Role of the artiste at Presidential Election

Prof. Sunanda Mahendra

Those who are gifted with a particular creative skill are denoted by the term ‘artistes’. The artistes are of various types. Some are singers, while some are dancers. Some others are performers of various fields inclusive of stage, radio and television. From time to time they emerge as opinion leaders, who help the masses to evaluate and/or promote certain significant social attitudes, ideologies and projects. They are by and large accepted by the masses for their sensitive and sensible creative communication skills that may have had a particular effect on the society.

Artistes expressing solidarity with the President for a better future for art. File photo

When they present themselves before the masses, the needed cause is either signified illuminated or accepted. I remember an occasion when certain actress, Sophia Loren stood up in Paris for the animal protection cause. The masses listened to her more keenly than any other individual. In the same manner Save the Children Funds are more or less promoted via popular artistes who matter. They appear more like opinion leaders than mere promoters.

During the recent Presidential Election period, quite a number of artistes rallied round from various parts of the country, in small groups as well as in large groups, both in the capacity of entertainers as well as opinion holders for a promotional cause. In the first instance their basic stance was to signify as a group as to why they clamour for another period for the President. One of the visible factors was the need for a better cultural climate via the formulation of State sponsored, but independent bodies like, a board which governs or regulates a viable cultural policy for the country.

This was also observed as co-related to a Regulatory Council, which inherently defines the needs, functions, protection and welfare measures of artistes by way of understanding their respective professions. One of the senior stage play actors told me that, “this aim could only be achieved through the formation of a well defined cultural policy, one of the neglected areas on the part of the Cultural Affairs Ministry.” Then a certain tele-drama director of pointed out that, “the tele-channels which emphasize the mere threshold low brow entertainment factor, has to be changed to respect the viewer’s cultural susceptibilities.

He was of the view that the tele-channels which cater to the masses with an overdose of low brow series of teleplays should be governed by a well planned strategy of ethics. But he also emphasized that it is not a measure to introduce a “Cultural Police” or a “television media police,” but an attempt to safeguard the well-being of the society at a glance the appearance of varying types of artistes holding views on cultural regulatory measures and cultural policies, may look controversial. But there is an element of social necessity which has to be clarified scientifically.

Mahinda Chintana has given way to the building up of a discourse on the ideology, which the artistes may have felt as needed. The President too had laid emphasis at several instances on the need for a cultural policy. The time is perhaps ripe for the formulation of such a policy, which went oversighted by the cultural authorities of the country.

The emphasis on the part of the cultural authorities were laid more on the two annual festivals, the State Literary Festival, and the State Drama Festival. True enough, there may have been several other events that had come to pass, but the public at large only feel the implementation of the two festivals cited. The Cultural Ministry activities are not quite transparent, albeit the number of annual cash awards that go to individuals.

Most artistes wish to express their gratitude to the President in advance for a better climate of culture and arts in the country. One senior musician told me that ‘it is only the presidential interference that may bring a change in the local cultural scene. It is he who knows about the local cultural inheritance. All we desire is the ushering in of a better cultural media and educational climate, that enables us to create and recreate in a better frame of mind.”

A reputed art critic told me that ‘the time is ripe for cultural exchange programs with well planned links with other countries that matter. Perhaps the SAARC countries could get-together and formulate this cultural exchange program. In this direction he also pointed out the necessity to create awareness in cultural similarities and dissimilarities. The artistes would have the change of being exposed to their respective fields, as existing in other countries in the region.

It is not the stamp of the mere administrator that matters in the new formulation, pointed out yet another artiste. But it is more of the administrative structure that matters in the guidance and formulation of a long needed State Cultural Policy. This should not be misunderstood as another State owned or State sponsored governing body. By all means it should not be another “Kala Mandalaya” of the pattern that exists today. The suitability and the abilities of the individuals matter as against favouritism and forming cliques.