The Artiste and the Organiser- serving the art

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 module-recitals. While several artistes find that it is difficult to showcase any substantial art within say 30 minutes, the economics of presenting 5 artistes over 5 days versus presenting them on a single day is obvious: Stage, sound, lights, logistical support, audience strength, etc... Very few organisers across urban India have the means to conduct festivals of music and dance over days or weeks. Therefore, let us ask: Is this current trend viable? It probably is, considering the large number of events that exist today and more that are being conceived on these lines. Is this module-recital in the better interest of art? To answer this, we must look at both sides of the coin- On one side, if one looked at arts as a reflection of society and our daily lives, there seems nothing out of place in this evolving face of presentation. However, on the flipside, if one wants to turn to art when bogged down by the hurried pace of daily life, there will be no respite in the artistic space that is as quick and fast. To find a balance between the need to present as many artistes within a day of presentation and the need to provide sufficient time for each artiste to blossom within their recital; is difficult.

What would be an ideal time slot? How many days of dance and music festivities is financially and logistically feasible in urban India?With more and more events happening across cities, audiences per recital are dwindling. How many festivals then in a year would be ideal; ensuring that there is sufficient opportunity for artistes while not creating a surplus for the audience?

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like to compare the evolving trend of presentation in the classical dance circuit to a cricket test match versus T20. As a personal preference, I definitely vouch for longer recitals to soak in the beauty of the art at leisure without being pressurised by time. In 20 minute recitals, by the time you have warmed up it is probably time to walk off stage- that is neither doing justice to the artiste nor the art. Of course for many, the financial and logistical constraints are many- there is no denying that. But when one has chosen to organise an event or dance festival, it would be good to understand what is better for the art to prosper.

As an organiser I have always believed that building an audience base and retaining it is the responsibility of the organiser. And this is something that happens over years of presenting quality art and nurturing the trust that the audience has in you. It also has to do with the amount of planning and pre-work that an organiser puts into their festivals. Too many events or festivals can create a saturation and one must understand that art must be enjoyed for pleasure and not out of pressure to sit through 10 dancers performing one after another. What might help is for organisers to communicate with each other so that there is no overlap of events or duplication of featured artistes.

-Smt. Rangashree Srinivas, Artistic Director, KINKINI- Bangalore and Kuwait.

While we remain nestled within the glass walls of urban life, how many of us wonder about the scene of arts in sub-urban and rural India? Without even moving into rural India, let us pause for a moment to examine the manner in which arts organisers function in smaller towns. Very often, organisers in smaller towns comprise of artistes themselves or rarely an arts patron. For the audiences in these towns, these artistes and organisers are the focal point of artistic exposure. But is it possible to create an environment where art thrives optimally? While supporting and encouraging local talent is important, it is also important to expose local artistes and audiences to artistes from other towns and larger cities. It is here that obstacles of finances and infrastructure crop up. In such circumstances, many of us assume that it is the duty of Government organisations to assess the state of art in less prominent towns and work towards betterment. Let us however take a pro-active stand and assess if urban artistes can go beyond being performers to help develop these suburban centres as arts corridors? There are several patrons in smaller towns who would love to promote art in whatever capacity possible. What they need is guidance and help with know-how. The need of the hour is for urban artistes and organisers to lend a helping hand in teaching technique and providing guidance to young teachers in these towns; to develop infrastructure- be it stage, lights or sound; to train and groom technicians to handle consoles, to encourage local artisans and craftsmen in creating jewelry, accessories and costumes, and in several more ways. By bridging geographical gaps, we all stand to win by creating a fluid space in which diversity thrives, work and opportunity is created and demands are satisfactorily fulfilled. What we currently need for this to happen is a common platform that will bring together those willing to learn/work and those willing to help.

For those of us who would like to help, are we willing to dedicate a part of our time to commune together in person and travel to meet with these potential artistes/organisers,technicians and artisans? Are we willing to generously share our know-how in order to increase our tribe? Are we willing to go beyond personal glory? To contemplate on these questions before setting foot is vital.

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within the smaller geography of the cities, classical arts often flourish only within a few elite corners. Let us also understand that there are entire sections of society within cities who remain disconnected from the arts scene. Having said this, bridging geographical boundaries will have to begin not just with performance but also with education. While outreach programmes can sow a few seeds of sparking interest in the arts, teaching the classical art to children in schools across the state and country (say) may lead to more desirable results. That will eventually lead to building a larger audience base as well as allowing arts to flourish in the true sense. Urban artistes must take time out from their rushed careers and re look their goals with respect to art. We also need comprehensive policies from the Government. In all, there must a collective effort towards re-shaping the nature of the arts scene from what we know it today. The intangible nature of dance and music lends it a value that cannot be quantified, yet it remains at the core of our personality as artistes.

-Smt. Priya Murle, Bharatanatyam dancer- performer, teacher and choreographer.

As the digital world creates an easy platform for not just connecting but also in marketing and promoting one's talent, are organisers able to spot talent that resides outside of the digital realm? Very often, organisers lament that photo-shopped photos and edited videos can be quite misleading. There have been occasions when the artiste in real life is not as good as was portrayed in their youtube videos or biographic photos. And then there are those who may be brilliant sparks on stage and yet find it hard to impress organisers through e-mails. Is this just a bitter truth that we must accept or is there a way to work around these challenges?

Conversely, there are a few self proclaimed organisers who in a bid to publicise themselves, are not earnestly looking out for exceptional talent but for stars who will provide publicity to their event. These are probably organisers who are new to the field and are looking to find a foothold and so assume that big names will bring bigger rewards. There may also be organisers who are looking to make quick money and are featuring artistes who can afford to pay rather than those who are talented. And then there is a third kind who are making and returning favours. In such a situation, service to art takes a seat much behind the one at the back!

Publicity through good work and goodwill will definitely outshine these shortcuts but in the mean time, how do we curb the mushrooming of such 'organisers'? How do we enable talented artistes who are digitally challenged while helping organisers sift out the tech-savvy but artistically challenged ones?

Answers and solutions await. Do write in with your suggestions, ideas and opinions at ananyakalasinchana@gmail.com