media = Electronic broadcast, cinema
• Education = English, IITs, IIMs etc.
Fine Arts
• Culture
• Cottage Industries & household manufg
• Handlooms & Khadi …
• Water mills, manual labour
• Kunds, Kollams, Cheras, Baolis, Vaavs,
Acqueducts
• Organic farming, indigenous seeds,
fert
r ilizers..
• Indigenous Systems of health & healing
• Live & itinerant performance
• Popular theatre, dance, music ..
• Vernacular dialects ..Gurukuls, Madarsas ..
• Craft
fs

• Travel = Tourism, hotels, resort

rs • Pilgrimages, dh
d ara
r msala
l s ..

• Transportation = ships, highways, aircraft

f • Boats, bullock-cart
r s, bridges
• Heritage = Commerce • Identity, memory ..

18
 Why do cultural and creative industries spell the future of work?

Employment Scenario

Making, Doing, Being...

% of No. of % share Amt. (Rs.) Growth
Workforce people in GDP GDP Rate %

Population of India (2005 E) 110 Crores

Employed (Workforce) 50 Crores
Agriculture (Cultivators & Agri Labour) 48% 24 Crores 20% 6,00,000 Cr. 2-3%
Organised Industry & Services 22% 11 Crores 66% 20,00,000 Cr. 10-12%
“Self-organised”/ Household /Artesenal/
Legacy Industries 30% 15 Crores 14% 4,00,000 Cr. 12-15%

EMPLOYMENT SHARE IN GDP

Agriculture
Cultural 20%
Industries,
Agriculture
Cultural 14%
48%
Industries,
30%

Creative
Iinds, 20%

Other
Org.
Industries,
Industry,
46%
22%

• Rate of Employment is 45% of population and 35% of the population is

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sources as a tenacious symbol of enterprise which needs ground level support, similar
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,QGLD·VFRQWHPSRUDU\EXWQDVFHQWGHVLJQDQGPHGLDLQGXVWU\FDQKHOSXVUHSRVLWLRQRXU
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:HPXVWH[SORLWWKLVHGJHWRRXUEHVWDGYDQWDJH«WRFUHDWHGLVWLQFWLYHO\,QGLDQSURG-
ucts and services – our heritage and the advances made in technology – our own origi-
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SDLQWHUVDQGDQLPDWLRQ«IRONPHGLDDQGHOHFWURQLFPHGLD«FUDIWVDQGFRQWHPSRUDU\
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un-employable (i.e.under 18 years/over 65 years/physically handicapped). There is a
potential to gainfully employ 20% of the 110 Cr. population i.e. 22 Crores (mainly in
rural areas - 10Cr. Literates & 12 Crore illiterates)
• Surveys prove that there is an excess capacity of 20-22% in the population employed
by agriculture which tranlates into 5 Crores of people unemployed/underemployed in
this sector. (2 Cr. Literates & 3 Cr. Illiterates)
• The Agriculture sector growing at approx 2-3% p.a. cannot absorb this potential
workforce.
• Organised manufacturing, mining & services can absorb a maximum of 2 Crores
(~20% of their present employment potential i.e. 11 cr) especially in urban and sub-
urban areas. This still leaves a large employable workforce of 13 crores literate and
15 Crores illiterates)
• Creative, cultural and Traditional/legacy industries is the only key to gainfully
employ this potential work force especially in the rural areas which attract very little
industrial investment/interest. This workforce (at least the literate population) can be
absorbed in the industry if an enabling environment is created within next 6 to 8
years.
• Additional contribution to GDP created by the potential employment in this sector
even at one–half the per-capita income (Rs.18,000 pa) is to the tune of Rs. 216,000
Crores (6% of GDP at current prices)
19
 3$57,,

Finally, the most important issue we must raise is the state of the skilled person behind these legacy industries. What are they thinking? How are they relating to the tremendous
developments taking place…many of which have a direct impact on them? What are their aspirations for their children and themselves? Working out ways of addressing the
concerns of skilled craftspeople is meaningless if their own voices are not articulated. We bandy them about the world as the repository of our heritage, but never recognize their
needs as people, when we bring them back to dump them in inhospitable slums. Do we know what miserable conditions many of our artisans and artists live and work in today?
Do we feel for the gloom they face and indeed, the doom that India will face, if we allow them to disappear? Let me give you an example…

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Gopal, well versed in the art of weaving, sells balloons and his mother
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20
Who has the time today to pause and think-could this man pulling a rickshaw, selling balloons
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Making, Doing, Being...

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So, who in this scenario where few survive, is going to bother about the hundreds of thousands displaced
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chitects have never learnt to use traditional skills as a relevant part of our building activities around the
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Who then can employ the incredible science and art known to the communities of the Sthapthies, Ma-
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The late Zameer Khan, equally starred, stayed with

his family in a house nearby.
22
&21&/86,21

Making, Doing, Being...

My generation must ask… as have those before us, “Do we leave our country as a better place or do we accept this tag as an also ran, in a
race seething with borrowed synthetic aspirations?”
If all services were automated and available at the press of a button – the interpersonal language of sharing will be lost and if all the modern
methods of production points only to the machine, then the honourable skills of the hand will survive only as in gene banks…. For the few,
by the few, of the few.

The once solid and expansive base of the pyramid where culture seeks to measure itself would erode and its peak will be entombed in the
silent graveyard of museums.

You will remember the beginning, the inter-play of madder --- evoking shakti – the force of life and repository of memory …. An indigo
resonant with Rasayana and the eternal chemistry of change.

Where did it all go wrong?

At one micro level let’s take the case of Ramaswami .. a master dyer living in a small village, near
Salem in Tamil Nadu – amongst the few crafts people who know the process of making natural
die. The colonial invention of Alizarin and substitute for indigo changed the natural scale of our
vocabulary and pallette forests forbid him entry to get the raw material he needs and few, includ-
ing Ramaswami, are aware of the economic value of natural dies or the buzz around it in world
markets.

To conclude, let me go back to textiles, may I translate a muhavara…..

It is said that colour is the king, the fabric the subject and the motif the maid:
Let us for a moment, see the colour Neel and Aal, as a metaphor for India’s balanced spirit,
…. the tenacious fabric, as the indomitable skill of its people,
…..the unique design or motif as the unbridled imagination of our culture,
… At another level, making, doing and being become one…
…. There is Creativity in culture, their is future for skilled work and the ethos of our nation is
GHÀQHGE\LWVH\HVKDQGVDQGVSLULW
 Hello, Handover
dover

Dangers of Corporate Involvement:

&DQWKH'KDUPDRI 3URÀWÀQGD%DODQFHZLWK&XOWXUDO,QLWLDWLYHVWKDWDUHQRWQHFHVVDULO\DERXW
SURÀW"

If there is to be a roadmap including a knowledge base, positioning as
in the 20th century the Planning Commission, an august body seeking
to bolster our economy, would have to lay the path that charters an un-
precedented journey.
Culture and industry? While romantics have always lived by the notion that the two don’t
go together, that to be “industrious” is to be non-creative and that creative people need only
fresh air and water for survival, the reality is different. Vibrant cultures are those that
guarantee a full stomach, a roof, however leaky, and a reasonable future to the children of
every cultural worker. This, besides of course, teaching them to be industrious. The most
committed Chhau performer can be forgiven if he would rather watch his son pedal a cycle
rickshaw on the streets of Ranchi than starve as an unemployed dancer. And were data
to be compiled on the number of hereditary performers of music and dance who have
had to take to blue collar and even menial jobs or become petty traders in post-Independent
India in order to just survive, it would shock the chattering classes.

Shanta Serbjeet Singh, Dec 18, 2005, The Hindu

24
THE ECONOMIC TIMES
SOLILOQOY RAJEEV SETHI
Of culture, Mao
DQGGXVW\ÀOHV
Alas! The word ‘Sanskriti’ — like
‘Paryavaran’ — is only pronounced
with priest like perfection, or in an-
glicized accents, in and around the
India International Centre. Either
way, it makes little sense to the man
on the street. I don’t believe we have
the vaguest idea of what a cultural
policy really means.
28th October, 1990
On the one hand you have those
son-of-the-soil types who dismiss
it as merely a leisure time activity.
The song-and dance routine on the
other hand is relegated to the con-
fines of hot houses – under the guise
of documentation and preservation.
Then, we have many who talk of
poverty and expect culture to take
a back seat. True, large manifesta-
tions is how the concept translated
in the 1980s and that perhaps can be
only a small part of what we ought
to be doing, but to say that the coun-
try is poor, and culture must unfor-
tunately be treated as a luxury is
like requesting someone to stop
breathing because the air is pollut-
ed. I, for one, have no doubt that the
nations much prioritized economic
programme is intrinsically depend-
ent on the cultural awakening and
pride of its people.
Culture as a word has lost its medi-
eval connotation - to do with mere
agricultural productivity. Our equiv-
alent - ‘Sanskriti’, suggests the ac-
tion of doing and creating. Gandhi
(the Mahatma) preferred the word
‘Sabhyatha’ - civilization instead
of ‘Sanskriti’. The word expresses
how we produce and use what we
need and what we don’t...it reflects
on what constitutes our habitat and
t he shape, size and materials of
our shelter...It shows how we grow,
cook, serve, eat, amid drink…. how
we adorn and dress and even un-
dress It explains the way we speak,
think and act... the manner in which
we gesticulate, connect, greet or
abuse...the way we cure and heal..,
the manner in which we control
rebel and organize and much, much
more.
Lately, much is being made of an
exercise that will place a holistic
cultural policy on the anvil. The
Haksar Committee Report they say
has provided the main salvo. De-
spite the dust it has raised I believe
that like all the earlier policy re-
ports before, the dust will soon set-
tle on it! Despite all the fizz and the
shoulds, it is going to end up being
Artscape
Making, Doing, Being...
just another olive in the cocktail.
The report was primarily concerned
with the reports of the Akademies.
Amid anyone who thinks that a na-
tional culture policy can be equated
to the functioning of the Akademies
is plain ignorant.
On the other hand, Mao thought it of
his great revolution as cultural. And
look where it got him! In my next
column I will outline why culture
needs more teeth and how it should
set about acquiring real influence.
Working experiences
Seven generations of my family have been carving stone. From
my father, I came to understand the beauty that lies in cleanliness
and clarity. Just see the exquisiteness of the jali; it gives you a
feeling of air and light. I like doing complicated designs that take
a long time. They stay in my hands longer. Jobs don’t come all the
time. Work doesn’t depend on me. I depend on work.
Soni Ram
6WRQH&DUYLQJ,QOD\DQG7UHOOLV8WWDU3UDGHVK
225
 THE ECONOMIC TIMES
SOLILOQOY RAJEEV SETHI
Teeth for Culture
The word culture made Field Marshal
Goering reach for his gun. Chairman Mao
thought of his great revolution as cultural.
Gandhiji preferred to use the word sabhyata
or “civilization.” A Sufi poet is said to have
described culture as the fragrance that is left
behind after the incense stick of life is burnt.
There are no barriers to fragrance;
boundaries created fifty years ago in a
fractured South Asia cannot change the
essence of shared experiences, history and
geography. Evanescent, it permeates the
being of the subcontinent - as much a part of
its wilderness, as in its villages or cities.
Unfortunately, since culture defies a
definition, it has no single face for the
common man and therefore no ballot
value, no official programme or policy – or
appropriate budgets.
On the one hand you have those ‘sons of
the soil’ types who dismiss it as merely a
leisure time activity... the song and dance
routine. On the other hand, it is relegated to
the confines of hot houses - under the guise
of documentation, preservation and silk lined
museum shelves.
Then we have many philistines who talk of
poverty and expect culture to take a back
seat. True, official patronage, setting up
academies, development boards, holding
large manifestations, pumping in sentimental
subsidies and stipends, is a small part of what
was required but to say that the country is
poor and culture must be treated as a luxury
is like requesting someone to stop breathing
because the air is polluted.
Conventional economic indices may rate us as
poor but our wealth of heritage could make us
26
13th October, 1990
a forerunner in an alternative developmental
paradigm. I believe sustainable economic
growthh is a cultural process.
Therefore, I see red, whenever I hear
dilettante’s whisper. “Let culture be! The
people will decide”. Sure! But look which
people? Look around at the greed and chaos
around you and see who’s winning and at
what cost?
The mandarins in the finance and planning
‘mehakmas’ have to first understand what
promotes productivity, what leads to
intolerance and contempt, breeding new
insecurities and uncontrolled pollution. What
we spend on the entire department of culture
is a tiny fraction of what we spend for VIP
security... Could there a connection?
In this age of liberalization, I am all for the
middle path with defined measures of control
and a social contract with the money tigers,
that can check the abuse of culture in the
name of so called development. t. What we
now require is parliamentary intervention and
appropriate legislations that will give more
teeth to the Department of Culture. I feel
the Ministry of Human Resources must feel
compelled to draft or seek approach-papers
from all other ministries on connected issues
that alter time honoured cultural perceptions
and set up inter-ministerial task forces
required to make culture less cosmetic.
The country went up in flames over the
reservation of 80,000 jobs for backward
classes. Yet many times that number of the
so called OBCs was displaced by unfeeling
governments that did little to ensure proper
support and imaginative promotion of
marginalized sectors of cottage industries
handloom etc. Did anyone from culture
speak up? Today 4,000 Chenalamapatti
weavers from Tamil Nadu live in the squalor
of Delhi slums - some selling balloons while
their wives work as housemaids. An entire
tradition is being lost and a culture is being
altered to a point where it loses its center.
Does then a cultural statement amount to
precious little textile exhibitions mounted
neatly in the crafts museums and festivals of
India?
The shift of production and greater
automation in agriculture should mean
keener concern for systems that ensure de-
centralized and self-employed sectors. But
no, these are further marginalized and the
lifestyles of a people are being drastically
altered. Urban migration and the great shift
of people from one region into another in
search of work is creating its own social and
cultural conflicts.
The Ministry of Health needs desperately
to evolve a new strategy of unitary care
for preventive and curative medicine, the
alternative small stream systems have to be
integrated with the mainstream to convince
us that care is not just a privilege of the rich.
Visiting a hospital’s OPD for even one hour
will convince anyone that we have very little
of culture or civilization.
Our own indigenous systems of medicine are
receiving more attention outside the country
while thousands of un-translated manuscripts
gather dust in forgotten libraries all over
India. Some of these are rotting under the
various State Departments of Culture!
When the Ministry of Steel sets up a factory
in a tribal belt, does someone in tribal welfare
have a greater say in the matter? Does the
Industrialist give thought about its impact on
tribal aspirations and culture, their tradition
and ultimately on the quality of their lives?
The fact is that hundreds of thousands of
tribals have been displaced involuntarily
from their ancestral occupation with the
arbitrary deforestation, false promises and
intimidation. Has this provoked the Dept. of
Culture to even sponsor a study to examine
these charges or their altered conditions?
The lives of the people have changed but it is
necessary that a virile expression and rooted
Artscape
heritage becomes a mediocre copy of a copy
in the name of modernity?
Who protests when pesticides poison our
foods, or preservatives debase our cooking
and eating styles and who has studied how
fertilizers and hybrids have changed the
perception of season and our varied eco-
agri-cycles. When a river is poisoned, all the
culture that it supports also dies. Shouldn’t
the Dept. of Culture think about all this as
being of cultural concern as much as an
environmental one?
Should the Ministry of Urban Development
get away without building codes that allow
cities and towns to flout local climate,
aesthetics, materials and skills? Does
not cultural identity suffer when the built
environment envelops us in a homogenized
spiritless landscape? Does the Dept. of
Culture challenge its own sister Department
of Education when curricula for higher
education to point only to the west, and
when teachers would rather have us toe the
line than find time for questions. And what
of us, as parents, preferring that our children
learn Jack and Jill and not some ‘exotic’
vernacular rhyme?
Rampant consumption breeds its own
insecurities - it thrives on it. In this
age, consumer is king and culture its
handmaiden.
Indian TV is a medium that sought heavy
public investments on the ground that it
will serve rural needs. Today instead,
it is mostly subservient to gross urban
demands manipulated through consumer
plugs by a growing, articulate and a
very resourceful creed of white-collared
communicators. There attitudes and official
resources profoundly convert culture into an
entertainment activity with programmes that
take away even the little leisure in which
we entertain ourselves. TV today caters to
a plethora of urban neuroses. This, more
than any other medium, is affecting the way
people in rural areas have begun to perceive
and express themselves through gross
imitation, intimidation and identification.
How many hours of software is commissioned
for rural viewers? Has anyone put the
Panchayat on TV or catered in a robust
creative manner to real rural issues without
talking down?
If all this is not meant to be the Department
of Culture’s concern, I feel it will have very
little left to sing or dance about! I want more
teeth for culture and for it a finger in every
pie.
The loss of a custom or a ritual from memory
or practice has not been my enduring
concern. The potter has stopped making
some beautiful votive offerings. Well too bad
but so what!! There is no longer a felt need
to propitiate certain deities linked with fatal
diseases that are now extinct. For example,
the worship of Shitala Mata, the goddess of
smallpox will perhaps have to change as she
takes on different functions within the reality
of modern medicine.
A man driving a tractor does not need the
same footwear and plow as his forebears.
The village shoemaker and carpenter can
therefore, not expect the customary exchange
of grain for their efforts. New varieties of
seeds, methods of irrigation, and of factory-
made fertilizers, have changed man’s
perception of the season and the harvest. The
balladeer, called in to invoke the blessings
— so delicately expressed and enshrined in
the communication of the women — now
finds a new vehicle for expression?
1. What is replacing that which must go?
2. What do we want to preserve and how do
we proceed to preserve and for whom?
3. The concern then, is to constantly and
persistently ask, from here to where? Can
people participate and relate creatively to
the pace of development and absorb its
consequences with any sense of quality?
Lately, much is being made of an exercise
that will place a holistic cultural policy on
the anvil. I don’t believe even in another
50 years we will have the vaguest idea of
what a cultural policy really means. Various
Committee Reports they say have provided
the main salvo. Despite the dust these
reports have raised, I believe that like all
policy papers, the dust will soon settle on
them. Despite all the fizz and the ‘should
be’s’ and ‘shouldn’t be’s’ they are like
olive’s in a cocktail. Most reports concern
themselves with the official programmes and
the functioning of Academies. And anyone
who thinks that a national culture policy
can be equated to the functioning of august
bodies is plain ignorant. What is needed
is a pragmatic and a very common sense
approach to the way cultural policy is being
administered or even the fact that there was a
then we need to set up neighbourhood and
voluntary infrastructures that can support and
generate its own cultural programming. We
need to redress the hazards in the arts, and
evolve a less officious and more inspiring
system of rewarding excellence, offering
privileges and infusing pride amongst skilled
people who feel vulnerable in this age of
flux. We need to detail the composition
of curricula for cultural education and
administration and insure autonomy and
networking between institutions.
We need better designs, wider - much
wider access to documentation and a re-
definition of the scale and nature of cultural
dissemination not just for the sake of the
few, for the few. More interdisciplinary
interaction is required in the arts and the
brilliantly conceived Zonal Cultural centers
have to become more focused on revitalizing
their devised agenda. Training in the arts has
to become more realistic and market oriented
and presentation format for the arts has to
take on the bull TV– horn by horn,z channel
by channel.
No one can have a final say in matters related
to culture. Culture, like breath is to life,
will always be an inseparable part of our
existence, the fragrance of our civilization.
The air we breathe is polluted because we
have not invented new systems to check
the decay. How to restore to a society its
self-purifying mechanism? How to prevent
and cons of awards and on the issue of pride
and privileges.
I would like to explore the composition of
a curriculum for cultural administration and
offer my views on autonomy and networking
between institutions, on the design and access
to documentation and on the scale and nature
of dissemination. Also, on inter- disciplinary
interaction and innovation, on marketing and
presentational formats and on the theme of
continuity and training in the arts. I want
more teeth for culture and for it - a finger in
every pie. “But the pie is becoming smaller
for the want of resources”; they say, “and
culture is not a basic.”...Really? Perhaps,
because the entire Dept. of Culture gets only
Rs. 80 crores and Rs.200 crores a year for
VVIP security becomes a necessity. Should
we ‘let the people decide’?
Seeing the whole
I am a Muslim and I make Hindu, Christian and Islamic
themes. We assume each consumer respects the spirit. Yes,
ZHGRFUHDWHWDEOHWRSVZLWKWKHVHVDFUHGÀJXUHVRQLWEXW
we hope that people do not put an insulting object by its
side. While making it, I don’t touch it with my feet. There
is “kadar and ibadat” (respect and devotion). Then there
our senses from shrinking further? How to LV´NDODDQGKXQDUµDUWDQGSULGHDQGÀQDOO\WKHUHLV
lack of culture policy.
of the gods and to lift evil spirits that cause celebrate innovation and decry the mediocrity “karigari” (skill). Without one the other does not come.
the illness of a patron’s camel, has now to of imitation? There are many questions and
At 50 if I was to take stock of what hasn’t
compete with the veterinarian.
been done and what requires immediate
answers will come from those who don’t Shaukat Ali
take freedom for granted.
Women who sang the most telling songs
attention, I would point out the critical lack Figure cutting and joinery
of comprehensive schemes for the welfare of
on the way to the well, sharing the day’s In my future columns I will be writing about
artists and artisans, the people behind all the
happening with each other, have now merely the methodology for a census for the arts,
art - the repository of our heritage - bandied
to open a faucet in their homes. Good! No
about the world as our ambassadors and
on the need for evolving a system that helps Ankhen do, drishti ek, honth do, lafaz ek
doubt the water pot – however superbly to classify cultural expression in various
designed to be carried on the waist and on
brought home to live in squalid slums.
context, on the setting up of neighborhood Pair do, raftaar ek, Haath do, taali ek
the head would now require to be changed. and voluntary infrastructures to support
The songs, invented by the women to lessen
We need a methodology for a census on the
cultural programming, on issues related to
Bhed phiryeh aisa kyoon?”
arts to evolve a system that helps to classify
drudgery, will fade away. What should the hazards in the arts and the critical lack
cultural expression in its varied contexts;
concern us more is how the need and energy of schemes for artistic welfare, on the pros BABA AMTE, Anandwan, Nagpui

27
 THE ECONOMIC TIMES October, 1990 Artscape

SOLILOQOY RAJEEV SETHI

A NATION in which a leader can seriously
ask “Do you think an artist is a special per-

Of Tourist son?” is a nation in jeopardy.

The other day I tried to explain this in

chaste Hindi to our new minister for tex-

Interest Only tiles. He yawned. Our delegation of master

craftspersons and weavers tried telling him
about specific projects related to housing,
occupational diseases, product reservations
and other things. His political producer was
more voluble; he warned us about this nation
of thieves, chastised us for our servility, and
told us to take what we need with the force
of a ‘danda’. We reminded him that the fate
of ten million weavers and several million
craftspeople was clubbed with his own min-
istry and unless they took precedence, the
‘danda’ will continue to be wielded by the
textile barons.

Yet, I must agree that political rhetoric has

some effect. After all didn’t Shri Datta Sa-
mant make a lot of noises and hasn’t the
all zealous legislators encouraged everyone There is a feeling that these poor folk artists
government been dishing out more than 200
to tap the “electric poles feeding rich mans only make a noise with their drums. And, yes
crores annually to maintain the sick textile
homes” without permission. Working for the of course we have the Utsavs and Festivals,
units, employing only a 100,000 workers.
last fifteen years in one slum, housing more tomtomming the nation’s pride in its cultural
The silent handlooms with a hundred times
than six hundred puppeteers, balladeers, ac- heritage. The artists are bandied about as the
that number get only a piffling fraction of
robats etc., we were alarmed and warned the fast depleting repository of this wealth.
that figure.
concerned authorities about the implication
of such actions. No doubt, while the various festivals have
Preferential treatment based on heirarchies
made people more aware of the variety of art
exists amongst government machinery as-
The slums in Delhi burnt last summer as forms, I have somewhat naively harboured
sociated with the performing arts as well.
never before. In the fires, along with all oth- the illusion that this increased exposure will
Without going into the arts versus craft, folk
ers, about hundred artists also lost all they help us hasten a better deal for the well-being
versus classical debate, I would like to point
had.. Since
S we were more organised, we got of artists or in meeting their needs.
out another case of faulty perspectives.
s. Nine
some relief from the hotels where the artists
months ago the then Prime Minister magnan-
had performed on various occasions.The five Since Independence, India has seen rapid in-
imously announced registration of all slum
star kitchens of the ‘Taj’ catered to the slum dustrial growth and consequent urbanisation.
dwellers in Delhi and the giving of ration
dwellers of Shadipur for 15 days Migration from rural India to the burgeoning
cards. So far so good. But implementation
metropolis has fractured ancient links and
was characteristically short sighted as targets
We also made the Sangeet Natak Akademni channels of interpersonal communication.
had to be immediately achieved.
promise them that they would sponsor some The principles of philosophy of inter- depen-
programmes to help them purchase new in- dence required to nurture production systems
The population in Delhi slums and squatter
struments. and community-life are gradually lost, being
colonies doubled overnight. The increased
perceived as irrelevant or unscientific. This
density and close proximity of jhuggies,
The slum dwellers have never heard from alienation has been felt more than ever be-
improvised with waste plastics and wood
them after their empty assurances, inspite of fore and with much greater intensity in the
crates, made them more vulnerable. To top it
repeated requests and reminders for action. last few decades. Unprecedented changes

28

For every known
artist there are
hundreds today,
who for want of
basic amenities
and spport never
see the light of
day
have reflected on the patronage conditions
and environments of traditional perform-
ers and artisans, challenging the survival of
their time-honoured skills. It is time that we
recognised that the responsibility of society
does not end with the sponsoring of a project
here and a bit there, or by conferring titles
and awards that offer the artist little more
than a once in a lifetime stint with status.
For every known artist they are hundred
today who, for want of basic amenities and
support, never see the light of day. If the base
of the pyramid erodes, the top will be of little
consequence. Even successful artists should
realise that their pursuit of excellence im-
plies a shared concern and responsibility for
those who are less fortunate.
I know of a few musicians who think noth-
ing of charging thousands but who profess
ignorance about the monthly emoluments of
their accompanists.
Once an accompanist tabla player from
Shahdara told me, “The emptiness of my
stomach resounds with the encores. I hardly
have enough for a scooter fare back home
from the concert. After spending about 12
years in rigorous rehearsals, I used to get
Rs. 450/- per month, which is less than the
lowest of the low government scale. I am
50 now…not more than 15-20 people know
me… I remain only a part of the show and
after show time… with the applause, we exit
‘Raat Khatam-Bat Khatam.’
On cooperative action
Carrying their heritage, Miras ( from which
is derived the degenerated title of Mirasi) Our workshop has all young people. Hindus and
artistes move in consonance with their own
rhythm and harmony. From the courts of
Muslim- where is religion in a round chapati? We
kings and tawaifs, they today find themselves recognize each other’s skill as well as the spiritual
confronted with the three Ts of Time, Tech-
nology and Targets on the one hand and a PRWLYDWLRQ7KHUHKDYHQHYHUEHHQFRQÁLFWVDPRQJVW
culture of paper weights on the other. Talent,
like a soap, has to be packaged, and officially
our workers. Yes, we don’t always agree about mon-
graded or it slips into a gutter. Tan Ras of ey. People cut rates and try to defeat cooperative ac-
Delhi Gharana in Bahadur Shah Zafar’s court
was given Chandini Mahal as a ‘jagir’. To- tion to control pieces. Quality suffers in the bargain
day Chandini Mahal has scores of musician and then even the chapattis disappear.
families living with many others in cramped
one room tenements. Facelessness stalks ev-
erywhere as the city reeks of apathy.
Nur Ahmed Sayyid
Thousands, of weavers, craftspersons, ‘folk’ Hamanullha Khan, Siddh Rama, Sidh Dayyia
and ‘classical’ artists who carry the rich mil-
lennial heritage of our culture now live on
the peripheries of urban areas under squalid
and destitute conditions. There is a complete
absence of National Institution or Bodies
that address themselves, in any significant
manner, to the artists medical, education, On his work
environment and social needs – although
these are interlinked to the quality and often
the probability of their performance and oc- I like designs that challenge the mind to invent a treatment. To-
cupation.
day‘s repetition tires the heart. It would be alright with a machine,
There is unemployment and underemploy- but with hands it is bothersome. There is not enough mind-work in
ment, exploitation and an age old indiffer-
ence; there is self-deprecatory alienation that it. If we did not use our brain - food would reach our ears, or our
devalues their art; and most of all there is a
debilitating sense the traditional artists feel QRVHRUH\HV²QRWRXUPRXWK,ZDQWWRVHHSURJUHVVDQGÀOOP\
today – that they may be of interest to tour- stomach by my own work. I cannot change my profession. I have
ists but of little use any longer to their own
society. WRÀWLQWRWKHPRGHUQZRUOGZLWKWKHVNLOOV,KDYH7UDGLQJP\
IUHHGRPIRUDQ\WKLQJOLNHDQRIÀFHMREXQGHUVRPHERVVLVXQWKLQN-
DEOHHYHQLI LWPHDQVPRUHPRQH\7KHRIÀFHERVVZLOOEHFRPHWKH
master of my time. If I stop doing work with my hands, my mind
will loose its ability to play as well.
Afzal Khan
Crewel and Staple Stitch, Kashmir
29
 THE ECONOMIC TIMES
SOLILOQOY RAJEEV SETHI
The art is alive as
long as the artist is !
Artists of all calibers and in every age, have
allowed their arts - once in a while to be pan-
dered for commerce. This would even be ac-
ceptable if they could find the time and space
to return to themselves and to each other for
rejuvenation and renewal.
It would now seem that the majority of artists
are even more socially isolated than before
and are increasingly dependent on the cu-
riosities and goodwill of the ‘upper’classes
and file pushing ‘connoisseurs’. The rural
and ‘folk’ artists are particularly bonded to
the whims of their new patrons. Even peo-
ple studying their art forms or working with
the artists seem to get more recognition and
economic benefit than those practicing it.
Deterioration of tradition comes from such
economic disparity of professional pursuit.
The sense of achievement influenced by ma-
30
30th December, 1990
terial gains becomes critical.
Today, most people on the arts bandwagon
are more concerned with personal ambitions
and reaping dissensions. A great part of their
lives is spent in cornering key positions, and
ubiquitous roles allowing for only a few to
come up. Such people exist for years on a
running relay of ongoing projects that guar-
antee a steady flow of official resources and
high level of contact. Their programmes are
designed more for personal aggrandizement
and less for ameliorating the suffering of the
artists or celebrating their genius. Very few
people are really concerned about the disap-
pearance of time honoured skills as living
components of our traditions.
I have had enough of grandiose official ef-
forts to preserve the vestiges of our glorious
Artscape
past and the mute relics of our threatened tions with the past – or preserving the past Who is this artist in NEED ?
present for so called ‘posterity’. Glitzy ex-
hibits silk lined show cases, leather bound
documentation and bulky project reports are
for what its worth, is because we are so un-
sure of our future. It could be a performer too old to work or
a community of leather workers with a skin
not even the beginning of preservation and While change scares some of us, a climate condition that deteriorates with their liveli-
are marginal as exercises for creating public
awareness. When will these programmes and
records become accessible to those who need
them most as ready reference? I refer in par-
of innovations will require a broader base
of involvement from those numerous artists
who’s daily struggle leaves them no space
or time for creative thinking; it will require
hood; or a metal caster or stone carver fight-
ing for a whole generation inflicted with
disease due to unscientific and exploitative
conditions of work.
ticular to those artists who belong to the oral greater participation of the everyman – from
traditions and need more than their vulner- the millions out there, who have skills to Visit Moradabad and you will find that com-
able memory to keep their art alive. make things, to express themselves and to munal hatred is not just about severed heads
communicate with those around them.It is of cows or chasing pigs into some neigh-
Aren’t most artistic manifestations held to- from this extended and humble base of crea- bourhood. Or breathe in th silica-laden air
day becoming increasingly an end in them- tive activity that any culture has to measure of Kambhat to find out the T.B. rampant in
selves, to be celebrated as annual events on and sustain its growth. this filthy town is not just because the arti-
the manicured lawns of the arts academies sans have an unbalanced diet. Have the of-
and international centres? Is the amount be- Re-established mohallas
llas of artists and art- ficial bodies in charge of arts and crafts ever
ing spent on exposure and preservation, gen- ists in every mohalla is what will finally looked comprehensively into issues related
erating some returns whereby the repository determine the health of our heritage as a to health matters, occupationed diseases,
of rich traditions can get a new lease of life nation. Just before his death, Bade Gulam insurance and environmental degradation ?
where ever they belong? Ali Khan had said that if only each family Most organizations are only concerned with
could have just one member trained in music the packaging of the product or arranging
If you go around eastern Rajasthan you will there would be an end to communal hatred. a performance. They feel better means of
be hardpressed to find even a few women I have written, my earlier columns, about the marketing will alone provide the artists the
on the roadside wearing traditional prints cost society has to pay for undervaluing the wherewithal to look after themselves; they
on their skirts or blouses. What the mills of importance of culture. Now to round up this will then be able to move out of a slum and
Manchester were unable to do in a hundred piece I will highlight the problems faced by buy a roof over their heads, find a place to
years, has now been achieved by the mills of those most easily identified as culture’s chief work and see their children through a life
the brown sahibs in less than two decades. protagonists the professional artists and arti- furthering their skills. Really ?
Yet, funds have been allocated for a forth- sans themselves.
coming exhibition for the Festival of India in
Germany, extolling the textiles of the Thar
desert.
Although I am weary of seeing the same team
do all the major exhibition of the Festival of
India for the last 8 years what concerns me
more is whether they are capable of raising
even a fraction of the budget that will help
make the women of Rajasthan more aware.
How many know today how their traditional
apparel evokes their own landscape, how it
suits their climate and how it helps to keep
their own village folk employed? How many
of those who talk of conservation or make
be nurtured and stored in weather proof mu-
seums and electronic hardware or in official
hot houses from 10 a.m. to 5.00 p.m. with
salaried master craftspersons or media Us-
tads ?
The real reason we spend such a great deal
of our energy seeking to define our connec-
Some of us have been going from pillar to
post for the last 15 years now to get some
land for the creation of a pilot habitat for the
several hundred families of artists living in
the slums of Delhi, Jaipur, and Bombay. We
are constantly told to wait because we are
in the queue and land prices are prohibitive;
yet we see doctors, lawyers, journalists, of-
ficers, and 700 others co-op’s of middle and
upper income groups get the land they need
at concessional rates. The economically vul-
nerable are suspect – even if they have organ-
ized themselves into cooperatives to avail the
same facility.
We are told we cannot ask for a work-cum-
dwelling space because the zoning laws of
the city do not permit the same. Cities are
made keeping commercial, industrial and
residential areas as rigidly separate. Who
asked traditional craftsmen whether they can
travel with their families to a workshed
everyday or whether a musician can rehearse
in one place and stay in another ? Jaipur’s
gunijan khanas
nas and artisans’ mohallas
llas are
an indication of how cities were planned
earlier.
A catalytic environment for nurturing the
skills of traditional artists and artisans is the
critical need of the day. A musician’s child
who rarely sees a tree living in the squalor
of a tin shed cannot be taught the nuances of
Raag Basant.
So, Hon. Ministers of Textiles and Culture,
don’t just tell us to go to the Department of
Urban Development or Ministry of Health.
The artisans and artists are seen like files that
never move. Instead you liaise with your col-
leagues from the different departments or go
back to the Planning Commission and fight
hard to make them give you the appropriate
allocations that will enable you to serve your
constituents better.
Creative artists have also a growing need
for legal advice and action. Artists, writers,
scholars barely know how to draft a con tract
document to protect their interests and I know
many performing artists who should sue sev-
eral agencies and individuals for misusing
their work. The disparity of payments in the
official mass media – between south-north,
men-women, dance- music; disparity of
payments between different agencies, their
dubious grading systems, the multiple us-
age of programme’s through electronic ex-
tensions, are all issues ready for some legal
prodding.
Likewise the issue of reservations for hand-
looms, stayed in the court by a vested pow-
erloom lobby, has stood unchallenged and
unheard in the Judiciary in the absence of
public interest.
There are child artists whose skills are often
abused, like in the carpet trade, and women
artists whose problems of status, space, time
and resources require special attention. Art-
ists need management skills to run their co-
ops, set up thrift and credit societies, arrange
loans and combat indebtedness.
They need marketing skills to deal with spe-
cialists, critics, media, buyers, exporters etc.
These are problems that many do not even
perceive as problems in the present scenario.
Some artists also need help to readjust with
contemporary values where their ethnic
group traditions dictate an antisocial life
style. The rather robust attitude towards sex
of a Kanjri dancer and a Nat from Maharash-
tra had me thinking about parallel morality in
variance with what’s around.
That is till I saw them buckle under the abuse
of demonic lust. I also remember an alco-
holic poet who no one wanted to help and a
sensitive painter who left everything because
he could not see the debasement of art.
Then someone also has to think about recrea-
tional activities for the artists – the interper-
sonal and interdisciplinary contacts required
for growth; about a creative halwai wanting
to experiment with regional foods and new
recipes. There may be a traditional painter
wanting to know about computer graphics
or a goldsmith wishing to learn about watch
assembly.
I have always wanted to arrange a national
workshop of tribal painters and dancers in a
tribal area so that they could meet and share
each other’s joys, aspiration and apprehen-
sions.
Some of the most poignant moments in the
arts for me have been my meetings with
‘small’ artists wanting to raise collective so-
cial consciousness on vital issues. A magi-
cian wanting to be a part of the of the main-
stream has evolved ingeneous acts to express
his concern for national integration. An ac-
robat wanting to train in gymnastics wishes
to bring in an Olympic gold for her country.
A Hindu mat-weaver from Bengal creates
a long roll weaving a series of mehrabs abs in
a prayer rug for the Jama Masjid of Delhi.
These are people out to save the world and
may their tribe increase!
Society owes to these artists and artisans a
special debt. Their contribution is irreplac-
able. Likewise the environment they need
for their work is particular. What needs to
be strenghthened is their inherent capacity to
create wealth for themselves and their com-
munity
On the quality of life
My voice, while it lasted
My feet, while they danced
My fingers, while they played ,DPDYHU\SRRUPDQDQG,KDYHLQÀQLWHWROHUDQFH,I P\
My hands, while they worked
My senses while they prevailed hunger is for two chapattis and I can only mange one, it is
Have asked you so many questions..........?
alright. I mange, but with honesty and fairness because lies
have short lives. Where is the need for me to lie to you any
way? When I say I need your help to make my living, you
will see that I am genuine, and you will help me. If you
saw that I was a liar or a cheat, with what eyes would you
look at me. Tell me? Does anybody look with friendly eyes
at a liar?
Ali Osad Urf Sadiak
Leather worker
31
 PART III
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Chapter 3 traces the evolution of the concept of cultural industries and its transformation into a GLOBAL PHE-
NOMENON, fueled by State policy intervention and the positioning of private-public initiatives in different coun-
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Chapter 4 brings us home with THE INDIAN SCENARIO with eminent personalities throwing light on where
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and space than provided here; this gargantuan effort will continue with the development of a web portal for this sec-
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sub-sector and extended the rest into Chapter 5 and Chapter 7 DVZHOO

Are we biting off more than what one can chew by clubbing these many sectors together?
,QChapter 5 titled a INDIA’S EDGE we argue otherwise and show how ‘the traditional’ and ‘the modern’ can help
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of the old and the new, margii and deshiHDVWDQGZHVWEHWZHHQGLIIHUHQWGLVFLSOLQHVHWF
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32
 Making, Doing, Being...
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we felt the concept for a single Ministry grouping all connected departments from other ministries to form a whole
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FURVVVHFWRUDODJHQGDSXWVXVLQDEHWWHUSRVLWLRQWRDUWLFXODWHDPHDQLQJIXOLQIUDVWUXFWXUHVXVWDLQLQJDPRYHPHQW

Chapter 7 points to THE WAY AHEAD..RXWOLQLQJWKHÀYHNLQGVRI VHUYLFHVSURSRVHGIRUWKH1DWLRQDO0LVVLRQ

IRU&XOWXUDO,QGXVWULHV²3ROLF\ 3ODQQLQJ6HUYLFHV&UHGLWDQG)LQDQFLDO6HUYLFHV&DSDFLW\%XLOGLQJ6HUYLFHV/HJDO
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PLQDWLQJFDVHVWXGLHVDQGLQIRUPHGRSLQLRQ

Chapter 8 celebrates the making of BRAND INDIA E\GZHOOLQJRQVSHFLÀFGHOLYHU\PHFKDQLVPV7KHÀYH\HDUV

suggested as a tenure for the Mission would help it devise and implement the mixed media programme outlined in
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Chapter 9 $IXQGLQJPHFKDQLVPWRVXSSRUWWKLVIXWXUHLVFUXFLDOIRUSXWWLQJWKHZKROHWDVNRQWUDFN:HKDYHUDWKHU
optimistically, called it the PURNA KUMBHA, ‘the pot of plenty,’ providing a blue print for sourcing resource would
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7KHFRQFOXGLQJChapter 10, brimming with hope, is titled SHAJAR-E-HAYAT, ‘the tree of life’. We have here col-
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PAST FORWARD is a timely reminder of what we need to do before it is too late and loosing our legecy and being
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Rajeev Sethi
33
 Overview

Created in the 1940s, an era when technological developments such as cinema, the photo-illustrated press and broadcasting were
making rapid inroads into individual homes and society as a whole, the term ‘cultural industries’ was originally intended as a
FULWLFLVPRI PDVVPHGLDDQGWKHEHJXLOLQJEXW´VXSHUÀFLDOµ´PDFKLQHFXOWXUHµLWFUHDWHG'HVSLWHWKHDQWDJRQLVPRI FXOWXUDOSXU-
ists, the new media was there to stay, impelling a rethinking of the very understanding of culture. Furthermore, the popularity
and unprecedented reach of mass media made it a lucrative commercial venture as well as a potentially powerful tool for cultural
and political dissemination. State policy now began to address this issue – in capitalist countries, cultural policies aimed to gener-
ate employment and greater economic returns through sector; in socialist countries, culture, subject to extreme State intervention,
became a vehicle for propaganda; and in newly independent post-colonial states, culture became an important means of creating a
national identity.

With the more recent shift from a manufacturing to a service based economy that is largely content driven, creativity and content
have become the basis of competitive advantage in a global market. Creativity has to now be seen as not just residing in the arts and
media industries but as a central and increasingly important input into all sectors where design and content form the basis. Over
forty countries, some of which have economies and cultural contexts with little in common with that of India’s and others which
could be considered our peer group, have already recognized this factor and accordingly implemented programmes and policies that
can nurture and support their particular cultural and creative industries. Simultaneously, national and international bodies are
also examining the potential offered by the cultural and creative industries as a tool for grassroots development and the preservation
of cultural diversity and heritage. Running the gamut of commercially, politically, economically and culturally driven policies and
programmes, the examples of these prior experiments in the domain of the cultural industries present us in India, poised on the
brink of following suit in the same direction, with the opportunity to better equip our vast cultural and creative sector for success.
Global Phenomenon ,W LV FKDUDFWHULVWLF RI  WKH ODVW FHQWXU\ WKDW FXOWXUH ZDV DVDELWWHUO\LURQLFFULWLTXHRI DOOPDVVPHGLD)LOPVUDGLR

embroiled in debates about its value within transitional
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accessible to a far larger and more heterogeneous
audience, fracturing previous notions of ‘art’ and its
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infrastructure and micro-economy; the newfound
pervasiveness of its products implied that electronic
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the massive capital investment and the technical expertise
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of a single factory system geared towards nothing more
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its consumers from the drudgery of their increasingly
automated work and to prevent them from recognising
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Raoul Hausmann

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beast called culture and how could they use it to their
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revolution, class struggles, the establishment of
capitalism and resistance towards its monopoly, the end
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Located within this framework and actively shaping and
being shaped by it, culture was becoming increasingly
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METAMORPHOSIS :
Adorno to Art Policies Culture in the free enterprise economy: Art Amid the chaos of World War I, Europe was taking a
becomes a commodity quantum leap into the modern era through rapid techno-
Cross-cultural Milestones logical development. While critics condemned the “machine
:KHQ LW ZDV LQYHQWHG LQ  E\ WKH *HUPDQ FULWLFV culture” spawned by the birth of the photo-illustrated press,
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37
 verse nationalities – the Dadaists – were using the new
media at their disposal to challenge both traditional artistic
categories as well as contemporary society.
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cinema, the latest entrant on the cultural scene, took over,
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detail and politically charged subjects in favour of
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of Bombay focussed on providing ‘light entertainment’
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PLJUDQWVWKHODERXUIRUFHDQGWKHXUEDQSRRU
The major audience for a normal Hindi commercial
ÀOPLVSHRSOHZKRDUHLQWKHPLGGOHRUORZHUPLGGOH
income groups. But more important than them are the
people who live below the poverty line. It’s very strange,
but most of the people who do odd jobs, or even beggars,
ZLOONHHSWKHLUPRQH\WRVHHWKHÀUVWVKRZRI WKHQHZ
releases. In fact, I played a character like that. She was
a rag-picker, and whatever money she got from selling
rags she would stuff in her blouse, so she didn’t have
to give it to her father or mother. She would then use
WKHPRQH\WRVHHWKHÀUVWVKRZRI WKHÀUVWZHHNRI DQ
$PLWDEK%DFKFKDQÀOP,WUHDOO\KDSSHQVLW·VQRWD
far-fetched imaginary fantasy or some funny incident.
It’s the truth.
6PLWD3DWLO%RPED\ÀOPDFWRU1
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(YHU\RQH ZDQWHG D VOLFH RI  WKH ¶IDLU\WDOH RQ FHOOXORLG·
7KHFXOWXUDOHOLWHDVJXDUGLDQVRI ´,QGLDQQHVVµODEHOOHG
the commercial cinema an impersonating, debased, and
SDUDVLWLF IRUP $OWKRXJK PDQ\ DQ LQGLJQDQW FXOWXUDO
purist seeking to maintain and police cultural boundaries
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emerged out of a system of assembly-line production –
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WRWKULYHHFRQRPLFDOO\7KHQXPEHURI ÀOPVSURGXFHG
each year had been steadily increasing and the years
following the Second World War had created a boom in
WHUPVRI WKHPRQH\ÁRZLQJLQWRÀOPSURGXFWLRQ
Ten years from now we’ll have good roads, housing
schemes, hospitals, food, buildings, etc, but no culture.
We can import technology and know-how, but we can’t
import culture…
'LOLS.XPDU+LQGLÀOPDFWRU
The Indian cinema is still held in its foreign lead-
ing strings and is totally unrelated to any tradition in
Indian culture, old or new. In fact, what the Indian
cinema is doing is to force Indian sensibilities into alien
moulds. Its disruptive effect is going to be, and already
is, far-reaching among the common people. It is rap-
idly destroying their folk culture and converting them
mentally into a typical town rubble, a disgusting plebs
urbana always crying for the circus.
-Nirad Chaudhari2
“To spin the simplest yarn on celluloid the wheels of a
ODUJHVFDOHIXOO\ÁHGJHGLQGXVWU\KDYHWRWXUQµ
- Satyajit Ray3
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planning, this translated into large-scale industrial
projects such as power plants and factories as well as
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IRU WKH ¶WUDGLWLRQDO DUWV· &LQHPD ZDV QRW LQFOXGHG LQ
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not produce an essential commodity, and as a culture
industry, its products did not enhance or embody the
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an alien imposition devoid of any organic connection
with a long and illustrious history of diverse indigenous
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DXWKHQWLFDOO\QDWLRQDOFXOWXUDOH[SUHVVLRQ7KXVFLQHPD
– what was to become perhaps the most pervasive
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,QIRUPDWLRQDQG%URDGFDVWLQJ0LQLVWU\
Once popularised, cinema became an electronic extension of
‘folk’ art forms. Thus, ‘Jhoot bole cauwa kaate’, a song of
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VRQJ·V VXFFHVV ² ÀQDQFLDO DQG RWKHUZLVH ² JR WR WKH )LOP
Industry. The original stakeholders of its artistic property
remain marginalised.
 Ray, Satyajit, ‘Under western eyes,’ Sight and Sound
SHDN7RGD\KRZHYHUWKHVXFFHVVRI WKH%RPED\ÀOPLQGXVWU\LVQR  ¶,V,QGLDDFXOWXUDOYDFXXP"·,OOXVWUDWHG:HHNO\RI ,QGLD $XWXPQS
ORQJHUGHSHQGHQWRQWKHSRRURUUXUDODXGLHQFHV $XJXVW  &KDNUDYDUW\

38

Bobby poster
7KLVGLVFRPIRUWZLWKWKHQHZPHGLDDQGLWVV\VWHPRI 
RSHUDWLRQZDVVKDUHGE\$GRUQRDQG+RUNKHLPHUDOEHLW
IRU GLIIHUHQW UHDVRQV 7KH\ PDLQWDLQHG WKDW ZKLOH WKH
culture industry claimed to be serving the consumer’s
need for entertainment, it concealed the way in which it
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WR GHVLUH ZKDW LW SURGXFHV 0DVV SURGXFHG FXOWXUH
therefore feeds a mass market where the identity and
tastes of individual consumers becomes increasingly
less important and the consumers themselves are
DV LQWHUFKDQJHDEOH DV WKH SURGXFWV WKHPVHOYHV $OO
on everything until “the whole world is made to pass &RLQLQJWKHWHUP¶PHFKDQLFDOUHSURGXFWLRQ·WRUHIHUWR
Global Phenomenon
WKURXJKWKHÀOWHURI WKHFXOWXUHLQGXVWU\µ  any form of cultural production characterised by the
relatively large-scale replication of cultural artefacts
“Movies and radio need no longer pretend to be art. by means of technology, Benjamin acknowledges that
The truth that they are just businesses is made into an HDFK SURGXFW RI  VXFK D SURFHVV LV D UHSOLFD 8QOLNH
ideology in order to justify the rubbish they deliberately $GRUQRDQG+RUNKHLPHUJORRP\FXOWXUDOSHVVLPLVPIRU
produce. They call themselves industries; and when Benjamin, mass media and avant-garde art provided the
initial conditions, at least, for the creation of something
their directors’ incomes are published, any doubt about
WKDWFRXOGEHFRPHDFXOWXUDOGHPRFUDF\¶,WLVLQKHUHQW
WKHVRFLDOXWLOLW\RI WKHÀQLVKHGSURGXFWVLVUHPRYHGµ
LQ WKH WHFKQLTXHV RI  ÀOP· KH ZURWH ¶WKDW HYHU\ERG\
who witnesses its accomplishments is somewhat of an
-Theodor Adorno and Max Horkheimer
H[SHUW«WKHSXEOLFLVSXWLQWKHSRVLWLRQRI FULWLF·
$WKLUGDQJOHLQWKLVGHEDWHZDVWKDWRI -XUJHQ+DEHUPDV
7R $GRUQR PDVV FXOWXUH ZDV HVVHQWLDOO\ D PHDQV RI
$GRUQR·VVWXGHQWDQGDVVLVWDQW+HUHDJDLQWKHZKROHVDOH
UHLQIRUFLQJWKHVWDWXVTXRRI PRGHUQFLYLOL]DWLRQDQGLWV
refusal of capitalism is abandoned in favour of a
HPEHGGHGFODVVKLHUDUFKLHV$QGLWLVWKHRU\DQG¶WUXHDUW·
democratisation of capitalism through critical public
– painting, sculpture, music and dance – that are deemed
RSLQLRQ
the only remaining expressions of freedom, creativity
DQG LQGLYLGXDOLW\ :KLOH KH WDNHV RQ DQ DQWLFDSLWDOLVW
&ULWLFDOWR+DEHUPDV·SURMHFWZDVKLVYLHZRI VRFLHW\DV
SRVLWLRQ $GRUQR·V FRQVSLUDF\ WKHRU\ LV QRQHWKHOHVV
consisting of two distinct parts – the ‘system’ and ‘life-
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ZRUOG·7KHÀUVWUHIHUUHGWRWKHVSKHUHRI WKHHFRQRP\
capitalism is based on a romantic Marxism untouched
and the state, of money and power; the second to the
E\ WKH UHDOLWLHV RI  FRQWHPSRUDU\ VRFLDOLVW VWDWHV ,W LV
world of everyday experience, social discourse and
this utopian world view that he extends to his discourse
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RQ FXOWXUH FULWLTXLQJ DQ\WKLQJ WKDW PD\ EH VHHQ DV DQ
believed that ‘undistorted communication’ between free
expression of “bourgeois subjectivity” and extolling
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the virtues of the few cultural forms he deemed to be
values that could successfully counteract the dominative
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music represented the key sites of resistance to cultural
himself recognised, was that the life-world was
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increasingly subject to ‘colonisation’ by the system,
forge connections between the cultural avant-garde and
thus radically reducing the possibility of collective,
the new popular media, arguing that both functioned
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outside the boundaries of conventional art production,
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reaching out to new audiences and embracing original
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pervasive, media culture was seen to impress its stamp  $GRUQR S

39
 and discourses on art, they too joined the ranks of the
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historical need for emancipation from the rigid social
structures of pre-modern tradition on the one hand, the
‘colonisation of the life-world’ by the logic of capitalism
RQWKHRWKHU
Culture in the socialist state: Art as an ideo-
logical weapon
While thinkers within capitalist Western societies were
VWUXJJOLQJ WR GHÀQH FXOWXUH·V UROH LQ LWV ODUJHU VRFLR
economic context, communist states, such as the Soviet
8QLRQ &KLQD DQG &XED VKRZHG QR VXFK DPELYDOHQFH
WR FXOWXUH ,QVWHDG WKH\ UHSUHVHQW DQ H[WUHPH RI  VWDWH
intervention in the cultural domain whereby all art was
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¶GLUHFWHGE\VWDWHSROLF\QRWDUELWUDULO\E\GLNWDWEXWE\
codifying a system of artistic rules, which ensure the
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LGHRORJ\·
To work in a factory “It [Russian art] concerns the value a man puts on his
blacken your face with smoke own life. The Russian cannot believe that the mean-
then at leisure later LQJRI KLVOLIHLVVHOIVXIÀFLHQW²DQGWKHUHIRUHWKDWKLV
WRÁDSEOHDU\H\HOLGVDW existence can be pointless. He is inclined to think that
other men’s luxuries – his destiny is larger than his interests. This leads in art
what is the good of that? to an emphasis on truth and purpose rather than on
Wipe the old out of our hearts! aesthetic pleasure. Russians expect their artists to be
Enough of penny truths! prophets – because they think of themselves, they think
The streets our brushes of all men, as subjects of prophecy.”
the squares our palettes.
10
The thousand-paged book of time
says nothing about the days of revolution.
Futurists, dreamers, poets,
come out into the street. 7KLV QHZIRXQG UROH RI  WKH DUWLVW LV PRVW HYLGHQW LQ
WKH 5XVVLDQ SROLWLFDO VWUDWHJ\ RI  ¶$JLWSURS· $ IXVLRQ
- Vladimir Mayakovsky8 RI  ¶DJLWDWLRQ· DQG ¶SURSDJDQGD· $JLWSURS SURPXOJDWHG
An order to the Art Army (December 1918) the use of political slogans and imagery as a means to
PRXOGSXEOLFRSLQLRQDQGPRELOLVHPDVVVXSSRUW0DVV
PHGLD ² SDPSKOHWV PDJD]LQHV QHZVSDSHUV UDGLR DQG
7KH JHQHVLV RI  WKLV SKHQRPHQRQ JRHV EDFN WR WKH WHOHYLVLRQ ² DV ZHOO DV WKH ¶ÀQH DUWV· DQG DUFKLWHFWXUH
2FWREHU5HYROXWLRQRI DQGWKHIRUPXODWLRQRI WKH were marshalled to the cause of re-educating the entire
3UROHWNXW 7KH 3UROHWDULDW &XOWXUDO DQG (QOLJKWHQPHQW SRSXODWLRQLQWKHFRPPXQLVWPRXOG
Unlike capitalist states where the artist is seen as a
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´VXUSOXV YDOXHµ WKH VRFLDOLVW DUWLVW LV UHFRJQL]HG DV
D SROLWLFDO YRLFH DQG D PRUDO IRUFH $QG \HW IRU MXVW
these same reasons, artists and art in socialist states
ZHUH FRQVLGHUHG IRUHYHU TXHVWLRQDEOH DQG FRQWUROOHG
$UWLVWLF LQGLYLGXDOLW\ LV OLPLWHG RU GHQLHG 7KH DUWLVW·V
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utterly subservient to the state, its progress, ideological
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$UJXLQJ WKDW DUW OLNH DOO PDWHULDO JRRGV DQG PHDQV RI 'XH WR WKHLU OXFLGLW\ DQG VLPSOLFLW\ RI  IRUP WKH
production in a communist economy, belonged to the comparative ease of large print runs, the vividness of
FRPPXQLW\ DV D ZKROH DQG QRW WR D VSHFLÀF FODVV WKH its imagery and its greater accessibility, posters became
3UROHWNXW HQFRXUDJHG DUWLVWV WR EUHDN DZD\ IURP WKH WKH FKRVHQ H[SUHVVLRQ RI  WKH DJLWSURS 3URPLQHQWO\
‘bourgeois’ subject matter and style of art produced featured on town walls, fences, boats and special
under the tsars and embrace their new task as “engineers propaganda trains, and in demonstrations, Russian
RI WKHKXPDQVRXOµ SRVWHUVGHYHORSHGDODQJXDJHDQGOLIHRI WKHLURZQ7KH\
ZHUH´WKHPLQXWHVRI WKHPRVWGLIÀFXOWWKUHH\HDUSHULRG
objectives, and creative pursuits determined by the
3DUW\·VUHTXLUHPHQWIRUSURSDJDQGD
 $VTXRWHGLQ%HUJHU>@S
 7KH SKUDVH ¶HQJLQHHUV RI  WKH KXPDQ VRXO· ZDV FRLQHG
E\ <XUL 2OHVKD DQG ZDV ODWHU SRSXODUL]HG E\ 6WDOLQ QRWDEO\ LQ KLV
VSHHFKDWWKH)LUVW&RQJUHVVRI WKH8QLRQRI 6RYLHW:ULWHUVLQ
´7KHSURGXFWLRQRI VRXOVLVPRUHLPSRUWDQWWKDQWKHSURGXFWLRQRI 
of the revolutionary struggle, a record in colours and
words,” enthusing those who were participating in the
5HYROXWLRQRQWKHPLOLWDU\IURQW
RI WKHKXPDQVRXOµ
 %HUJHU>@S WDQNV«$QGWKHUHIRUH,UDLVHP\JODVVWR\RXZULWHUVWKHHQJLQHHUV  %HUJHU>@SS

40

Soviet Poster, Chinese Poster, Haripura Congress
In the Soviet Union and China of the early 20th century,
posters became a visual extension of State propaganda, urging
the common man to join in the task of building a communist
nation. In India, Gandhi commissioned Nandlal Bose to
design posters for the Haripura Congress. The protagonist
of these posters is the rural Indian busy with work, making
SRWVSORXJKLQJWKHÀHOGZHDYLQJWH[WLOHVFRRNLQJDPHDO7KH
style of the poster derives from Indian miniatures, creating a
sense of ‘Indianness’ that all Indians could identify with.
‘Working relentlessly for the Military Department since
the beginning of 1919, Comrade Moor has rendered
an immense service to the Red Army with his bold
poster designs. The ranks of the Red Army cherish
his revolutionary posters which raised their morale and
illuminated the way forwards. During the past three
years, Comrade Moor has designed 150 canvases and
posters for the Red Army. The Military Revolutionary
Committee of the Republic, noting Comrade Moor’s
services to the Revolution, honours him for the heroic
battle he has waged with his own particular weapons
– the brush and the pencil.’
Global Phenomenon
Fuelled by the belief that they were contributing to the
political and spiritual future of their country, Russian
artists tried to create an art form that bore no semblance
to that patronised by the autocracy or to the ‘soulless’
FDSLWDOLVP RI  WKH :HVW 7KH UHVXOW ZDV DQ HQWKXVLDVWLF
rediscovery of pre-European Russian art coupled with a
search for the most advanced, the most modern means of
H[SUHVVLRQ· Once the revolutionary ship was stabilised,
however, state intervention in cultural production grew
PRUH DXWKRULWDULDQ 7KH 3UROHWNXW·V DVVLPLODWLRQ DQG
promotion of radical, non-traditional directions such as
impressionism, constructivism, cubism, concept art, and
SHUIRUPDQFHDUWQRZFDPHXQGHUVHYHUHFULWLFLVP7KH

 %HUJHU>@S

41
 realpolitik of building an industrial base in a backward
country meant that all avant-garde art became at best, a
sort of luxury and, at worst, a vestige of pre-revolutionary
bourgeois culture which had to be extirpated from the
QDVFHQWZRUNHUVVWDWH
7KH 3UROHWNXW ZDV GLVEDQGHG LQ  DQG ¶VRFLDOLVW
realism’ was instated as the state policy on the grounds
that realist art was more popular and comprehensible
WRWKHXQHGXFDWHGPDVVHV$UWZDVQRZWREHHYDOXDWHG
based on a sense of its task – who it is addressing, what
has to be done to consolidate economic progress and
encourage its new constituency, the common man, to
HPXODWHWKHVRFLDOLVWPRGHO,QSUDFWLFHWKLVPHDQWWKDW
DUWLVWV KDG WR SURGXFH ZRUNV WKDW HLWKHU JORULÀHG WKH
leaders and policies of the Soviet Union or elevated
Without wholly identifying with the Revolution, the
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true colours for his revolutionary cartoons’.
-Lenin
I do not know how radical you are or how radical I
am. I am certainly not radical enough; that is, one must
always try to be as radical as reality.
In an extreme of state intervention in the cultural
- Lenin sphere, literature and in the arts in China of the
1940s were made entirely subservient to Communist
ideology. Strict guidelines were laid down regarding the
WKH FRPPRQ ZRUNHU ZKHWKHU IDFWRU\ RU DJULFXOWXUDO
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another, always highlighting the move towards a
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$UWLVWV ZKR FRXOG QRW ZRUN ZLWKLQ WKH ERXQGDULHV RI 
socialist realism, especially those who wished to work
in avant-garde or non-representational genres were
not regarded as employed when working on their art
and could therefore be accused of social parasitism, a
charge that could send a person to the Gulag labour
FDPSV LQ 6LEHULD DQG HOVHZKHUH :KLOH DUWLVWV ZHUH
urged to represent realism, it was only a limited view of
UHDOLW\WKH\ZHUHSHUPLWWHGWRUHSUHVHQW$Q\GHSDUWXUH
from heroic portraits of Stalin and Lenin, muscular
peasants, happy factory workers, collective farms, and
industrial landscapes was frowned upon, as were novels
deemed inconsistent with Marxist doctrine and musical
FRPSRVLWLRQVWKDWGLGQRWDSSHDUWRURXVHRUUHÁHFWWKH
OLIHDQGVWUXJJOHVRI WKH3UROHWDULDW
42
7KH 6RYLHW 8QLRQ·V SROLF\ RQ DUW SURGXFWLRQ ZDV style, content and format that was considered permis-
H[SRUWHGWRYLUWXDOO\DOOWKHRWKHU&RPPXQLVWFRXQWULHV sible. In an ironic twist, Chairman Mao’s visage has
$OWKRXJK WKH GHJUHH WR ZKLFK LW ZDV HQIRUFHG WKHUH
since found its way onto clocks, sold as popular memo-
varied somewhat from country to country, socialist
realism became the predominant art form across the
rabilia.
FRPPXQLVWZRUOGIRUQHDUO\ÀIW\\HDUV
,QWKHFDVHRI &KLQDDUWZDVPRELOLVHGDVDPHGLXPRI
class struggle and nationalistic regeneration under Mao’s
Mao clocks
OHDGHUVKLS7RTXRWH0DRKLPVHOI´,QRXUVWUXJJOHIRU
WKHOLEHUDWLRQRI WKH&KLQHVHSHRSOHWKHUHDUHYDULRXV
fronts, among which there are the fronts of the pen and
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ZHPXVWUHO\SULPDULO\RQWKHDUP\ZLWKJXQV%XWWKLV
army alone isn’t enough; we must also have a cultural
army, which is absolutely indispensable for uniting our
RZQUDQNVDQGGHIHDWLQJWKHHQHP\µ
,Q0D\DW<DQ·DQLQRUGHUWR¶UHFWLI\·WKHRXWORRN
RI  WKH &KLQHVH &RPPXQLVW 3DUW\·V ZULWHUV DQG DUWLVWV
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there was to transform any left-leaning liberalism and
lingering individualism into the collective service of
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to deliver control of literature and art, once in the hands
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PDQDJHPHQWRI WKH3DUW\
The purpose of our meeting today is precisely to ensure
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ary machine as a component part, that they operate as
powerful weapons for uniting and educating people and
for attacking and destroying the enemy, and that they
KHOSWKHSHRSOHÀJKWWKHHQHP\ZLWKRQHKHDUWDQGRQH
mind. What are the problems that must be solved to
achieve this objective? I think they are the problems of
the class stand of the writers and artists, their attitude,
their audience, their work and their study.”
– Mao Zedong12
Mao left no doubt about the subservience of art to
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whole revolutionary cause; they are cogs and wheels in
LWµ From the notion that the value of art derived from
revolutionary necessity, came a heightened esteem and
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Mao, however, made it abundantly clear that this would
only apply to those who could adhere to the new
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cling to an individualist, petty-bourgeois stand cannot
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can do any meaningful work unless he is closely linked
with the masses, gives expression to their thoughts and
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only what is needed and can readily be accepted by the
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starting from the workers, peasants and soldiers can we
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unambiguous, comprehensible to the audience, designed
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DQG LPSHO WKHP WR XQLWV DQG VWUXJJOHµ 7KH ¶VPLOLQJ
counterpart’ of ‘socialist realism’, Mao’s aesthetic of
‘popularisation’ was designed not as a representation
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realism – in other words, idealism and not realism at
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that was a departure from this approach was labelled
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Global Phenomenon
“As Marx put it in a famous exhortation to philoso-
phers; the task is not just to understand the world but
to change it. So too with artists. “Socialist realism” is
more than mere faithfulness to reality: it contributes to
reality; it creates reality….There is, in fact, only one
taboo: the recognition of a variety of realities is forbid-
den, including any separate reality of one’s own. “Re-
alism” operates this way not because it does not wish
to know abut reality. You do not need much theoretical
training to realise that there can be no “real” reality
when there are many realities.”
– Miklos Haraszti
in his dark-humoured account of state-directed
socialist art in Eastern Europe, The Velvet Prison
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Western-style art were both considered ideologically
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Other sources also existed as potential models for
development, including European and Soviet socialist
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very fact that they were foreign would from time to time
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and Literature,” which became the cornerstone of Soviet aesthetic
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supermen! Literature must become part of the common course of the
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“Some works which politically are downright reac-
tionary may have a certain artistic quality. The more
reactionary their content and the higher their artistic
quality, the more poisonous they are to people, and the
expressions could be solved by showing folklorisms,
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the solution is not in showing our identity, but in acting
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create solidarity among its varied population, assimilate
their individual cultures, as well as consolidate their
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more necessary it is to reject them.”
– Mao Zedong16
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visual manifestations of angst, generated by poverty
and loneliness in their lifetime, become such a valued
commodity among the wealthy and socially prominent
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to express the thoughts and feelings of the masses, as
interpreted for them by their ultimate supervisory agency,
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the time, the newly established revolutionary government
enlisted the arts and architecture in a campaign to give
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Speaking about the conundrums in which cultures on
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instruments) into the garbage can, to then go back
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culture), adapting it, or even nationalising it, which may
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with our own criteria, or at least participate actively in
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this happens, it will have stopped being a Western
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Culture in the postcolonial economy: Art as
identity
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was as much about national identities as politics, in
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consciousness grew from common bonds of language
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from the necessity of unifying diverse cultural groups
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formation as independent republics, what we today call
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and social assemblies lived side by side but were deeply
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or less homogenous and permitted itself to extend loops
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had perforce to “invent” a national identity that would
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land system was dismantled, labour was organised and
reformed, foreign economic despoliation were initiated,
and indigenous culture became the focus of a national
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music, literature, theatre, dance, and painting, there
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native costumes, and painters not only populated their
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Mexicans were illiterate and that, as he put it, “Men are
more malleable when approached through their senses
as happens when one contemplates beautiful forms and
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wages decorating public walls with paintings that could
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been proclaimed which leads to a grace lack of cultural  0RVTXHUD,GHQWLGDG\FXOWXUDSRSXODUHQHO1XHYR Mexican art, one that expressed the Mexican character
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ancients and the foreigners could teach us, but we could
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developing an art form that was at once nationalist, anti-
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Diego Rivera, Frida Kahlo, Amrita Shergil
Mexican and Indian art of the immediate post-colonial era
shares certain similarities – primarily, a search for an identity
that is at once local yet global. This often translated into
a romanticisation of the rural population, now considered
the true and rightful occupants of the land. Diego Rivera’s
work represents the pro-active peasants and workers of the
Mexican State, and Frida Kahlo’s work is tinged with a
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nostalgic, romanticising a Mexican past and prophesying,
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nostalgic reimagining of a picturesque national and personal
identity. Although “Western” in terms of its medium and
style, the works of both Mexican artists are littered with
local references. Likewise, the Indian artist Amrita Shergil’s
ZRUNLVLQÁXHQFHGE\WKHWKHQSRSXODU,PSUHVVLRQLVWVW\OHEXW
is transformed by her choice of subjects and colours – village
women represented with a rich palette of earthy browns, reds
and ochres.
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Global Phenomenon
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works the odious and degenerate type of common people
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once and for all, the painting of sandals and dirty cotton
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view, no matter how much the world changed, the same
evils – war, injustice, poverty, oppression, ignorance –
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45
 whose work was full of hammers and sickles and who did
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him ideologies were suspect; they all led to demagoguery
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- Diego Rivera
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across centuries, classes and geographies, expressing
itself in the folklorism of Rivera on one hand and the
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heritage that was free, and often superior, to that of her
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romantic reconstruction of the past to imbue a ‘legitimate
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resist the social and cultural challenges posed by the
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heroes of popular legends from regional ethnic groups
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culture of the various regions to the rest of the country
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purely voluntary efforts – among them, Rabindranath
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46
IURPWKHLUORFDOSDWURQVLQWRDZLGHUUHJLRQDOQDWLRQDO distinct approaches: an internationalist modernism and a
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materialism had matured, nourished by western adulation
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government had a mammoth task at its hands – the
creation of models for a national culture and translating
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and reclamation of a historic past capable of eliciting
national pride and cohesion, the upliftment and economic
development of its vast population, and a progressive-
internationalism which allowed the new nation state to
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focus on the international met in cultural policy; the
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arts, the mass media and the non-mechanical were all
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in multiple centuries, multiple pasts simultaneously,
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search for a cultural sensitivity in art practice.
K G Subramanyan, an artist of this generation, consistently
attempted to regain for modern art that additional resonance
KG Subramanyan traditional artists derived from shared culture and language,
experience and iconography. Through involvement with
Art in Post Independence India was characterised by two weaving and textile design, toy making, writing and
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What we seek today is not a repetition of the old pat-
tern, be it Indian or colonial, but a positive contribu-
tion to strengthening the quality of current life
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account of the culture industries, for instance, has
been critiqued IURP D QXPEHU RI  SHUVSHFWLYHV 7KH
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the cohesive character of mass culture and an overly
pessimistic, condescending prognosis of the “masses” as
brainless puppets attached to the strings of the powerful
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the overall dynamics of the industries that provided mass
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a parallel to what cultural industries has become today;
the only difference is that today policy makers are more
open to including the more commercial, non-traditional
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communication and cultural goods and services to an
increasingly wide cross-section of the public, choosing
instead to see these industries as the eradicator of an
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with nostalgia for a cultural experience untainted by
WHFKQRORJ\µ
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account of capitalist economies and their dynamics,
illustrating children’s books, and creating murals integrated LW ZDV WKH ÀUVW WR GLVFXVV WKH HURVLRQ RI  WKH KLWKHUWR
with architecture, he succeeded in breaking out of the narrow rigid boundaries between high art, mass culture and
Culture in the postmodern era:
limits of high art and explore different modes of cultural WKH HFRQRP\ :KLOH DFDGHPLF ZULWLQJ RQ WKH FXOWXUDO
Art as economic policy
production and communication. industries has for the most part tended to focus the
cultural and social implications of cultural consumption,
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WKH 6DKLW\D $NDGHPL WKH /DOLW .DOD $NDGHPL WKH and economic life motivated its development as an object
theory was borne of this boom, spreading to theory on
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the world now irreversibly and undoubtedly consumerist,
the preservation, fostering and dissemination of culture framework of local, regional and national policy for the
but the pragmatics of functioning within this system
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means that even the bastions of ‘tradition’ or the ‘avant-
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garde’ have now joined the groups already camped out  )OHZ
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47
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working with city and other arts agencies, culture now
came to be repositioned within a rhetoric of the ‘value’
of culture – the assessment of which constantly shifts
between aesthetic, economic and social understandings
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and constraints faced by subsidy and arts policy systems
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became the focus of arts policy only to the extent that
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policies thus promoted state-funded cultural activities
with limited impact, while largely ignoring and often
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which tended to reject the market and focused on a
residual approach to public intervention in the cultural
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– one relies on ‘the market’, the other on a bureaucratic
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therefore presume that they are two separate sectors
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noted above, the commercial sector provides wealth and
Early forms of arts policy in many countries mirrored, to
some extent, the disdain for mass media and commercial
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they strictly demarcated publicly supported ‘excellence’
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models promoted by governments therefore supported
the production and exhibition of “traditional arts” and
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literature, the visual arts, classical dance and music on
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intrinsic worth to the community;
 6\VWHPVRI public subsidy, whereby
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on the grounds that these forms were not
otherwise commercially viable;
 3URPRWLRQRI national culture, and the
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as “those institutions in our society which employ the
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of industrial corporations, to produce and disseminate
symbols in the forms of cultural goods and services,
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publishing, recorded music, design, architecture, new
media – and the ‘traditional arts’ – visual art, crafts,
museums, galleries – all those activities which have been
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divisions between these two categories – but a line
between ‘art’ and ‘commerce’ is ideological and not
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though in receipt of enormous public subsidy, cannot
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‘make it’ at some point, calling struggling pop musicians
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With the erosion of the cosy separations of ‘art’ and
‘mass culture’ set up by early policy systems, the role
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instead of merely being ‘defended’ against new forms of
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who promoted a more populist orientation of cultural
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those areas of arts and culture ‘least contaminated by
commerce’ cultivated those activities with the lowest rate
of growth in consumption and the strongest class biases
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where “most people’s cultural needs and aspirations are
being, for better or for worse, supplied by the market
as goods and services,” they argued for an analysis of
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the ‘true’ representations of national 7KHGLVWULEXWLRQRI IXQGVLQWKHVHWZRDUHDVLVGLIIHUHQW  2·&RQQHU
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2QH RI  WKH PRVW VLJQLÀFDQW VXFK HQGHDYRUV D VWXG\ approach to cultural policy sought to reach sectors, such from other manufacturing industries, but the fact that

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far more important as employers of labor, objects of
consumption, and areas of public intervention, than the
traditional performing and visual arts, which received
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those cultural activities which fell outside the public
funding system and operated commercially were
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of a whole range of cultural goods and objects which
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music, books, adverts, concerts) had nothing at all to do
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involved an alternative economic line, concerned with
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as popular music and media, which had typically not
been well served by conventional arts policy, as well as
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broadened and enriched debates about the role of
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the production of symbolic goods and services, was
it then possible to exclude any activity of industrial
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cultural industries, or the use of aborigine artwork on
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use of music by artists such as Moby or Fatboy Slim to
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the cultural industries as a concept offer an alternative
interpretation of value generation.
 $VLD3DFLÀF &UHDWLYH &RPPXQLWLHV 6\PSRVLXP
Jodhpur, (February 2005)
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policy purview of those areas of government that were
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television, radio, multimedia, built heritage, cultural
property, indigenous cultural heritage, open learning and
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cultural industries research was developed through
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were of little help in making these distinctions, divided
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that more obviously attracted governmental support than
others – orchestras rather than contemporary music,
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by the areas that were within the policy domain of the
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industries as an important contribution to national
economic development, and indicated the value-adding
possibilities arising from effective policy development,
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cultural industries value chain, or ensuring that the
products and outputs of artistic creativity were better
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It may be argued that all industrial production con-
tains a design element (and therefore creativity, intel-
lectual property, and culture). What, then, is really
the difference between the cultural industries and other
manufacturing industries? It is not the output of the
production that distinguishes the cultural industries
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industries such as television and radio were absent from
cultural policy, on the basis that they were at that time
administered by a different government department,
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Similarly, in Britain, the mapping document prepared in
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excellence to the whole way of life of a community, this 0HGLDDQG6SRUW'&06VHWDERXWLGHQWLI\LQJFXUUHQW
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activity in the cultural industries and policy measures that
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49
 FRXOGEHVWSURPRWHWKHLUIXUWKHUGHYHORSPHQW'HÀQHG of the performing and visual arts whose development FRQFHUQLQJ HPSOR\PHQW OHYHOV ODERXU PDUNHW SURÀOHV
as ‘those activities which have their origin in individual UHPDLQV SUHGRPLQDQWO\ DVVRFLDWHG ZLWK $UWV &RXQFLO training needs and increasingly, contribution to local,
creativity, skill and talent and which have the potential subsidy, and those sectors that are associated with the UHJLRQDODQGQDWLRQDO*'3
for wealth and job creation through the generation an QHZ'&06
exploitation of intellectual property,’ the now titled
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IRU SROLF\ SXUSRVHV VKRXOG QRW EH VHHQ DV DFFLGHQWDO tion... is a key economic issue…The value stemming
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 $UFKLWHFWXUH around the cultural industries, is the extent to which they increasingly important as an economic component of
 $UWVDQGDQWLTXHPDUNHWV have been drawn upon by traditional elements of the
national wealth…Industries, many of them new, that
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rely on creativity and imaginative intellectual property,
 'HVLJQ economic discourses surrounding cultural industries,
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 3HUIRUPLQJDUWV While cultural industries discourses stressed the Minister for Culture and Heritage (1998)37
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emergent cultural sectors, such listings inherently carry $VDUHVXOWWKH\ZHUHQRWVHHQDVZLOOLQJWRDGGUHVVWKH
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connected to the institutional alignment of culture with consumption base beyond higher-income earners with statistics compiled for each are not necessarily based
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centred’ areas of culture, which can retain a focus upon statistical debates around the cultural industries, usually industries sector’ has been expanded to include related
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50
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industries, now calls them the ‘creative industries’
pointing to a more directly economic and value-
laden agenda – throwing in employment, creativity,
competitiveness, innovation, exports, international
EUDQGLQJ HWF ,Q (XURSH WKH WHUP ¶FXOWXUDO HQWHUSULVH·
is sometimes preferred, with the distinction between
private sector-driven activities and those associated with
culture in a more traditional sense continuing to inform
FXOWXUDOSROLF\
Secondly, statistics in these areas tend to be collected
opened up by the cultural industries across the world is
Global Phenomenon
essentially an expression of an imperative wrought by
some deep-seated and far-reaching transformations in
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At stake here is a new relationship between culture and
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economics is valuing human creativity and realizing in-
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culture within the productive base of capitalism; it is
partially both, but it is also a different dynamic which
needs to be faced.
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differently in different countries and regions, making IURP¶7KH'HÀQLWLRQRI &XOWXUDO,QGXVWULHV·
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of many sectors, it is particularly true in the case of the
cultural industries as there is often no agreement as to
whether we measure ‘artists’, or ‘heritage’ or ‘ancillary ‘Culture’ … ‘Industry’ Incompatible
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Finally, employment statistics are often based on
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outmoded industrial and occupational categories which
industries’ itself indicates that the term is currently responding to some
make collection and analysis fraught with ambiguities
and omissions, especially since the whole notion of deep-stated and far-reaching need to handle transformations which go
‘employment’ has undergone radical restructuring over beyond short term tactical problems and rhetoric… At stake here is a
WKHODVWGHFDGHV7KHZD\LQZKLFKSULPDU\DQGVHFRQGDU\ new relationship between culture and economy.
employment, non-paid jobs and self-employment
has restructured the cultural labour market has made 7KLVLVQRWSXUHO\FHOHEUDWRU\²WKDWÀQDOO\HFRQRPLFVLVYDOXLQJ
statistical analysis useless without an accompanying KXPDQFUHDWLYLW\DQGUHDOLVLQJKXPDQSRWHQWLDO²QRULVLWWKHÀQDO
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51
 LET’S GET
CREATIVE
INDIA’S FUTURE COULD DEPEND ON THE STRENGTH OF ITS ‘CREATIVE ECONOMY’. SO HOW DO
WE STACK UP? SUNDAY TIMES INVITED THE MAN WHO COINDED THE TERM TO EVALUATE OUR
NATIONAL IDEAS BANK
Richard Florida
If China is the world’s factory, India’s become the world’s
outsourcing center. Its software industry is the world’s sec-
ond-largest, its tech outsourcing accounts for more than
half of the $300 billion global industry, according to tech-
nology expert Martin Kenney.
But India’s future depends crucially on its ability to com-
pete fully in the Creative Economy – not just in tech and
software, but across design and entrepreneurship; arts cul-
ture and entertainment; and the knowledge-based profes-
sions of medicine, finance and law.
India is well-positioned to compete. Bollywood, which
makes over 9000 films a year, is the world’s largest film-
making centre. India’s creative talent has already made its
mark on the global entertainment industry and popular cul-
ture. The music scenes of London, Toronto, and New York
are infused with Bhangra beats.
Elsewhere too, Indian excels. Its video game industry is
million, to grow tenfold, to $300 million, by decade-end,
and its animation industry from $300 million to almost a
billion dollars by 2009. Its advertising, graphic design and
product design industries are seeing extraordinary growth.
Already, India has been a source of creative talent for the
world. The skills of Indians were integral to the success of
Silicon Valley. Indian expatriates started 385, or 10%, of
its high-tech firms in the late 1990s. Vinod Khosla, who
Forbes magazine named
The “most important venture capitalist in the world”, has
52
single-handedly been responsible for identifying a host of
key technologies and generating billions in new wealth. In
the US alone, more than 160,000 Indians work in science
and engineering.
India also faces substantial challenges. It ranks 41st of 45
countries on my Global Creativity Index, and aggregate
measure of its strength across the 3Ts of economic develop-
ment. India does well on the first T, Technology, ranking
23rd worldwide. But, despite its globally renowned IITs, it
rank 44th on the second T, Talent, with only 6% of its popu-
lation holding a Bachelor’s degree. It rank 39th on the third
T, Tolerance – openness to self-expression and a wide range
of social groups.
But India’s biggest challenge goes deeper and is embedded
in the very logic of the global Creative Economy. Innova-
tion and economic growth are more concentrated than ever.
India’s growth is premised on the success of a handful of
regions. Virtually all significant technological innovations
produced in India in 2004 (those for which US patents were
granted) came from just three city-regions – Bangalore, Hy-
derabad and New Delhi. Outside of these and several other
creative centres, large sections of India’s population live a
hand-to-mouth existence
Still there is a great tradition of creativity to build on; cre-
ativity, it seems, is part of India’s DNA. India has long val-
ued the development of talent across multiple dimensions,
from literature and the arts to medicine, engineering and
entrepreneurship. Its internal diversity – religious, cultural,
political, and geographic – along with a tolerance of dis-
sent and openness to outside influence and trade have pro-
vided this ecosystem with a constant influx of new ideas
and people.
 Global Phenomenon
Pochampalli and Mobile Gaming Design:
What’s the connection?
What are the Cultural & Creative Industries but industries of the
imagination, content, knowledge, innovation and creativity…they are also
important contributory factors to employment and economic growth.
UNESCO (1999)
• Each is based on intellectual property and design talent – One so far rooted in tradition and community,
and the other in a modern visual culture and the individual.
• Each evolves its own vocabulary – Pochampalli, from the temple motifs or new design sensibilities, and
gaming from popular graphics ortraditional contexts.
• Each derives its unique visual character from the process and technology that creates it –one tactile, the
other virtual, but created with the warp of insight and the weft of skill.
• Both are knowledge based – the technology of one is heritage legacy and that of the other, software
design in digital media.
• The survival of both in global markets depends on innovation and creativity– in terms of their
vocabulary, design and promotion.
• Both require human interface, are small scale and not machine produced. Seen together they are not
dismissed or straight jacketed as traditional or modern, sunset or sunrise.
• Each needs the other to gain and retain a competitive edge in the global markett 90% of the cultural
industries in India are traditional, while the remaining 10% is part of a rapidly advancing sector.
market.

53
 The Cultural and Creative Industries:
Too much on the same page?
Cultural diversity presupposes the existence of a process
of exchanges open to renewal and innovation but also com-
mitted to tradition… If creativity is essential to generate an
evolutionary leap, then memory is in turn vital to creativity.
That holds true for individuals and for nations who find their
heritage - natural and cutlural, tangible and intangible – the
key to their identity and the source of their inspiration.
UNESCO

54
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in recognition of the increasingly important role of in-
formation, technology and learning in economic perfor-
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aspects of economic production, distribution and con-
sumption, a phenomenon linked to the ‘new economy’
whose ‘form is increasingly informational, global and
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the value of manufactured products will come from the
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the knowledge content of products and processes is ris-
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how the critical source of competitive advantage in the
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Global Phenomenon
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of know-how and the growing demand for innovation
affect virtually every part of the economy and all orga-
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Within contemporary models of production, the sys-
tematic application of knowledge and information to
the production of knowledge and information itself has
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relies on global networks made possible by information
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both employment and the share of total output, the ser-
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public and private investment, and the ways in which
speedy production, collection and dissemination of re-
search outcomes has enabled more rapid transformation
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Creativity and Content
in a Knowledge-based
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‘Market pull’ factors that promote the rise of a knowl-
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competition, greater sophistication in consumer demand,
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oped in the heyday of manufacturing industry, to make
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es as a residual category, comprising of all those activi-
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The shift from manufacturing
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 dustries employment may be in part a statistical illusion,
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also not be particularly informative, since the term cov-
ers so many disparate industries and forms of employ-
ment that the implications of service industry growth
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Such negative perceptions of the service sector have
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these is the growing convergence between manufactur-
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to incorporate more detailed information about cus-
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more explicitly cultural, since inputs are not only infor-
mational, but also aesthetic, and value adding involves
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ing disaggregating of the services sector-
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and real estate
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with transportation and communication
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other health, education and welfare services
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entertainment and hospitality, domestic,
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gued that the nature of cultural industries value chain
is such that clear distinctions between content creation,
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the dire predictions about the industrialisation of culture
in advanced capitalism, the manufacturing and service
industries are becoming more and more like the produc-
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tors of the economy to product research and develop-
ment, and the testing and trailing of prototypes, which
is very much in keeping with the development of the
cultural or creative industries, where the production of
physical commodities is a minor sub-set of the activities
associated with discovering creativity and distributing
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the knowledge economy, and the service industries sec-
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economy, to see the production of physical output as
constituting the ‘real economy’ and to see services as es-
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industry work as involving the creation of poorly paid,
low skill jobs with high employee turnover or as being
symptomatic of an unbalanced economy that is highly
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that are strongly based on tourism and migration, such
as the state of Florida in the United States, island na-
tions such as Bermuda and the Bahamas, or the Gold
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The cultural industries are irretrievably more
innovation intensive and more design intensive
than other industries…Our claim is that ordi-
nary manufacturing industry is becoming more
and more like the production of culture. It is not
that commodity manufacture provides the tem-
plate, and culture follows, but that the culture in-
dustries themselves have provided the template.
-Lash and Urry, 1994
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production’ are not merely more knowledge intensive,
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tion as the principal source of economic growth, cre-
ativity has come to be seen not just as residing in the arts
or media industries, but as a central – and increasingly
important – input into all sectors where design and con-
tent form the basis of competitive advantage in global
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impact on all aspects of everyday life, particularly those
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thus recast from being a distinct sphere of social life,
to something that permeates everything from the design
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user and those who see the user, and the promotional
strategies of corporations and indeed, governments in
an era of electronic commerce and “promotional cul-
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dustries – where traditional artisan skills and business
knowledge has now to be linked to ever faster and ever
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of consumption suggests that the ‘tastes’ of the con-
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terms of the capacity to creatively understand and re-
Global Phenomenon
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level of market knowledge and stock control, short pro-
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of everyday life’, connected to consumer society and the %RXUGLHXLQ¶'LVWLQFWLRQ·DWWHPSWHGWRPDSWDVWH ,Q/LYLQJRQ7KLQ$LU7KH1HZ(FRQRP\/HDGEHDWHU
blurring of lines between art, aesthetics and popular
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enon it has been customary to point to the increase in
the consumption of ‘leisure’ and ‘luxury’ goods due to
the growth of leisure time, education and disposable in-
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expressivity, of the breaking of rules, of the explicit re-
jection of the established social order were central com-
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this counter culture, the values of personal creativity and
choice, continual transformation and innovation entered
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by transformations in cultural consumption and increas-
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other words, led not just to an expansion of the market
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segmented, and increasingly cultural – have placed the
cultural component of many consumer goods at the
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of manufactured goods as well as services, has become
cultures directly onto class, or class fractions, with these
latter representing a differential mix of economic and
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fraction he called the ‘new middle class’, a new urban
service class who mixed cultural and economic capital,
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Since Bourdieu’s research, this line of argument has be-
come central to the sociology of consumption and to
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struction of identity has fragmented taste groups beyond
any direct connection to class fractions, undermined the
binary of high and low cultures, and has made the cul-
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consumption has become increasingly cultural, central
to the construction of individual and social meaning and
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radically restructure their operations in order to be able to
detect and respond to these increasingly niche and vola-
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knowledge intensive production, GHÀQHG QRW RQO\ LQ
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economy’ dynamics by identifying the key to creative
industries as being the alignment of micro-businesses
and SMEs in the content creation area, where creativity
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public and private – that can provide national and in-
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Creative industries, such as music, entertainment
and fashion, are driven… not by trained profes-
sionals but cultural entrepreneurs who make the
most of other people’s talent and creativity. In
creative industries, large organizations provide
access to the market, through retailing and dis-
tribution, but the creativity comes from a pool of
independent content producers.16
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economy as operating together in a very general sense
– as blatantly expressed in arts and business funding op-
portunities for cultural activity and in the ‘creative in-
dustries’, a neo-liberal cultural policy in which culture
is linked to a regeneration of capital through cultural

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57
 populism, cultural policy and management, enacted by
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personal dimensions of the ownership of knowledge
and the need for knowledge transfer to involve a learn-
ing process, means that knowledge in the new economy
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employment is not only growing, but is becoming more
tied to places, especially cities, indicating that sustained
processes of technological and economic innovation
need to be underpinned by social, cultural and institu-
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phasis upon locational geography, and particularly the
formation of creative cities and regions in the knowledge
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RI ÀUPVZLWKLQWKHFOXVWHUWKURXJKDFFHVVWRVSHFLDOLVW cultural, in that its dynamics are dependent upon ‘the
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promote innovation by making all forms aware more of expectations, and ultimately, on the culture of hope
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in the future.’18
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in related sectors, through distinctive access to necessary
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formation and communication technology and creative
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teristic of economic processes that are increasingly in-
formational, global and networked would seem to point
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concentrations of interconnected companies and insti-
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universities and research institutions that provide spe-
cialist knowledge, training, information, education and
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graphical spaces is central, distribution through new me-
dia technologies points to the delivery of content to the
home, workplace, educational institution or other sites
that are not linked to the geographical site of produc-
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tent distribution network means that, subject to available
bandwidth capacity, content creators can be promiscu-
ous and footloose in where they sell or distribute their
content to, just as content distributors can source mate-
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tional national cultural policies, where national cultural
authorities have sought to use funding to direct cultural
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following are noteworthy on account of their immense
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generating awareness among the various governments
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UNITED NATIONS EDUCATIONAL,
SCIENTIFIC AND CULTURAL
An Overview of ORGANIZATION (UNESCO)
Global Alliance on Cultural Diversity1
Multilateral Mechanisms
in Place
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development agencies, both national and international,
and representatives of the private sector and civil
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industries through:
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ACTION management, elaborating cultural industry policies,
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local and international opportunities for business
development;
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sectors in areas relating to culture;
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potential needs of participating developing countries
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development of policies and regulatory frameworks
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development of regulatory mechanisms and copyright
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updating of legislation pertaining to targeted cultural
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economic, social and cultural development of all
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development-friendly integration of developing
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progressively evolved into an authoritative knowledge-
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treatment as one’s own nationals is also found in all the
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status, nor does it exist as such in any agreement or
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Cultural Protectionism:
An Appropriate Strategy?
Protectionism will back. re. Besides creating a fertile ground for corruption and political
censorship, cultural protectionism will help develop mediocre, parochial and less com-
petitive creative industries, which will have an even harder time conquering the global
market.
Andres Oppenheimer, The Miami Herald, Jan. 26, 2006
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survive due to import restrictions and other support
mechanisms facilitated by certain public administrations,
which consider it a priority to preserve domestic cultural
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Negotiators felt mechanisms were needed to maintain
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the Uruguay Round’s concluding negotiations, which
U.N. Convention on the Protection and Promotion of Cultural Diversity, which gives
member countries the right to “take all appropriate measures to protect” their “cultural
expressions.” The convention was approved in October at UNESCO by 148 states with
2 opposing - U.S.A and Israel. It will become a binding treaty once 30 countries ratify it.
Canada has already ratified it, ed it, and several Latin American countries and the EU are
taking it to their parliaments.
“We need to do something to avoid being suffocated by the unscrupulous presence of
foreign (cultural) products in our countries. Countries must find a way to sustain their
industries… and if quotas, or positive discrimination, can be a helpful mechanism to im-
prove national production, they should be used with moderation, with good judgement,
but assertively.”
Gilberto Gil, Brazil’s Culture Minister
65
A global phenomenon....

“The need for a coherent and robust framework for analyzing cul-
tural industries is underpinned by an understanding of the rapidly
expanding knowledge economy as the immediate context for the devel-
opment of these industries. As the knowledge economy encompasses
the whole of the arts and sciences, the potential for cultural industries
is in fact far greater that the traditional notion of their “limited”
potential that still lingers in many planning schemes”.

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distinct area of interest for economists, statisticians,
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a growing awareness of their economic potential
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for the purpose of public policy making remains
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consuming cultural goods and services easier than
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was once considered a sector of marginal interest,
which received limited attention from researchers,
has led to a growing body of analysis, statistics and
mapping exercises on the relationship between cul-
ture, creative industries and economic development
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velopment policies, the demand for more precise
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regional and national level is set to grow and gov-
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in economic policy circles in the UK and in the

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ponent of national wealth ... Industries, many of them new, that rely
on creativity and imaginative intellectual property, are becoming the
most rapidly growing and important part of our national economy.
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emerged from this process, it became obvious that
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ing played a groundbreaking role in developing ana-
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were originally referred to as “cultural industries”
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modern era there are natural synergies between them. These two mea-
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cation and other government bodies, France partici- as beingg important
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national economic development, and pointed to the
value-adding possibilities arising from effective pol-
icy development, particularly in relation to develop-
ing the cultural industries value chain, or ensuring
that the products and outputs of artistic creativity
were better distributed and marketed to audiences
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as a form of cultural policy, in line with shifting
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also sought to reach sectors, such as popular music
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ment and cultural industry strategies have prevailed VRFLHW\LQDIDVWWDFNLQGXVWULDOL]DWLRQPRGHZKLFK GHWDLOVLQWKHQH[WVHFWLRQ
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highly synergetic cluster of activities as an industry 2)$0(5,&$ tion of creative industries, promotion policies do
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cent facilitative action from the government have
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comprehensive and cohesive policy framework is
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and wealth creating sector in
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ties created by these industries and their economic
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Starting from these policy trends, below we consid-
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Recently, attention has often focused on creative in-
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have enjoyed remarkable success internationally,
they inevitably leave a biased impression when the
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ative industries essentially need to be nurtured from
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from these economies also in way expedited gov-
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dustries and are working on detailed statistics pro-
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sive gamut of activities from research to advisory to
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From this perspective, some areas have not ap-
pealed for funding agencies in the market econo-
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performing arts such as theater and dance, music
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industries is the government’s concerted efforts in
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ters for intellectual property strategy was also es-
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to promote the creation, protection and use of
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drastically expand the content business by enhanc-
ing the creative environment and protection system,
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the drafting of a parliamentary document on this
‘new’ industry, a report that will be adopted by the
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commissioned to do a research report on the topic,
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cultural industries policies is carried out by the Min-
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could be that is seen as being associated so strong-
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Global Phenomenon
Europe we notice an emphasis on broader issues,
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stands for telecommunications, information, me-
dia, entertainment and software, which is certainly
a very broad series of sectors - broader than the
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When does India step in to stake her claim??
Post World War II – focus on transfer of technology and the establishment of industrial
production in the competetive developing economies.
Malaysia, Republic of Korea, China, India and Thailand secure economic growth and
trade by meeting an increasing global demand for medium/high-skill and specific
technology -intensive products.
Today’s consumption driven lifestyle – Focuses on new products and possibility of pen-
etrating an increasingly global and easily accessible market. Copyright based industries
become the key economic driver.
The emerging power of creative industries is most evident in Korea, Singapore, Taiwan,
Hong Kong and China through their entry into software, publishing, design, music,
video, movie making & electronics.
71
A global phenomenon....
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ernment across the world for the industries cubbed un-
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Administrative Frameworks tional regulatory mechanisms before the widespread re-
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various sectors of the creative, cultural industries soon
seemed like fragmented monoliths which were no-lon-
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Synergies between the various sets of activities, formed
a web of relationships between one industry to anoth-
er and to another and establishing a common thread
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grappling with this issue of overcoming political and
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INTERNATIONAL forces, working committees, special cells, subsidiary de-
partments, missions, councils and commissions started
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void that was created by this lack of holistic understand-
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that various countries have put in place for the creative,
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Major Institutions supporting the Creative/Cultur-
al Sector:
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stitute of Museum and Library Services; National Gal-
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Global Phenomenon
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the overall coordinating and policymaking government
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tion with both the concerned government agencies and
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tourism as a major tool in nation building and sustain- PRWLRQ$GYLVRU\*URXS&,(3$*ZLWKDMRLQWVHFUH-
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of the indigenous cultural communities and indigenous &+ 7DQG3HUIRUPLQJ$UWV,QWHUQDWLRQDO'HYHO-
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vides leadership in the formulation of policies and set- &UHDWLYHDQG&XOWXUDO,QGXVWULHVLQWKH8.
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and development programs and activities; encourages Statistics & Planning1 :
needed to provide greater coherence and coordination
wide and active participation of the youth in all govern-
for cultural policies currently spread widely throughout
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and activities, harness and develops the full potential of publishing statistics on what is referred to as the creative
tions for a mechanism to advise and coordinate cultural
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Responsibility for research and production of statis-
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tical information on culture in France lies with the
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Other major institutions supporting culture industries
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much of the sector’s data were inextricable from other
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sure from both the policy departments and the culture
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Survey, includes a time-budget module from time to time
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module in the same survey instrument in order to obtain
a measure of participation in cultural activities that are
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Creative Industries in Singapore are primarily gov-
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Ministry of Education, Ministry of Manpower Ministry
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Principal autonomous bodies that co-ordinate proj-
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Statistics and Planning:
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Expenditures Survey to gather more detail on culture
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The National Advisory Committee on Culture Sta-
tistics (NACCS)4
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cal activities related to all aspects of culture and the arts
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constituencies, and their two-year terms are staggered to
properties, maintaining traditional performing arts, and
development and operation of national museums), and
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holding arts festivals and similar events, development of
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and development and operation of national art galler-
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also playing a growing role in nurturing creative indus-
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veraging. USA which pioneered this model for still dominates the
global creative industries economy.
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lack of consensus and ad-hocery prevails. Most 81(6&2
countries which have recognized this class of indus-
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tributed cultural content which were called creative industries from as ‘those industries which produce tional governments with the tools necessary to study the
subsidized art which were categorized cultural industries. However tangible or intangible artistic cre- creative industries sector and to encourage countries to
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which have grown more weakly in recent years,
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public sector in the development of Finland’s “design
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• Bibliography & References

BIBLIOGRAPHY
GLOBAL PHENOMENON

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HGV-&XUUDQ0*XUHYLWFKDQG-:RROODFRWW(GZDUG$UQROG /RQGRQ
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6KHIÀHOG·Geoforum 31, SS
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