Conviction in Times of Crisis - Part 1-Digital deluge

The current Covid-19 crises has taken the world by surprise- a nasty one at that. The pandemic has made it impossible to 'go back' to how we functioned.  It has compelled organisations to relook their relevance to society. Bankruptcy is not too rare any more. Debts are commonplace. Pay-cuts and lay-offs are shaking the corporate world from its very core. Staying afloat has come with its share of ruthlessness. People have realised that they are dispensable in the face of the number game- a harsh and cruel reality that is hitting every socio-economic section of society. The extent to which it affects each is of course different. Some of us stay safe by way of our privilege and economic standing. Much needs to be heard and seen of those who are struggling for a meal or the security of a home.

In such an ecosystem, the role of the arts is being debated on several fronts. On one of those fronts are those who believe in the haven that the arts can provide in grim times such as these. Truly so, workplace stress finds small relief in the songs we sing when we return home. Someone lets out a silent sigh allowing the mind to wander over a nicely made movie or an endearing story-telling session. For someone else, the anguish of an uncertain future may temporarily give way to the soothing sound of their legs tapping the floor. Yes, the arts do provide a haven. And if you are an artiste who has the means to provide such a sanctuary for yourself and those around, you know truly well that Art Heals. 

But what of artistes who find that this haven itself is caught in a whirlpool? Reality today is this- several artistes who relied on their art to earn them their daily bread have been left in a drought. In a time of crisis, there can be different kinds of responses- flight, fight or freeze! When artistes find that the medium they had absolute conviction in is letting them down in some way, this conviction might then give way to a chaotic space. A space where new ideologies develop, new methods are structured and conviction evolves after much fight. Or, the crisis can send artistes into a state of frozen shock- minds numb and not knowing which way to move, biding their time until they are thawed out of their freeze, maybe. A small section of artistes may drop this pursuit altogether and flee, looking for greener pastures (and unfortunately the options seem limited at the moment). It is quite clear that a freeze of flight is not what can take us forward. But the word 'fight' too isn't appropriate in this context. So maybe we can call it the 'Great Churning'. We are after all artistes- we should find creative names even in times of crises! And read on to see why I call it by this name.

Artistes take years to develop a conviction in WHY they engage with art, WHAT they create and HOW they share it with their audiences. If a sudden pandemic or lock-down situation tears down that conviction it can leave you distraught. But it also opens up an opportunity to assimilate new information about a changing world and churn out a process that is attuned to the future socio-cultural landscape. But more importantly, retracing a bit, did it take a pandemic to start off the 'Great Churning'? Of course, the answer is a plausible NO for those artistes who are constantly on introspective mode. These are artistes who are constantly assessing their methods organically throughout their artistic journey. For these artistes, the pandemic has undoubtedly brought on nasty surprises as well, but they seem to find the equanimity to deal with the situation and clarity to think it through. But for those who were on 'Auto' mode or a repetitive mode, the brakes have jerked them out of their stupor. Or have they?!

What we create…

Let us upfront acknowledge that the digital world is here to stay and we as artistes must definitely buy in to this technology and look at how we can use it. With no live performance opportunities appearing on the horizon for the next few months, some performers have turned to the digital platform. 'Going Live' is the new buzzword. What started off experimentally became a trend within the blink of an eye. But it is all too important that we hit 'pause' and do a check for ourselves. Because, if this is a platform that can provide temporary sanctuary for performers, it calls for caution as well. We must assess two aspects of performance when we make this transition into the virtual world- the content we post online and the ecosystem we create in the virtual space. 'What works on stage need not necessarily work for the camera's eye. If you do want your work seen online, artistes must learn to create work for this medium', says Meghna Das, Odissi dancer. 'With live stage performances looking unlikely for the rest of this year, artistes are probably exploring the option of webcasting performances. This looks for a different kind of detailing and we need to learn it if we choose to use this medium', she says. Kirti Ramgopal, a Bharatanatyam dancer who finds herself very rarely engaging on social media feels, 'As an audience to the online events happening, I might prefer to listen in on artistes talking of their experiences or sharing a learning module perhaps', indicating what a lot of others agree with- that this sudden spurt of online performance content has left audiences a bit overwhelmed. The lack of structure and breathing space can tire out even the most involved audiences. And this is where the "Churning" must return to our minds! 'Artistes must get creative with how they share their work. Adding to one's visibility is alright, but then the content they post online needs to be unique as well otherwise you are lost in the sea of performance clips.' says Arundhati Patwardhan, Bharatanatyam dancer. Many artistes seem to indicate in this direction- that in the hurry to join the digital train, we have missed sifting through our baggage. Wouldn't this be an opportune time to bring the lay audience into the world of classical arts? Should we not think of ways in which we could engage a demographic that has not been engaged before? How can we do it? Questions that require some creative solutions!

Why we create…

There are those who feel that posting artwork online is itself insensitive when the world has been brought to its knees. But sensitivity is not in abstaining from one's craft. Sensitivity is in abstaining from flaunting our egos. Artistes pride themselves in the ability to look within quite often. Now is probably a good time to look within so that we are equipped to create art that is all the more sensitive to those around us. If we do, then when these grim times have passed, we will present a face to our audiences that has evolved. Has the pandemic pushed performers at large to look deeper within or to use the time on hand to indulge their public image alone? This is a difficult but necessary question we must ask ourselves.

How we share…

With the shift onto digital platforms to perform, several artistes have been vociferously warning against re-creating issues that we were facing offline. "Non-payment of professional fee, paying to perform and the lack of ticketing have been issues that we have been vehemently opposing offline. But then aren't we making the same mistakes by creating the same old ethos online?" asks Preethi Bharadwaj, performer. The craft commands the dignity of professional fee just like any other profession. Yes, we must acknowledge artistes and producers who have selflessly provided artistic sanctuary at no fee for public good or to raise funds for the lesser privileged. Their service at such a time of crises is a reminder to us that empathy exists. But on the other hand, many feel that making non-monetisation a norm at this time will only push the fraternity at large into a deeper financial crises than they already find themselves in. There is a very thin line between sharing art freely out of free will and setting a wrong precedent. How we balance it out lies in our hands. It is definitely important to set a precedent that we consider ideal, so that we don't have to hanker on the same issues in future. Monetising work that is published online is an area that is expanding in scope. With telecast ticketing, advertisement and promotion based monetisation gaining popularity, this is a number game that artistes must educate themselves in. This is in addition to making professional fee payment for invited artistes the norm.

Whether digital performance spaces are a stop gap arrangement or a more permanent medium of engaging audiences, we have to look, re look and ascertain our conviction for the three words: WHAT, HOW and WHY. Human suffering, financial crises and the resultant confusion can directly or indirectly have an impact on artistic conviction and creative pursuit. As we transition through lockdowns the world over, we must stay anchored in looking for an optimal way forward, because there is never the option of 'going back'.

To be continued...

Published in Ananya Kalasinchana. Do not quote or republish without permission from editor.