The Artiste and the Wishing Tree

In the previous issue, I presented an overview of the evolution of the 'organiser' and the accompanying change in dynamics between artiste and organiser. In this article, I put forth some ideas, abstractions and questions towards the modern-day organiser. I restrict myself in addressing organisers who are individuals, trusts, music and dance schools and organisations. I leave out the organising boards and committees that fall under the purview of Government (state or central). In urban India, there is no denying that almost every individual is pressed for time. Time is today a dictating factor- not just in corporate or school life, it has become a dictating factor in the scheduling and curation of classical arts events too. Pressed for time and wanting to feature as many artistes as possible, organisers find shorter packets of energy-filled recitals more appealing. The amount of money that would be spent from the organiser's pockets also factors into the creation of such...

Art as an experience comprises the artiste and the audience. And in bringing the artiste to the audience, the organiser or patron becomes the most important constant in an artistic experience. The role of the organiser is as dynamic as that of an artiste. The word 'organiser' has assumed several connotations over time- from being the sabha or trust to individuals to event management firms to corporates to several more in current times. In this article I aim to look at why and how the term 'organiser' evolved over time and where does the relationship between artiste and organiser stand today. I restrict myself to the time period of the last few decades. There were a few sabhas that comprised of culturally inclined and knowledgeable individuals. Sometimes stalwarts in the field of music and dance offered their guidance to these groups, if they were not a direct part of it. They formed the crux of patronage that the classical arts received. Over the years, with funds be...