The Artiste and Social Responsibility

In the immediate aftermath of the floods that struck coastal Tamil Nadu in December last year, a rather unexpected point of discussion at the time of a disaster (or it would have seemed!) turned towards the December music and dance season. Some senior artistes urged to cancel the season programmes considering it inappropriate to be performing while the rest of the city was facing crisis. Some wondered if art may be the healing factor that the city was in dire need of. In the days that followed, the discussions and debates continued, a few Sabhas and artistes cancelled their programmes and devoted their time and money to relief work, some artistes performed but pledged their season's earnings towards flood relief and some artistes who were personally affected by the flood used the season programmes as a way to regain some sort of normalcy. While in other parts of the country, performances were being dedicated to the suffering souls of the calamity, some artistes carried on with their recitals as planned. The Chennai floods and the ripples it created for the Artiste fraternity across the country bring forth some pertinent questions.

What is the social responsibility of an artiste towards the larger community and towards one’s own fraternity, especially during times of crisis?

Social responsibility is usually understood to be an ethical act of noble intention, a duty of goodwill towards society. Corporate social responsibility is probably a more familiar concept. To try and move this to within the artiste fraternity which is neither a corporate nor a union, but an aggregation of individuals, social responsibility as a concept is more complex. During times of normalcy, artistes have directed their goodwill towards worthy causes, organisations and events. While donating huge sums of money may have been limited to a few affluent artistes, it has been common for musicians and dancers to be a part of fundraisers for worthy causes. Some have taken art to the doorsteps of those who would not have otherwise had the opportunity to experience it, be it in slums or reform schools. "To be able to preserve the traditional aesthetics and ethos of the art form is also vital in times of fast globalisation." opines Guru Deepak Muzumdar. Adds senior musician and Guru Smt. Neela Ramgopal, "To inculcate the correct values in your students as a guru and to take the Bhakthi and technical prowess forward in the right manner as students are also our responsibilities towards the fraternity and community."

But for the average performing artiste, ".. these floods have been a sudden jolt to the otherwise narcissistic musician or dancer", says Anita Ratnam, dancer and cultural activist. "Performance-centric artistes have been forced to (or at least should begin to) wonder about what they should be doing for their fellow artistes and society at large. Would it not be misleading if I were to direct my energy towards performances instead of helping those around me?" But to each his/her own, she adds, for some artistes have chosen to go ahead with shows for various reasons. “To perform or not to perform in periods of crises or to raise funds through performance and other avenues is a personal decision.” says Chitra Visveswaran, President, Association of Bharatanatyam Artistes of India (ABHAI), reiterating that there can be no definitive formula to do or not-to-do. Over the last month, ABHAI took upon itself the task of helping artistes who were affected by the floods - not just dancers and musicians, but tailors, technicians, instrument makers and several others from allied professions who are integral to the dance and music scene. Magnanimity has been in the air with artistes donating not just money but also volunteering help, sharing studio spaces, and doing their bit.

When the fraternity has come out in large numbers to help not just its own but also others in need, what differentiates an artiste's response to crises and society from the average person?

When earnings from art are meagre, it may seem unfair to expect artistes to extend financial support to their fraternity or to society, on par with other professionals. "It would seem unfair to financially pressurise or expect dancers to contribute huge sums of money when they most often make none and usually spend more on their art than they earn." opines Bharatantyam and Kuchipudi exponent Ananda Shankar Jayant. "It remains a fact that dancers and musicians seldom are able to sustain their art by art alone. But it is the humanity in them and their empathy that will come to the fore in times of crises." For an artiste who has been struck by calamity, has lost years of research, books and instruments to the deluge, is not easy for a lay person to understand and sympathise, let alone help. Empathy therefore from fellow artistes is important; for they understand the intangible nature of art and the time and energy it will take to restore it back to the artiste. Reassuringly, empathy has been in abundance from artistes across the globe "Isn't it our duty?" asks Smt Neela Ramgopal. Taking it a step further to a time beyond the momentary crisis that baffled us, Anuradha Venkataraman, a Bangalore based artiste adds, "An artist’s work has the ability to impact the society at an intangible level maybe even a meta-physical level. With this ability comes the responsibility to respond in a manner that touches society and makes it introspect."

Art does lead to introspection but one often is faced with the dualistic nature of art - the idealistic role of art as a means of celebration and spiritual elevation; and the reality of dance and music as a profession and means of livelihood. Do the 2 aspects diverge or converge?

Few musicians and dancers have reached a point in their artistic journey beyond this duality. But for the majority, to balance the sanctity of the art and simultaneously prosper is a tight rope walk.  It is in times of crises that this duality or binary nature of art comes to the fore more than ever before. With a dire need to meet one's expenses and faced with society's expectations to be above mere money matters, is the dilemma overwhelming, especially for youngsters? To separate the spiritual and professional nature of art might serve to reduce unnecessary burden. Even if it isn't a burden, "… if one must look at art as a profession then let's look at it as just that. Spirituality, on the other hand is a very personal journey. It may or may not be a part of an artistic endeavour." says Ananda. "Artistes tend to assume that they are the sole contributors towards spiritual evolution. It is time we lose this moral high ground." adds Anita Ratnam. "I think anything and everything that helps one to introspect can be called spiritual without restricting it to a form. Any artiste should be a professional by which I mean that one puts one’s heart and soul into it and also is able to earn a living from it." adds Anuradha. Would it probably then be wise to keep these 2 aspects separate from one another and evolve into a phase of objectivity rather than live by pre-conceived notions of spirituality, tradition and worship? Views differ. "I cannot separate my singing from Bhakthi, but if other singers feel otherwise, it's ok. There cannot be any absolute right or absolute wrong." says Smt. Neela Ramgopal matter-of-factly.

It is probably this sense of allowing differences of opinion to survive, that lends the fields of music and dance its vitality. Whether in times of crises or not, art has the ability to teach us all humanity and it is this learning that should remain instilled forever. An empathetic understanding of oneself, one's colleagues, one's environment and society at large is important if the artiste and art itself must survive and evolve.  “Each hand has four fingers and one thumb and each has its own function. Every artiste should decide what their role/function at every juncture/situation is and build up the clarity to abide by that decision.” sums up Chitra Visweswaran.

It is important to keep in mind that this social responsibility that has come to the fore so magnanimously at the time of crisis does not lose out to complacency once things return to normal. "Several Gurus of music and dance and devadasis who were once revered as storehouses of knowledge today live in absolute neglect. To help them in whatever ways possible is also the responsibility of the fraternity. Let us begin by identifying those in need and putting in place a system that is sustainable." suggests Deepak Muzumdar. And several other issues and situations need our attention.

Art in itself is a medium to instigate and inspire action. It is time we begin to think of the purpose of the artiste. When the singer switches off the microphone and the dancer takes off those anklets, let each think of his/her role beyond that of a performer.

Published in Ananya Kalasinchana Issue: February 2016

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