In the unprecedented times we are experiencing now, we have heard stories of the dilemmas facing decision makers about what is necessarily urgent and what can be stalled for future. This prioritising seems to apply to every situation we confront- be it giving ventilators to some and not to others in ICUs, distributing masks, sanitisers to some and not to others, giving real cash handouts to some and not to others, giving economic benefits such as tax rollbacks, delayed filing of taxes, interest-free loans to some, giving tangible benefits to those that are believed to kickstart the economy and bring life back to normal.
Are art and artistes important to a society, community, nation in times of such catastrophes? In a country like India, I am beginning to believe, artistes will be the last to be provided ‘ventilator support’ by the Governments- both Union and State. Because, art and artistes are not perceived as a ‘necessity’ but as a ‘luxury’ that a Nation can do without, at least for a certain period.
You can certainly ‘exist’ with good supply of provisions, water, electricity, and other ‘common utilities’. But as you struggle out of this Pandemic punishment, when can you ‘live’ a full, exciting and rich life, is the question on everyone’s mind. ‘To live is the rarest thing in the world, most people exist - that’s all’, said Oscar Wilde at the end of 19 century. Art is the elusive dimension that makes us human and provides us with the essence of the difference between ‘existing’ and ‘living’.
Even in times of crisis, why shouldn’t it be the shared dream that every person may live? This is one of art’s social benefits that most people in power fail to recognise. Art provides a mirror in which to consider what it is to live. It also speaks towards a multiplicity of narratives that provides a democratic and accessible platform for reflection, motivation, self-development, inspiration, innovation and creativity; assets that are integral to building a better future.
But all conversations between artistes now, is about the uncertainty of the times, performances and cultural events cancelled indefinitely, incomes disappearing overnight, and due to social distancing norms, an isolated present. The anxiety pertains to the long, distant, arduous trek for months and months to get back to the theatres, climb stages, face audiences, hear the applause, feel one’s creative juices flowing, having their travel and programme calendars filled up, and feeling ‘valued’ once again.
We have traditional artistes -folk dancers, singers, magicians, puppeteers, drama groups by the lakhs, in every village in every district. While some of these persons may come under BPL and may be eligible under Jan Dhan or other Yojanas that are given for basic survival, there are other categories of artistes and culture workers too, who cannot be considered under these schemes. Not only do they exist in villages and small towns but also in the bigger cities. A majority of traditional and contemporary theatre professionals, classical dancers and musicians, martial performers, folk musicians, folk dancers, folk theatre persons, stage workers, technical persons, festival organisers, events’ organisers and several others who come under the ‘self -employed’ category have seen their present and immediate future disappear overnight.
There are two types of future in artistes’ lives. One, a ‘planned future’ and the other, a ‘creative future’. One represents our daily calendar. It includes rehearsals, teaching, new productions, meetings and planning events, keeping in mind performances and deliverables. The ‘creative future’ is full of artistic pursuit; a journey which opens unknown doors, provides leads to unexpected opportunities and boosts conceptual innovation.
Should the ‘self- employed’ cultural workforce be given tangible benefits by the Government to inspire in them the confidence to continue with their work and be somewhat assured that their now non-existent careers will soon kickstart? The first step to this, of course, is recognizing that art is not a ‘decoration’, but rather a unique societal product of human creativity, which holds immense potential. This position acknowledges that artistes and cultural workforce is a critical sector that merits Governmental and Corporate social responsibility and should be followed with a willingness to explore sustainable short, middle and long-term ways to intertwine this sector as an ‘essential’ sector towards the resurgence of the national spirit.
Several Countries, faced with similar economic meltdown, have recognised that artistes and cultural workers, as self-employed professionals, cannot function in existing circumstances, but are key to the road to recovery. Proclaiming that "artistes are not only indispensable, but also vital, especially now,” Germany’s Culture Minister announced a staggering 50 Billion Euro
aid package for the country’s creative and cultural sector. While understandably, USA, UK, Canada, most of Europe, Australia, Singapore, New Zealand and others have come up with big relief packages to the culture sector, even smaller economies such as Malta, Zimbabwe ,Ireland, Uruguay, Argentina, Chile and several others have announced remedial measures such as grants, loans, tax cuts, guaranteed employment, pay-outs to help retain employees to help tide over these stressful times.
It is time for our Union and State Governments to act. The Ministry of Culture faces its own priorities and peculiarities in decision making, all of them valid. But, all self -employed artistes and cultural workers, hierarchy notwithstanding, urgently need rescue measures now, and only the lever of government policy will have the impact required. I understand a “PM Cares-Covid-19” fund has been set up by our Union government. We do hope that artistes will be included in this distribution.
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A famed danseuse, Prathibha Prahlad is a culture specialist, who pioneered many Festivals and a Padmashri awardee.