Vadodara: Protests at MSU over ‘objectionable’ artwork at fine arts faculty exhibition
Dean denies that the artwork was part of the exhibition, says they were planted.
Written by Aditi Raja | Vadodara |Updated: May 5, 2022
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Showing posts with label Arts. Show all posts
Showing posts with label Arts. Show all posts
May 05, 2022
October 21, 2016
India: Art under control (Edit, Kashmir Times)
Kashmir Times - 20 October 2016
Editorial
Art under control
The present discourse of subjecting artists, film personalities to patriotism tests on a daily basis must end for sake of culture and also democracy
BJP leader Ram Madhav's remarks that any individual's patriotism should not be tested on a daily basis is at odds with the party's silence over the manner in which intellectuals, journalists and film makers are hounded for freely expressing their views. The party is in power and should be responsible for the threats to individuals and the constitutional right of freedom of expression. The film makers particularly are caught in the eye of the storm for doing business with Pakistani stars and musicians and film maker Karan Johar has finally been bullied into displaying his patriotism by vowing not to work with Pakistani actors in future and by apologising for his previous silence in his bid to ensure that his forthcoming film starring Pakistani artiste Fawad Khan is allowed to be released without a controversy. Reports had earlier pointed out that the film maker was already making last minute changes to his film by replacing the Pakistani actor's face with an Indian and changing the script as the two lead female characters were initially Pakistanis. However, the Cineplex association had already announced what it called a voluntary ban on the film's release. The government for long has been silent on such bullying tactics by Hindutva goons and sadly also television crews. Instead of speaking out against such harassment and ensuring protection to film makers, it has allowed irrationality and hatred to dictate the course for artistes in the country. Artistes and filmmakers openly criticising the bans on Pakistani artistes or calling for keeping art and culture out of the present state of hostility between the two countries have been persistently trolled, hounded on television studios and threatened by hoodlums of Shiv Sena and other wings of the RSS, also the parent body of the party in power in India. Those supporting continuation of cultural ties have either had to prove their patriotism by supporting the government, eulogizing the army or have been made to apologise. This is fascism of the worst kind and needs to be opposed, not endorsed by right thinking people and the government which has been sitting pretty much silent. The country has already been bogged down by rising levels of intolerance to free speech and expression with writers, intellectuals and cultural personalities bearing the brunt. Bollywood has had its share of controversies with likes of tall stars like Shahrukh Khan and Aamir Khan getting brickbats for their comments of feeling insecure owing to their Muslim identity, instead of understanding the reasons of such insecurity. The danger to the country is far more from within than it is from outside as the borders are ably protected by the soldiers guarding the country's territories. There is, however, no safety from hoodlums questioning other peoples' patriotism. But for Ram Madhav's bit remarks, which are pretty much ambiguous, there is no assurance on ground to protect the right to free speech or to oppose the shameful targeting of film personalities and other cultural personalities. To deny the latter protection is another way of patronizing the hatred inspired hoodlums.
It is the government's responsibility to crackdown on such an atmosphere of insecurity and hatred being built by victimising performing artistes in the name of India-Pakistan hostility. It must speak out and give full protection to them, whatever the views of any individual artiste and must stand by at least their right to express their views. Secondly, the very discourse of banning Pakistani artistes needs to be introspected dispassionately. What patriotic cause does it serve by targeting artistes from across the border who are not part of the Pakistani establishment or its military or how does such a ban make the lives of the soldiers and commoners in India any safer? Such demands have not been imposed on cultural personalities even in times of war. But for the daily studio wars on air round the clock on television channels, India and Pakistan are not yet in a state of war. The diplomatic channels are pretty much intact and the high commissions of both the countries on other side of the borders are operating without any hindrance. Trade and travel ties are business as usual and the hype over border ceasefire violations and hostility may in all probability not have even been able to put an end to the usual cross-border smuggling. Then what is the logic behind making filmmakers, cultural personalities, intellectuals and civil society activists soft targets and singling them out? Such people in the past have played a great role in not just creatively contributing to the society but also removing dispelling myths, mistrust and demolishing walls of hatred. They must be protected and allowed to work and perform without patronised bullies constantly nagging them. India and Pakistan share a common history and cultural legacy. The need for cultural ties and people to people contact at all times, irrespective of the relations at the official and military level cannot be underscored and must not become a casualty.
Editorial
Art under control
The present discourse of subjecting artists, film personalities to patriotism tests on a daily basis must end for sake of culture and also democracy
BJP leader Ram Madhav's remarks that any individual's patriotism should not be tested on a daily basis is at odds with the party's silence over the manner in which intellectuals, journalists and film makers are hounded for freely expressing their views. The party is in power and should be responsible for the threats to individuals and the constitutional right of freedom of expression. The film makers particularly are caught in the eye of the storm for doing business with Pakistani stars and musicians and film maker Karan Johar has finally been bullied into displaying his patriotism by vowing not to work with Pakistani actors in future and by apologising for his previous silence in his bid to ensure that his forthcoming film starring Pakistani artiste Fawad Khan is allowed to be released without a controversy. Reports had earlier pointed out that the film maker was already making last minute changes to his film by replacing the Pakistani actor's face with an Indian and changing the script as the two lead female characters were initially Pakistanis. However, the Cineplex association had already announced what it called a voluntary ban on the film's release. The government for long has been silent on such bullying tactics by Hindutva goons and sadly also television crews. Instead of speaking out against such harassment and ensuring protection to film makers, it has allowed irrationality and hatred to dictate the course for artistes in the country. Artistes and filmmakers openly criticising the bans on Pakistani artistes or calling for keeping art and culture out of the present state of hostility between the two countries have been persistently trolled, hounded on television studios and threatened by hoodlums of Shiv Sena and other wings of the RSS, also the parent body of the party in power in India. Those supporting continuation of cultural ties have either had to prove their patriotism by supporting the government, eulogizing the army or have been made to apologise. This is fascism of the worst kind and needs to be opposed, not endorsed by right thinking people and the government which has been sitting pretty much silent. The country has already been bogged down by rising levels of intolerance to free speech and expression with writers, intellectuals and cultural personalities bearing the brunt. Bollywood has had its share of controversies with likes of tall stars like Shahrukh Khan and Aamir Khan getting brickbats for their comments of feeling insecure owing to their Muslim identity, instead of understanding the reasons of such insecurity. The danger to the country is far more from within than it is from outside as the borders are ably protected by the soldiers guarding the country's territories. There is, however, no safety from hoodlums questioning other peoples' patriotism. But for Ram Madhav's bit remarks, which are pretty much ambiguous, there is no assurance on ground to protect the right to free speech or to oppose the shameful targeting of film personalities and other cultural personalities. To deny the latter protection is another way of patronizing the hatred inspired hoodlums.
It is the government's responsibility to crackdown on such an atmosphere of insecurity and hatred being built by victimising performing artistes in the name of India-Pakistan hostility. It must speak out and give full protection to them, whatever the views of any individual artiste and must stand by at least their right to express their views. Secondly, the very discourse of banning Pakistani artistes needs to be introspected dispassionately. What patriotic cause does it serve by targeting artistes from across the border who are not part of the Pakistani establishment or its military or how does such a ban make the lives of the soldiers and commoners in India any safer? Such demands have not been imposed on cultural personalities even in times of war. But for the daily studio wars on air round the clock on television channels, India and Pakistan are not yet in a state of war. The diplomatic channels are pretty much intact and the high commissions of both the countries on other side of the borders are operating without any hindrance. Trade and travel ties are business as usual and the hype over border ceasefire violations and hostility may in all probability not have even been able to put an end to the usual cross-border smuggling. Then what is the logic behind making filmmakers, cultural personalities, intellectuals and civil society activists soft targets and singling them out? Such people in the past have played a great role in not just creatively contributing to the society but also removing dispelling myths, mistrust and demolishing walls of hatred. They must be protected and allowed to work and perform without patronised bullies constantly nagging them. India and Pakistan share a common history and cultural legacy. The need for cultural ties and people to people contact at all times, irrespective of the relations at the official and military level cannot be underscored and must not become a casualty.
June 09, 2016
India: Thanks to Ram Bahadur Rai (an RSS man), the Indira Gandhi National Centre for Arts has become a venue for events by Hindutva front organisations
scroll.in - 9 June 2016
Sangh politics
RSS thinker who scoffed at Ambedkar has turned arts institution into Sangh meeting venue
Thanks to chairman Ram Bahadur Rai, the Indira Gandhi National Centre for Arts in New Delhi has hosted several events for the saffron organisation recently.
by Dhirendra K Jha
Ram Bahadur Rai, the Rashtriya Swayamsevak Sangh’s thinker who described BR Ambedkar’s role in framing the Constitution “a myth” also has another achievement to his credit. Just two month after being appointed chairman of the Indira Gandhi National Centre for Arts, he has turned the government-funded culture institution into a centre for RSS activities in Delhi.
The organisation, which is mandated to promote the study of Indian arts, has seen a series of formal and informal meetings of the RSS or its affiliates over the past few weeks.
“Most of these meetings do not have anything to do with the original objective of the IGNCA,” said a senior official at the institution. “The IGNCA under Rai Saheb has become an extension of RSS headquarters, a mini Jhandewalan.”
In the last ten days alone, the IGNCA has witnessed three official meetings of RSS affiliates and at least four informal discussions of senior office-bearers of the Sangh.
On May 30, for example, Sanskar Bharati, the RSS affiliate given to the promotion of Hindu customs and traditions, organised a big conclave in the IGNCA auditorium. Besides Rai and IGNCA member-secretary Dr. Sachchidanand Joshi, the meeting was attended by Sanskar Bharati’s general secretary (organisation) Ameer Chand and RSS’ Delhi state “Prachar Pramukh” Rajiv Tuli.
On June 1, the Bharatiya Kisan Sangh, the RSS affiliate active among farmers, organised a meeting at the IGNCA premises to release an agricultural atlas of Madhya Pradesh. The atlas, which aims to be a “a bilingual illustrated compendium of all aspects of agriculture in Madhya Pradesh”, was released by the executive head of the RSS, Sarkaryavah Bhaiyyaji Joshi. Besides Joshi and Rai, the event was attended, among others, by BKS’ organising secretary Dinesh Dattatreya Kulkarni, Union Agriculture Minister Radha Mohan Singh and BJP MP Murli Manohar Joshi.
On June 4, Bharatiya Shiksha Mandal, an RSS outfit working in the field of education, organised a conclave on “Rashtriya Suraksha Hetu Shiksha" (Education for National Security) in the IGNCA auditorium. Besides Rai, the event was attended by BSM’s joint general secretary (organisation) Mukul Kanitkar and Major General Gagandeep Bakshi, a retired Army officer known for his pro-RSS leanings.
“Perhaps, Rai Saheb is completely unaware of the very idea of IGNCA,” said the official, “or he may simply be acting as the agent of the RSS.”
The IGNCA comes under the purview of the Ministry of Culture. It was established in 1985 in memory of former Prime Minister Indira Gandhi as a centre for the study and promotion of Indian arts.
This official said that in addition to being the venue for all kinds of formal RSS events, it has also started hosting frequent informal meetings of the office-bearers of the Sangh and its affiliates.
Known in the RSS circle as one of its thinkers, Rai created a flutter last week after he told Outlook magazine that Ambedkar’s role in framing of the Constitution was limited and that he only corrected the language of the material provided to him by BN Rau, a civil servant. “So, Ambedkar did not write the Constitution,” Rai said. On whether Ambedkar’s role was then a myth, IGNCA chief’s reply was: “Yes, myth hai, myth hai, myth hai (yes, it is a myth, it is a myth, it is a myth). It is part of identity politics.”
Rai, the former general secretary of Akhil Bharatiya Vidyarthi Parishad, the student wing of the RSS, was appointed chairman of the IGNCA in April when the Narendra Modi government rearranged the institution's 20-member board.
Sangh politics
RSS thinker who scoffed at Ambedkar has turned arts institution into Sangh meeting venue
Thanks to chairman Ram Bahadur Rai, the Indira Gandhi National Centre for Arts in New Delhi has hosted several events for the saffron organisation recently.
by Dhirendra K Jha
Ram Bahadur Rai, the Rashtriya Swayamsevak Sangh’s thinker who described BR Ambedkar’s role in framing the Constitution “a myth” also has another achievement to his credit. Just two month after being appointed chairman of the Indira Gandhi National Centre for Arts, he has turned the government-funded culture institution into a centre for RSS activities in Delhi.
The organisation, which is mandated to promote the study of Indian arts, has seen a series of formal and informal meetings of the RSS or its affiliates over the past few weeks.
“Most of these meetings do not have anything to do with the original objective of the IGNCA,” said a senior official at the institution. “The IGNCA under Rai Saheb has become an extension of RSS headquarters, a mini Jhandewalan.”
In the last ten days alone, the IGNCA has witnessed three official meetings of RSS affiliates and at least four informal discussions of senior office-bearers of the Sangh.
On May 30, for example, Sanskar Bharati, the RSS affiliate given to the promotion of Hindu customs and traditions, organised a big conclave in the IGNCA auditorium. Besides Rai and IGNCA member-secretary Dr. Sachchidanand Joshi, the meeting was attended by Sanskar Bharati’s general secretary (organisation) Ameer Chand and RSS’ Delhi state “Prachar Pramukh” Rajiv Tuli.
On June 1, the Bharatiya Kisan Sangh, the RSS affiliate active among farmers, organised a meeting at the IGNCA premises to release an agricultural atlas of Madhya Pradesh. The atlas, which aims to be a “a bilingual illustrated compendium of all aspects of agriculture in Madhya Pradesh”, was released by the executive head of the RSS, Sarkaryavah Bhaiyyaji Joshi. Besides Joshi and Rai, the event was attended, among others, by BKS’ organising secretary Dinesh Dattatreya Kulkarni, Union Agriculture Minister Radha Mohan Singh and BJP MP Murli Manohar Joshi.
On June 4, Bharatiya Shiksha Mandal, an RSS outfit working in the field of education, organised a conclave on “Rashtriya Suraksha Hetu Shiksha" (Education for National Security) in the IGNCA auditorium. Besides Rai, the event was attended by BSM’s joint general secretary (organisation) Mukul Kanitkar and Major General Gagandeep Bakshi, a retired Army officer known for his pro-RSS leanings.
“Perhaps, Rai Saheb is completely unaware of the very idea of IGNCA,” said the official, “or he may simply be acting as the agent of the RSS.”
The IGNCA comes under the purview of the Ministry of Culture. It was established in 1985 in memory of former Prime Minister Indira Gandhi as a centre for the study and promotion of Indian arts.
This official said that in addition to being the venue for all kinds of formal RSS events, it has also started hosting frequent informal meetings of the office-bearers of the Sangh and its affiliates.
Known in the RSS circle as one of its thinkers, Rai created a flutter last week after he told Outlook magazine that Ambedkar’s role in framing of the Constitution was limited and that he only corrected the language of the material provided to him by BN Rau, a civil servant. “So, Ambedkar did not write the Constitution,” Rai said. On whether Ambedkar’s role was then a myth, IGNCA chief’s reply was: “Yes, myth hai, myth hai, myth hai (yes, it is a myth, it is a myth, it is a myth). It is part of identity politics.”
Rai, the former general secretary of Akhil Bharatiya Vidyarthi Parishad, the student wing of the RSS, was appointed chairman of the IGNCA in April when the Narendra Modi government rearranged the institution's 20-member board.
April 15, 2016
India: Men with RSS links in the reconstituted borad of trustees of Indira Gandhi National Centre for the Arts (IGNCA)
The Times of India
Journalist with RSS link to head Indira arts centre
TNN | Apr 15, 2016, 06.59 AM IST
New Delhi: In one stroke on Thursday, the Modi government reconstituted the board of trustees of Indira Gandhi National Centre for the Arts (IGNCA) and replaced the members with its own favourites. To be headed by veteran journalist Ram Bahadur Rai, an RSS insider and an associate of late Jayprakash Narayan during the Emergency, the new board also has Daya Prakash Sinha of RSS's Sanskar Bharati, who rose to fame with his campaign against late artist M F Husain.
Rai, who wrote a biography of former PM Chandrasekhar - 'Rahbari Ke Sawal' - and of V P Singh titled 'Manjil Se Jyada Safar', worked as news editor in 'Jansatta' and now edits the monthly 'Yatarth', where in December 2014 he made some revelations on the demolition of Babri masjid.
Appointed by the UPA, many members of the previous board had three years left of their five year-term. Terms can also be renewed.
The culture ministry only retained danseuse Padma Subrahmanyam from the previous board. The incoming members are known for their proximity to BJP. They includes Odissi dancer Sonal Mansingh, film director Chandraprakash Dwivedi, also a member of the Censor Board, lyricist and adman Prasoon Joshi, former chairperson of Khadi and Village Industries Corporation Mahesh Sharma, former Andhra Pradesh DGP K Aravinda Rao, also author of 'How To Tell Hinduism To Your Child', portrait artist Vasudeo Kamath, author of 'Thulasidasarum Thulasiramayanamum' M Seshan, and industrialist and art aficionado Harsh Neotia.
A few experts have also been roped in. They include retired IAS officer Rathi Vinay Jha of 1967 batch, Karnataka cadre. A former head of Fashion Design Council of India, Jha was instrumental in the establishment of National Institutes of Fashion Technology. IGNCA's Nirmala Sharma, an expert on Ragmala and Buddhist paintings, renowned art historian and scholar Saryu Doshi and economist Nitin Desai are also new members. Two relatively unknown names are Bharat Gupta and Viraj Yagnik.
The previous trust was headed by former diplomat Chinmaya R Gharekhan and consisted of art scholar Kapila Vatsyayan, former foreign secretary Salman Haidar, artist A Ramachandran, writer Namita Gokhale, retired bureaucrat Subas Pani, former home secretary G K Pillai, educationist Sukanya Bharatram, danseuse Shovana Narayan, former model and businesswoman Feroze Gujral, hotelier Priya Paul, actor Kulbhushan Kharbanda, scholar of Zoroastrian religion and gallerist Pheroza Godrej, art scholar Sudha Gopalakrishnan and historian Nayanjot Lahiri.
Journalist with RSS link to head Indira arts centre
TNN | Apr 15, 2016, 06.59 AM IST
New Delhi: In one stroke on Thursday, the Modi government reconstituted the board of trustees of Indira Gandhi National Centre for the Arts (IGNCA) and replaced the members with its own favourites. To be headed by veteran journalist Ram Bahadur Rai, an RSS insider and an associate of late Jayprakash Narayan during the Emergency, the new board also has Daya Prakash Sinha of RSS's Sanskar Bharati, who rose to fame with his campaign against late artist M F Husain.
Rai, who wrote a biography of former PM Chandrasekhar - 'Rahbari Ke Sawal' - and of V P Singh titled 'Manjil Se Jyada Safar', worked as news editor in 'Jansatta' and now edits the monthly 'Yatarth', where in December 2014 he made some revelations on the demolition of Babri masjid.
Appointed by the UPA, many members of the previous board had three years left of their five year-term. Terms can also be renewed.
The culture ministry only retained danseuse Padma Subrahmanyam from the previous board. The incoming members are known for their proximity to BJP. They includes Odissi dancer Sonal Mansingh, film director Chandraprakash Dwivedi, also a member of the Censor Board, lyricist and adman Prasoon Joshi, former chairperson of Khadi and Village Industries Corporation Mahesh Sharma, former Andhra Pradesh DGP K Aravinda Rao, also author of 'How To Tell Hinduism To Your Child', portrait artist Vasudeo Kamath, author of 'Thulasidasarum Thulasiramayanamum' M Seshan, and industrialist and art aficionado Harsh Neotia.
A few experts have also been roped in. They include retired IAS officer Rathi Vinay Jha of 1967 batch, Karnataka cadre. A former head of Fashion Design Council of India, Jha was instrumental in the establishment of National Institutes of Fashion Technology. IGNCA's Nirmala Sharma, an expert on Ragmala and Buddhist paintings, renowned art historian and scholar Saryu Doshi and economist Nitin Desai are also new members. Two relatively unknown names are Bharat Gupta and Viraj Yagnik.
The previous trust was headed by former diplomat Chinmaya R Gharekhan and consisted of art scholar Kapila Vatsyayan, former foreign secretary Salman Haidar, artist A Ramachandran, writer Namita Gokhale, retired bureaucrat Subas Pani, former home secretary G K Pillai, educationist Sukanya Bharatram, danseuse Shovana Narayan, former model and businesswoman Feroze Gujral, hotelier Priya Paul, actor Kulbhushan Kharbanda, scholar of Zoroastrian religion and gallerist Pheroza Godrej, art scholar Sudha Gopalakrishnan and historian Nayanjot Lahiri.
November 21, 2015
India - Rajasthan: Jaipur artists detained over ‘plastic cow’ installation
The Hindu
Jaipur, November 21, 2015
Jaipur artists detained over ‘plastic cow’ installation
Kavita Upadhyay
The plastic cow art installation in Jaipur. Photo: Kavita Upadhyay
A controversy erupted at the Jawahar Kala Kendra (JKK) in Jaipur and two artists were detained by the police, on Saturday, over exhibiting a plastic cow which was tied to a balloon and was floating at a height of 50 feet from the ground.
Half an hour after the plastic cow installation was displayed during the Third Jaipur Art Summit at JKK, some right-wing groups and NGOs reached the spot and asked the organisers to dismantle the art work made by artist Siddharth Kararwal.
The police from the Bajaj Nagar police station area, under which the JKK premises fall, also entered the Art Summit and asked the artists to “take down the plastic cow”.
Speaking to the mediapersons, the Station House Officer (SHO) of the Bajaj Nagar police station Mahendra Gupta said, “This is not art.”
Mr. Gupta said that the art work was hurting the sentiments and sensibilities of some people and must be dismantled. Anish Ahluwalia and Chintan Upadhyay from the Sandarbh International Artist Residency were detailed by the police for three hours at the Bajaj Nagar police station.
SHO Mr Gupta, however, said that the artists were not detained and were taken to the police station only to be explained that some sections might create an issue out of the plastic cow art work and hence the art work needed to be dismantled immediately.
Mr Ahluwalia told The Hindu, “The plastic cow was made to propagate the message that animals, especially cows, were consuming plastic which is carelessly discarded the people and it proving to be detrimental to the animals.”
The two artists were released in the afternoon only after the organisers dismantled the installation.
Mr. Ahluwalia said, “It seems like we are a part of an authoritarian state where even if we make a toy and it is a cow people will object to it.”
Suraj Soni, the Jaipur coordinator of People for Animals, who objected to the art work said to The Hindu, “The [plastic] cow was tied to the balloon via its neck. I found it disrespectful because it looked like the cow had been hanged to death. Also, there was no slogan accompanying the art work and one could easily misconstrue the installation as a portrayal of cruelty on animals.”
Kavita Srivastava of the People's Union for Civil Liberties said to The Hindu, “Though the police is denying detaining the artists, it is still an issue of right to freedom of expression. An artist needs to express through art work of sorts and people need to be tolerant towards other people’s views.”
Keywords: Plastic cow installation, Jaipur artists
Jaipur, November 21, 2015
Jaipur artists detained over ‘plastic cow’ installation
Kavita Upadhyay
The plastic cow art installation in Jaipur. Photo: Kavita Upadhyay
A controversy erupted at the Jawahar Kala Kendra (JKK) in Jaipur and two artists were detained by the police, on Saturday, over exhibiting a plastic cow which was tied to a balloon and was floating at a height of 50 feet from the ground.
Half an hour after the plastic cow installation was displayed during the Third Jaipur Art Summit at JKK, some right-wing groups and NGOs reached the spot and asked the organisers to dismantle the art work made by artist Siddharth Kararwal.
The police from the Bajaj Nagar police station area, under which the JKK premises fall, also entered the Art Summit and asked the artists to “take down the plastic cow”.
Speaking to the mediapersons, the Station House Officer (SHO) of the Bajaj Nagar police station Mahendra Gupta said, “This is not art.”
Mr. Gupta said that the art work was hurting the sentiments and sensibilities of some people and must be dismantled. Anish Ahluwalia and Chintan Upadhyay from the Sandarbh International Artist Residency were detailed by the police for three hours at the Bajaj Nagar police station.
SHO Mr Gupta, however, said that the artists were not detained and were taken to the police station only to be explained that some sections might create an issue out of the plastic cow art work and hence the art work needed to be dismantled immediately.
Mr Ahluwalia told The Hindu, “The plastic cow was made to propagate the message that animals, especially cows, were consuming plastic which is carelessly discarded the people and it proving to be detrimental to the animals.”
The two artists were released in the afternoon only after the organisers dismantled the installation.
Mr. Ahluwalia said, “It seems like we are a part of an authoritarian state where even if we make a toy and it is a cow people will object to it.”
Suraj Soni, the Jaipur coordinator of People for Animals, who objected to the art work said to The Hindu, “The [plastic] cow was tied to the balloon via its neck. I found it disrespectful because it looked like the cow had been hanged to death. Also, there was no slogan accompanying the art work and one could easily misconstrue the installation as a portrayal of cruelty on animals.”
Kavita Srivastava of the People's Union for Civil Liberties said to The Hindu, “Though the police is denying detaining the artists, it is still an issue of right to freedom of expression. An artist needs to express through art work of sorts and people need to be tolerant towards other people’s views.”
Keywords: Plastic cow installation, Jaipur artists
India: Art and Art institutions in Rajasthan are at risk (Note by Kavita Srivastava) 21 nov 2015
via Facebook:
Art and Art institutions in Rajasthan are at risk. The annual art summit this year has begun with one installation being removed for the sake of sensibilities being affected. Last year it was Bhupesh Kavadias whose tile installations was read as "Ganesh drawn on the toilet pot" and the VHP RSS Came and broke the thing down. in due course there was a FIR against the artist, for which he had to get bail from the SUPREME COURT.
THIS time the workshop which generated the artists installations saw young artists Anish Ahluwalia (ex BBC journalist) from Delhi and Chintan Upadhyay make an installation of a cow in plastic, in order to show how cows were mostly hungry living on plastic..... This cow was hooked to a balloon and floated 200 feet high.
There was mayhem and the JKK thought that it would give a wrong message so they asked the artists to bring it down. On refusal the police was called who took them to the police station for a discussion ( read detention). Not wanting the issue to be blown apart the organisersand the artists brought down the cow. NO FIR but enough to show how there are unreasonable and restrictions on freedom of speech in Rjasthan and that the RSS and THE OTHER RIGHTWINGERS wll decide what art can be displayed or not. Intolerance on the increase.
Talk to Vidya sagar the organiser 9414071059. This happened today, 21st at Jawahar Kala Kendra in Jaipur.
Art and Art institutions in Rajasthan are at risk. The annual art summit this year has begun with one installation being removed for the sake of sensibilities being affected. Last year it was Bhupesh Kavadias whose tile installations was read as "Ganesh drawn on the toilet pot" and the VHP RSS Came and broke the thing down. in due course there was a FIR against the artist, for which he had to get bail from the SUPREME COURT.
THIS time the workshop which generated the artists installations saw young artists Anish Ahluwalia (ex BBC journalist) from Delhi and Chintan Upadhyay make an installation of a cow in plastic, in order to show how cows were mostly hungry living on plastic..... This cow was hooked to a balloon and floated 200 feet high.
There was mayhem and the JKK thought that it would give a wrong message so they asked the artists to bring it down. On refusal the police was called who took them to the police station for a discussion ( read detention). Not wanting the issue to be blown apart the organisersand the artists brought down the cow. NO FIR but enough to show how there are unreasonable and restrictions on freedom of speech in Rjasthan and that the RSS and THE OTHER RIGHTWINGERS wll decide what art can be displayed or not. Intolerance on the increase.
Talk to Vidya sagar the organiser 9414071059. This happened today, 21st at Jawahar Kala Kendra in Jaipur.
October 27, 2015
February 04, 2014
India: Fascist Thugs from Shiv Sena Storm Bombay Press Club to Stop Pakistan Band's Press Conference
Shiv Sena workers protest against Pak band at Mumbai press club
CNN-IBN
Feb 04, 2014 at 04:11pm IST
Mumbai: Nearly 50-70 workers of the Shiv Sena barged inside the Mumbai Press Club on Tuesday where a Pakistani band was holding a press conference and shouted slogans against them.
The sloganeering Shiv Sena activists demanded that Pakistani Sufi band Mekaal Hasan be sent back. "No Pakistani individual or group will be allowed in Mumbai," the protesters shouted.
The police were immediately called in. The protesters have now been taken to the Azad Maidan police station and a case of unauthorised entry has been filed.
http://ibnlive.in.com/news/shiv-sena-workers-protest-against-pak-band-at-mumbai-press-club/449900-3-237.html
Mumbai: Shiv Sena protests against Pak band
Agencies New Delhi, February 04, 2014
First Published: 16:09 IST(4/2/2014)
http://www.hindustantimes.com/india-news/shiv-sena-protests-against-pakistani-band-in-mumbai/article1-1180206.aspx
October 10, 2013
Secularism in Arts Comes out in Full Glare: Report in People's Democracy on the seminar marking 25th anniversary of Sahmat
People's Democracy, October 13, 2013
SEMINAR ON 25TH SAHMAT ANNIVERSARY
Secularism in Arts Comes out in Full Glare
Amol Saghar
ON the occasion of its 25th anniversary, the Safdar Hashmi Memorial Trust (SAHMAT) organised a three day seminar on ‘Secularism and the Arts’ from September 26 to 28, 2013. This seminar, held in the Sahitya Akademi auditorium, took place at a time when communal forces are going an extra mile to polarise the Indian masses on the basis of religion and vitiate the communal harmony of the country. This explained the relevance of the seminar. The seminar saw a plethora of insightful and interesting papers being presented, throwing light on different strands of the theme. The speakers tried to analyse the close interrelationship of arts and secularism, and its relevance in today’s context.
In his short welcome address, Sohail Hashmi presented an outline of SAHMAT’s history and threw light on its work since it came into existence. In the light of the communal disturbances the country has witnessed in recent times, the most recent being the Muzzafar Nagar riots, he explained the relevance of organisations like SAHMAT in maintaining harmony in the present times.
WHAT SECULARISM REALLY MEANS
After the welcome address, the first session of the day saw two doyens of history, viz Irfan Habib and Romila Thapar, discussing the concept of secularism from two different perspectives. In his insightful and thought provoking presentation, Professor Irfan Habib tried to analyse the various meanings that are associated with the word secularism. He brilliantly brought forth the fact that religion and secularism have nothing to do with each other and that what secularism really meant was outright rejection of intervention of religion into the sphere of morality. He also said a state is secular as far as it is not guided by any religion. To him the French revolutionary state was a secular state in true sense of the word.
He further argued that even though the word secularism was added in Indian constitution in 1976, it is sad to see that in today’s scenario this word has got corrupted in the everyday parlance. Today it means respect for and tolerance towards all religions. But yet there is no legal foundation for the view that a secular republic must respect the religions. He argued that even a non-tolerant state can be secular. The Supreme Court too, it was argued, played a role in corrupting the concept of secularism. Going back in history we see that religious tolerance has always been an important part of Indian history— be it the reign of the Ashoka, where perhaps for the first time the concept of religious tolerance was mentioned explicitly in Rock Edict 12; or the national movement where this idea was invoked repeatedly. For Habib, ‘neutrality towards religions’ should better be used instead of the phrase ‘respect for religions.’
Habib also underlined that in India we see religious influences in certain spheres of everyday life. For instance, there is detailed mention of hostility towards cow slaughter in article 12 of our constitution. Similarly, there is a mention of the uniform civil code in article 44. Habib spent a good amount of time in discussing this issue and, expressing surprise at this notion, he asked how one could speak of uniform civil code when the same laws do not say anywhere that both men and women are equal partners as far as inheritance laws are concerned. We cannot talk about the former without the latter.
In this context he spoke about the Hindu code bill which, according to him, was a landmark development as it showed that in two years period the ages old dharmasastras were overthrown by the parliament, which marked a complete transformation of the civil code. However, he expressed displeasure that such landmark changes were not seen in other religions. He further argued that India may be secular in other respects but Indian state is certainly not secular as far as personal laws are concerned. What we see is that idea of religious tolerance is often in clash with the notion of secularism. With regard to personal laws, he forcefully stressed that these are not sacrosanct and their negative aspects must be opposed.
PROVISIONS OF SECULARISM WEAKENED
As for secularism in the realm of education, it is sad that the concerned provisions have got weakened. Our constitution clearly says no religious education would be imparted in any educational institution, but in reality we see this notion repeatedly violated. An example is of the NCERT school textbooks controversy under the tenure of the BJP led government. Surprisingly, even though newspaper reports of the day rubbished the BJP move, the apex court did not oppose it; instead, it supported by citing the saints who, according to the court, were the source of all religious and morality based education.
As for madrasa education, we see state subsidies directed towards several madrasas operating through the length and breadth of the country. This, it was argued, is a clear violation of article 28 of our constitution. Habib expressed surprise that the Sachar committee recommended this move, instead of opposing it; nor did any political party oppose it. Explaining the politics behind madrasa education, he argued that there are hardly any girl students in madrasas. Further, it is wrong to believe that Muslim children do not want to go to public (government) schools; it is just that there are no public schools in most of the “Muslim areas,” and thus a majority of these children do not have easy access to public school education. Also, as Hindu children do not go to these madrasas, there is hardly any interaction between Muslim and Hindu boys, which is disastrous.
The speaker also put forward some ideas that could help to change this situation. One solution is that public schools should be set up in Muslim areas. The movements promoting legislation favouring secularism, such as the one associated with giving leverage to the secular content in school textbooks, must be encouraged by all means. Wherever the Left is dominant, it should oppose attempts made by divisive forces to construe the meaning of secularism in a wrong way. The notion of secularism must apply to all institutions and groups irrespective of their being majority or minority ones.
ON RIGHT WING MOBILISATION
After Professor Irfan Habib’s presentation, that of Teesta Setalvad was equally enriching, and in many ways an eye-opener. Discussing the issue of secularism from a legal perspective, she went back a little bit into history and argued that there was a compromise insofar as abolition of the caste system was concerned. Instead of completely eradicating the system for once and all, the custodians of the country at that time preferred to chicken out of the issue and were instead satisfied only with the abolition of untouchability.
Setalvad further argued that a close relationship exists between communalism and the growth of right wing groups. As far back as 1951, we see B R Ambedkar resigning from the first ministry of independent India on the issue of Hindu code bill. On the eve of the succeeding election, Ambedkar formulated a manifesto titled ‘Charter of Dalits’ in which he criticised the right wing politics and argued that if there was anything untouchable, it was this sort of politics. Today the irony is that dalits are being used for the right wing politics. The success of Bajrang Dal is contrary to what Ambedkar stood for in 1951. One can also cite the example of Babu Jagjivan Ram who did not become the prime minister precisely because he was a dalit. The fact is that dalits are still a marginalised section.
Setalvad’s paper also delved into the issue of hate speech that has always played a vital role in vitiating the environment and promoting communal hatred. Every communal disturbance is invariably preceded by a string of hate speeches and rumours before it reaches the stage of actual violence. In this regard one can recall the distribution of trishuls during the NDA government in 1999. Lately, a similar phenomenon was seen in Muzzafar Nagar; here mahapanchayats were allowed to be organised where hate speeches against a particular community were openly delivered and where people gathered with illegal weapons.
Before concluding, she drew attention to two important issues. First, it would be disastrous if we are selective in our narratives of the national movement. We must refrain from the practice of including certain aspects and completely ignoring other, equally important aspects of the national movement. Secondly, there is a tendency among many of us to loosely use terms such as pseudo-secularism (a term which BJP has been using); we have to refrain from it.
Nor should we compartmentalise the idea of secularism and democracy, or emphasise only one --- electoral --- aspect of it. Secularism, equality and non-discrimination are three concepts which need to be looked together. The speaker also pointed out that the Sachar committee, which was formed in 2005, completely ignored the issue of security of the Muslims. It is noteworthy that the term minority was completely removed from article 16 of the constitution, which again was a compromise.
RELIGION CAN’T HAVE PRIMACY IN EVERYDAY LIFE
The last paper of the morning session was that of Professor Romila Thapar who delved into the issue of secularisation of Indian society. Secularism has got restricted, unfortunately, to a mere slogan. She also said our concept of secularism has been derived from Europe. Co-existence of all religions is a noble idea but it certainly does not denote the real meaning of secularism. This concept came about with the rise of communalism in India in the 1920s. Thus the ideology of secularism has a historical context, and there is a link between secularism and nationalism, which has not been investigated.
Professor Thapar argued that secular does not deny religion, but at the same time it does not give it any sort of primacy in everyday life. She stressed that state should stop patronising the institutions which have religious affiliations. To her, religion promotes the idea of dominant and subordinate people or groups. One may also note that it is the caste distinctions that have almost always decided the functioning of religious groups and there are also instances when people have formed their own religion, as in the example of Lingayats.
Before concluding, Professor Thapar argued that today, whether we like it or not, social networking sites like Facebook have come to occupy an important position in society. Divisive forces are making use of these sites to promote their agenda and we also have to use the same media to fight them effectively. The Muzzafar Nagar riots have shown the dangerous role played by such sites. Presenting a somewhat frightening picture, she also argued that we should be prepared for more communal disturbances in near future, especially in Muslim majority areas.
The session concluded with some useful and insightful remarks made by Professor Prabhat Patnaik who chaired the first session. He emphasised that secular must also be seen as the reducing role of religion even in the personal sphere.
BHAKTI TRADITION AND SECULARISM
The evening session saw four more, equally rejuvenating papers being presented. In this session chaired by M K Raina, Malini Bhattacharya, Madhu Trivedi, Vidya Shah and Madan Gopal Singh shared their ideas of the close association of secularism with arts. Bhattacharya in her presentation discussed the notion of secularism from the perspective of literature and folklore. She referred to Rabindranth Tagore’s Gora and tried to analyse the way the issue of secularism was dealt with in this work.
She further talked about the emergence of various sects in Bengal in the late 19th and early 20th centuries, and also the important role women played in promoting the folk traditions in this period. The baol tradition of Bengal was a rare tradition that was able to break all sorts of societal barriers. But these sects got narrowed down due to what she called cultural inbreeding. In the end, she observed that while religious tolerance and intolerance exist side by side, it is the duty of the state to protect the secular space. She ended with the plea that struggle to protect the secular space is no less important than the struggle to protect land.
While Madhu Trivedi’s paper discussed the concept of secularism purely from a historical point of view, Vidya Shah in her presentation began by recalling her childhood years and how she was not allowed to participate in the recitation of ritualistic chants like those from Yajurveda only because she was a girl; she naturally felt marginalised. However, the presence of feminist in several of these recitations is very important.
Shah’s presentation was accompanied by recitation of various sorts including those from Bulle Shah, Andal and Kabir. In conclusion she raised a pertinent point by asking as to what happened to a woman bhakta in the bhakti movement. For her feminism is in fact deeply rooted in the concept of secularism.
Madan Gopal Singh recited several verses which were written as far back as the 16th century and through these recitations he explained how a close relationship always existed between secularism and arts. He argued that the aspect of secularism has always been present throughout history, though it has been visualised differently at different points of time. The accompanying recitations by Shah and Singh were like an icing on the cake and made the session a memorable experience.
SECULARISM IN VISUAL ARTS
The morning session on the second day saw well known painter Gulammohammed Sheikh, Pushpmala N and Ram Rahman making power-point presentations to discuss the intricate association of arts and secularism. In his presentation Sheikh explained how secularism got reflected in literary traditions throughout the course of Indian history. With the help of various slides and pictures, he drove home the point that secularism has always been an integral part in the making as well as visual execution of literary traditions.
Various arts including sculpture have played a pivotal role in assimilating the lower caste groups into the cultural belief systems of upper caste groups. Arts thus allowed a broadening of the belief system and at the same time also allowed upward mobility in our society.
Pushpamala N, in her interesting presentation, tried to analyse the theme of secularism from the perspective of artistic representation. She tries to see how secularism is played about in the popular artistic representations such as those of Raja Ravi Verma and others.
Ram Rahman’s paper was a lesson in the history of SAHMAT. With the help of several visuals he tried to make everyone present aware of the work done by the organisation since the time of its inception. He threw light on the positive role played by SAHMAT in bringing about people from different walks of life in an attempt to raise voice against the divisive politics carried out by certain vested interests. In the years prior to and immediately after the Babri Masjid demolition, the SAHMAT ran important campaigns to keep communal hatred at bay and bring back the confidence of the minorities, which was severely affected by the demolition of the mosque. The speaker also visually highlighted how, while running its campaigns, SAHMAT itself came under attack more than once.
The session chaired by S Kalidas witnessed some highly emotional and at the same time interesting interventions by some of those present.
In the evening session, Subhash Kapoor, director of two critically acclaimed movies, viz Phas Gaye Re Obama and Jolly LLB, and renowned art critic Sadanand Menon were the speakers. The session was moderated by Sashi Kumar. The two speakers discussed the manner in which secularism has been dealt with in Indian cinema. While Kapoor chose to discuss it mainly from the perspective of the mainstream Bollywood cinema, Menon tried to trace the trajectory of secularism in Indian cinema from a general perspective and also the way it was reflected in the cinema of the south.
Kapoor argued that a sort of irony exists as far as secularism and its depiction in most of the movies is concerned. He raised several points such as the manner in which certain sections of society, e.g. Muslims, are depicted in the movies. Today the title of the movies is shown only in Hindi and English and not in Urdu. Also, producers hesitate to invest in movies which try to take the issue of communalism head on. He provided several interesting examples to highlight these issues which worried him.
Menon traced the growth of communalism from the time it emerged in the post-1857 period up to the present time. He also discussed at length some movies like Roja and Bombay, which tried to deal with the issue of religious differences and secularism.
DEVELOPMENTS IN HINDI & URDU
The concluding day was devoted to the issues of language and literature, and their close proximity with the theme of secularism. While the morning session was dedicated to the Urdu literary traditions and how one can see secularism embedded in a majority of the works written in this language, the evening session analysed this concept in the context of Hindi literary tradition. Ramesh Dixit, Naresh Nadeem, Khurshid Akram and Salil Misra carried out the morning proceedings, with Ali Javed in chair. The session saw the participants reciting poetries and couplets from Meer, Sauda, Ghalib, Nazeer Akbarabadi, Akbar Allahabadi and Faiz, among others, from time to time to enrich their respective presentations.
In his passionate talk, Ramesh Dixit made it clear that, as compared to Hindi poetry, compositions in Urdu were more strongly opposed to imperialism, colonialism, communalism and feudalism. Urdu poetry is poetry of resistance by its very nature.
Naresh Nadeem underlined the relationship of Urdu poetry with the Sufi tradition and insisted that secularism of the Urdu literary creations must be seen in the context of its source in tasawwuf (Sufism). He made a poignant point when he said that there was a clear-cut difference between the ways Hindi and Urdu poets took note of the country’s independence. While the former were celebrating the independence in various forms, the latter was weeping due to the fact that the country had been partitioned. Not just communist but also non-communist writers and poets felt a deep sense of sadness. Nadeem also attempted to trace how the Hindi literary tradition got a tinge of communalism as an enmity against Urdu developed here.
Khurshid Akram tried to show how secularism was reflected in the short stories written in Urdu language throughout the period.
Salil Misra’s tried to locate the aspect of secularism in the works of Nazeer Akbarabadi and Akbar Allahabadi.
In the second session chaired by Chanchal Chauhan, Manmohan and Jawarimal Parekh tried to study how secularism got reflected in various works written in the long history of Hindi literary tradition. It was argued in this session that, instead of making it an issue of one-upmanship, we should rather realise that secular elements are present in both the literary traditions but that we fail to see this point since there is little interaction between the two traditions as a result of a division made by the British way back in the 19th century.
It is unfortunate that the development of Hindi in the modern period bypassed the secular route and went through the path of communalism. There is, however, an element of secularism in a number of Hindi works and it is for us to take note of it and promote this aspect of our literary tradition.
The extremely enriching and memorable three-day seminar came to a conclusion with Sohail Hashmi delivering the vote of thanks. He also informed those present about the coming programmes of SAHMAT to celebrate its twenty five years in existence.
SEMINAR ON 25TH SAHMAT ANNIVERSARY
Secularism in Arts Comes out in Full Glare
Amol Saghar
ON the occasion of its 25th anniversary, the Safdar Hashmi Memorial Trust (SAHMAT) organised a three day seminar on ‘Secularism and the Arts’ from September 26 to 28, 2013. This seminar, held in the Sahitya Akademi auditorium, took place at a time when communal forces are going an extra mile to polarise the Indian masses on the basis of religion and vitiate the communal harmony of the country. This explained the relevance of the seminar. The seminar saw a plethora of insightful and interesting papers being presented, throwing light on different strands of the theme. The speakers tried to analyse the close interrelationship of arts and secularism, and its relevance in today’s context.
In his short welcome address, Sohail Hashmi presented an outline of SAHMAT’s history and threw light on its work since it came into existence. In the light of the communal disturbances the country has witnessed in recent times, the most recent being the Muzzafar Nagar riots, he explained the relevance of organisations like SAHMAT in maintaining harmony in the present times.
WHAT SECULARISM REALLY MEANS
After the welcome address, the first session of the day saw two doyens of history, viz Irfan Habib and Romila Thapar, discussing the concept of secularism from two different perspectives. In his insightful and thought provoking presentation, Professor Irfan Habib tried to analyse the various meanings that are associated with the word secularism. He brilliantly brought forth the fact that religion and secularism have nothing to do with each other and that what secularism really meant was outright rejection of intervention of religion into the sphere of morality. He also said a state is secular as far as it is not guided by any religion. To him the French revolutionary state was a secular state in true sense of the word.
He further argued that even though the word secularism was added in Indian constitution in 1976, it is sad to see that in today’s scenario this word has got corrupted in the everyday parlance. Today it means respect for and tolerance towards all religions. But yet there is no legal foundation for the view that a secular republic must respect the religions. He argued that even a non-tolerant state can be secular. The Supreme Court too, it was argued, played a role in corrupting the concept of secularism. Going back in history we see that religious tolerance has always been an important part of Indian history— be it the reign of the Ashoka, where perhaps for the first time the concept of religious tolerance was mentioned explicitly in Rock Edict 12; or the national movement where this idea was invoked repeatedly. For Habib, ‘neutrality towards religions’ should better be used instead of the phrase ‘respect for religions.’
Habib also underlined that in India we see religious influences in certain spheres of everyday life. For instance, there is detailed mention of hostility towards cow slaughter in article 12 of our constitution. Similarly, there is a mention of the uniform civil code in article 44. Habib spent a good amount of time in discussing this issue and, expressing surprise at this notion, he asked how one could speak of uniform civil code when the same laws do not say anywhere that both men and women are equal partners as far as inheritance laws are concerned. We cannot talk about the former without the latter.
In this context he spoke about the Hindu code bill which, according to him, was a landmark development as it showed that in two years period the ages old dharmasastras were overthrown by the parliament, which marked a complete transformation of the civil code. However, he expressed displeasure that such landmark changes were not seen in other religions. He further argued that India may be secular in other respects but Indian state is certainly not secular as far as personal laws are concerned. What we see is that idea of religious tolerance is often in clash with the notion of secularism. With regard to personal laws, he forcefully stressed that these are not sacrosanct and their negative aspects must be opposed.
PROVISIONS OF SECULARISM WEAKENED
As for secularism in the realm of education, it is sad that the concerned provisions have got weakened. Our constitution clearly says no religious education would be imparted in any educational institution, but in reality we see this notion repeatedly violated. An example is of the NCERT school textbooks controversy under the tenure of the BJP led government. Surprisingly, even though newspaper reports of the day rubbished the BJP move, the apex court did not oppose it; instead, it supported by citing the saints who, according to the court, were the source of all religious and morality based education.
As for madrasa education, we see state subsidies directed towards several madrasas operating through the length and breadth of the country. This, it was argued, is a clear violation of article 28 of our constitution. Habib expressed surprise that the Sachar committee recommended this move, instead of opposing it; nor did any political party oppose it. Explaining the politics behind madrasa education, he argued that there are hardly any girl students in madrasas. Further, it is wrong to believe that Muslim children do not want to go to public (government) schools; it is just that there are no public schools in most of the “Muslim areas,” and thus a majority of these children do not have easy access to public school education. Also, as Hindu children do not go to these madrasas, there is hardly any interaction between Muslim and Hindu boys, which is disastrous.
The speaker also put forward some ideas that could help to change this situation. One solution is that public schools should be set up in Muslim areas. The movements promoting legislation favouring secularism, such as the one associated with giving leverage to the secular content in school textbooks, must be encouraged by all means. Wherever the Left is dominant, it should oppose attempts made by divisive forces to construe the meaning of secularism in a wrong way. The notion of secularism must apply to all institutions and groups irrespective of their being majority or minority ones.
ON RIGHT WING MOBILISATION
After Professor Irfan Habib’s presentation, that of Teesta Setalvad was equally enriching, and in many ways an eye-opener. Discussing the issue of secularism from a legal perspective, she went back a little bit into history and argued that there was a compromise insofar as abolition of the caste system was concerned. Instead of completely eradicating the system for once and all, the custodians of the country at that time preferred to chicken out of the issue and were instead satisfied only with the abolition of untouchability.
Setalvad further argued that a close relationship exists between communalism and the growth of right wing groups. As far back as 1951, we see B R Ambedkar resigning from the first ministry of independent India on the issue of Hindu code bill. On the eve of the succeeding election, Ambedkar formulated a manifesto titled ‘Charter of Dalits’ in which he criticised the right wing politics and argued that if there was anything untouchable, it was this sort of politics. Today the irony is that dalits are being used for the right wing politics. The success of Bajrang Dal is contrary to what Ambedkar stood for in 1951. One can also cite the example of Babu Jagjivan Ram who did not become the prime minister precisely because he was a dalit. The fact is that dalits are still a marginalised section.
Setalvad’s paper also delved into the issue of hate speech that has always played a vital role in vitiating the environment and promoting communal hatred. Every communal disturbance is invariably preceded by a string of hate speeches and rumours before it reaches the stage of actual violence. In this regard one can recall the distribution of trishuls during the NDA government in 1999. Lately, a similar phenomenon was seen in Muzzafar Nagar; here mahapanchayats were allowed to be organised where hate speeches against a particular community were openly delivered and where people gathered with illegal weapons.
Before concluding, she drew attention to two important issues. First, it would be disastrous if we are selective in our narratives of the national movement. We must refrain from the practice of including certain aspects and completely ignoring other, equally important aspects of the national movement. Secondly, there is a tendency among many of us to loosely use terms such as pseudo-secularism (a term which BJP has been using); we have to refrain from it.
Nor should we compartmentalise the idea of secularism and democracy, or emphasise only one --- electoral --- aspect of it. Secularism, equality and non-discrimination are three concepts which need to be looked together. The speaker also pointed out that the Sachar committee, which was formed in 2005, completely ignored the issue of security of the Muslims. It is noteworthy that the term minority was completely removed from article 16 of the constitution, which again was a compromise.
RELIGION CAN’T HAVE PRIMACY IN EVERYDAY LIFE
The last paper of the morning session was that of Professor Romila Thapar who delved into the issue of secularisation of Indian society. Secularism has got restricted, unfortunately, to a mere slogan. She also said our concept of secularism has been derived from Europe. Co-existence of all religions is a noble idea but it certainly does not denote the real meaning of secularism. This concept came about with the rise of communalism in India in the 1920s. Thus the ideology of secularism has a historical context, and there is a link between secularism and nationalism, which has not been investigated.
Professor Thapar argued that secular does not deny religion, but at the same time it does not give it any sort of primacy in everyday life. She stressed that state should stop patronising the institutions which have religious affiliations. To her, religion promotes the idea of dominant and subordinate people or groups. One may also note that it is the caste distinctions that have almost always decided the functioning of religious groups and there are also instances when people have formed their own religion, as in the example of Lingayats.
Before concluding, Professor Thapar argued that today, whether we like it or not, social networking sites like Facebook have come to occupy an important position in society. Divisive forces are making use of these sites to promote their agenda and we also have to use the same media to fight them effectively. The Muzzafar Nagar riots have shown the dangerous role played by such sites. Presenting a somewhat frightening picture, she also argued that we should be prepared for more communal disturbances in near future, especially in Muslim majority areas.
The session concluded with some useful and insightful remarks made by Professor Prabhat Patnaik who chaired the first session. He emphasised that secular must also be seen as the reducing role of religion even in the personal sphere.
BHAKTI TRADITION AND SECULARISM
The evening session saw four more, equally rejuvenating papers being presented. In this session chaired by M K Raina, Malini Bhattacharya, Madhu Trivedi, Vidya Shah and Madan Gopal Singh shared their ideas of the close association of secularism with arts. Bhattacharya in her presentation discussed the notion of secularism from the perspective of literature and folklore. She referred to Rabindranth Tagore’s Gora and tried to analyse the way the issue of secularism was dealt with in this work.
She further talked about the emergence of various sects in Bengal in the late 19th and early 20th centuries, and also the important role women played in promoting the folk traditions in this period. The baol tradition of Bengal was a rare tradition that was able to break all sorts of societal barriers. But these sects got narrowed down due to what she called cultural inbreeding. In the end, she observed that while religious tolerance and intolerance exist side by side, it is the duty of the state to protect the secular space. She ended with the plea that struggle to protect the secular space is no less important than the struggle to protect land.
While Madhu Trivedi’s paper discussed the concept of secularism purely from a historical point of view, Vidya Shah in her presentation began by recalling her childhood years and how she was not allowed to participate in the recitation of ritualistic chants like those from Yajurveda only because she was a girl; she naturally felt marginalised. However, the presence of feminist in several of these recitations is very important.
Shah’s presentation was accompanied by recitation of various sorts including those from Bulle Shah, Andal and Kabir. In conclusion she raised a pertinent point by asking as to what happened to a woman bhakta in the bhakti movement. For her feminism is in fact deeply rooted in the concept of secularism.
Madan Gopal Singh recited several verses which were written as far back as the 16th century and through these recitations he explained how a close relationship always existed between secularism and arts. He argued that the aspect of secularism has always been present throughout history, though it has been visualised differently at different points of time. The accompanying recitations by Shah and Singh were like an icing on the cake and made the session a memorable experience.
SECULARISM IN VISUAL ARTS
The morning session on the second day saw well known painter Gulammohammed Sheikh, Pushpmala N and Ram Rahman making power-point presentations to discuss the intricate association of arts and secularism. In his presentation Sheikh explained how secularism got reflected in literary traditions throughout the course of Indian history. With the help of various slides and pictures, he drove home the point that secularism has always been an integral part in the making as well as visual execution of literary traditions.
Various arts including sculpture have played a pivotal role in assimilating the lower caste groups into the cultural belief systems of upper caste groups. Arts thus allowed a broadening of the belief system and at the same time also allowed upward mobility in our society.
Pushpamala N, in her interesting presentation, tried to analyse the theme of secularism from the perspective of artistic representation. She tries to see how secularism is played about in the popular artistic representations such as those of Raja Ravi Verma and others.
Ram Rahman’s paper was a lesson in the history of SAHMAT. With the help of several visuals he tried to make everyone present aware of the work done by the organisation since the time of its inception. He threw light on the positive role played by SAHMAT in bringing about people from different walks of life in an attempt to raise voice against the divisive politics carried out by certain vested interests. In the years prior to and immediately after the Babri Masjid demolition, the SAHMAT ran important campaigns to keep communal hatred at bay and bring back the confidence of the minorities, which was severely affected by the demolition of the mosque. The speaker also visually highlighted how, while running its campaigns, SAHMAT itself came under attack more than once.
The session chaired by S Kalidas witnessed some highly emotional and at the same time interesting interventions by some of those present.
In the evening session, Subhash Kapoor, director of two critically acclaimed movies, viz Phas Gaye Re Obama and Jolly LLB, and renowned art critic Sadanand Menon were the speakers. The session was moderated by Sashi Kumar. The two speakers discussed the manner in which secularism has been dealt with in Indian cinema. While Kapoor chose to discuss it mainly from the perspective of the mainstream Bollywood cinema, Menon tried to trace the trajectory of secularism in Indian cinema from a general perspective and also the way it was reflected in the cinema of the south.
Kapoor argued that a sort of irony exists as far as secularism and its depiction in most of the movies is concerned. He raised several points such as the manner in which certain sections of society, e.g. Muslims, are depicted in the movies. Today the title of the movies is shown only in Hindi and English and not in Urdu. Also, producers hesitate to invest in movies which try to take the issue of communalism head on. He provided several interesting examples to highlight these issues which worried him.
Menon traced the growth of communalism from the time it emerged in the post-1857 period up to the present time. He also discussed at length some movies like Roja and Bombay, which tried to deal with the issue of religious differences and secularism.
DEVELOPMENTS IN HINDI & URDU
The concluding day was devoted to the issues of language and literature, and their close proximity with the theme of secularism. While the morning session was dedicated to the Urdu literary traditions and how one can see secularism embedded in a majority of the works written in this language, the evening session analysed this concept in the context of Hindi literary tradition. Ramesh Dixit, Naresh Nadeem, Khurshid Akram and Salil Misra carried out the morning proceedings, with Ali Javed in chair. The session saw the participants reciting poetries and couplets from Meer, Sauda, Ghalib, Nazeer Akbarabadi, Akbar Allahabadi and Faiz, among others, from time to time to enrich their respective presentations.
In his passionate talk, Ramesh Dixit made it clear that, as compared to Hindi poetry, compositions in Urdu were more strongly opposed to imperialism, colonialism, communalism and feudalism. Urdu poetry is poetry of resistance by its very nature.
Naresh Nadeem underlined the relationship of Urdu poetry with the Sufi tradition and insisted that secularism of the Urdu literary creations must be seen in the context of its source in tasawwuf (Sufism). He made a poignant point when he said that there was a clear-cut difference between the ways Hindi and Urdu poets took note of the country’s independence. While the former were celebrating the independence in various forms, the latter was weeping due to the fact that the country had been partitioned. Not just communist but also non-communist writers and poets felt a deep sense of sadness. Nadeem also attempted to trace how the Hindi literary tradition got a tinge of communalism as an enmity against Urdu developed here.
Khurshid Akram tried to show how secularism was reflected in the short stories written in Urdu language throughout the period.
Salil Misra’s tried to locate the aspect of secularism in the works of Nazeer Akbarabadi and Akbar Allahabadi.
In the second session chaired by Chanchal Chauhan, Manmohan and Jawarimal Parekh tried to study how secularism got reflected in various works written in the long history of Hindi literary tradition. It was argued in this session that, instead of making it an issue of one-upmanship, we should rather realise that secular elements are present in both the literary traditions but that we fail to see this point since there is little interaction between the two traditions as a result of a division made by the British way back in the 19th century.
It is unfortunate that the development of Hindi in the modern period bypassed the secular route and went through the path of communalism. There is, however, an element of secularism in a number of Hindi works and it is for us to take note of it and promote this aspect of our literary tradition.
The extremely enriching and memorable three-day seminar came to a conclusion with Sohail Hashmi delivering the vote of thanks. He also informed those present about the coming programmes of SAHMAT to celebrate its twenty five years in existence.
September 29, 2013
India: Artists perfom in Delhi against threat to democracy and protest against Modi
From: Zee News
Artists stage protest at Jantar Mantar against Narendra Modi
Last Updated: Sunday, September 29, 2013, 23:15
New Delhi: Coinciding with Narendra Modi's rally in the city, a group of artists and activists on Sunday staged a protest against the BJP's Prime Ministerial candidate.
The Members of Act Now for Harmony And Democracy (ANHAD) and artistes under the banner of Artistes Against Fascism held a protest at the Jantar Mantar against Modi through music singing Sufi, Thumri and Pop songs and staging stand-up comedy.
"The event showcased importance of freedom of expression and creativity - the two most important feature of democracy under threat if Modi comes to power," an artist said.
"The group of artists had pre-planned this event as a symbolic protest against Modi. We are opposed to his candidature as PM of the country because of his ideologies," says Manan, member of ANHAD.
Manan alleged that Modi's rule would see restrictions on the freedom of speech and expression of people and artists.
PTI
source: URL: http://zeenews.india.com/news/delhi/artists-stage-protest-at-jantar-mantar-against-narendra-modi_880083.html#
Artists stage protest at Jantar Mantar against Narendra Modi
Last Updated: Sunday, September 29, 2013, 23:15
New Delhi: Coinciding with Narendra Modi's rally in the city, a group of artists and activists on Sunday staged a protest against the BJP's Prime Ministerial candidate.
The Members of Act Now for Harmony And Democracy (ANHAD) and artistes under the banner of Artistes Against Fascism held a protest at the Jantar Mantar against Modi through music singing Sufi, Thumri and Pop songs and staging stand-up comedy.
"The event showcased importance of freedom of expression and creativity - the two most important feature of democracy under threat if Modi comes to power," an artist said.
"The group of artists had pre-planned this event as a symbolic protest against Modi. We are opposed to his candidature as PM of the country because of his ideologies," says Manan, member of ANHAD.
Manan alleged that Modi's rule would see restrictions on the freedom of speech and expression of people and artists.
PTI
source: URL: http://zeenews.india.com/news/delhi/artists-stage-protest-at-jantar-mantar-against-narendra-modi_880083.html#
September 27, 2013
Artistes Against Fascism: Music Dance and Poetry September 29, 2013 - 11am to 4pm (Jantar Mantar, Delhi)
Artistes under the banner pf Artistes Against Fascism from Delhi have decided to respond, to the screeching and jingoistic monologue projected manifolds by the corporate media, through their music, dance, poetry- the language of love and sanity. Let Us Celebrate Diversity.
JOIN US to say : WE OPPOSE COMMUNAL FASCIST FORCES
----------------------------------------------------------------------------------
रात अँधेरी काली में लौ इश्क चिराग़ जलाता हूँ
सुल्तान बाहू
Artistes Against Fascism
11am to 4pm
Sunday 29 September 2013
at Jantar Mantar
JOIN US
Artistes: Aditya Dipankar, Ashish Dha, Dhruv Sangari and Rooh, IPTA, Janrang, Madan Gopal Singh, Maya Rao, Manglesh Dabral, Namrata Pamnani,
Sanjay Rajaura, Sanjay Sharma, 'The Ska Vengers', Urshilla Dance Company, Vidya Rao
कहो कि अब कोई कातिल अगर इधर आया
तो हर क़दम पे ज़मीन तंग होती जाएगी
Artistes Against Fascism & Anhad
artistsagainstfascism@gmail.com
JOIN US to say : WE OPPOSE COMMUNAL FASCIST FORCES
----------------------------------------------------------------------------------
रात अँधेरी काली में लौ इश्क चिराग़ जलाता हूँ
सुल्तान बाहू
Artistes Against Fascism
11am to 4pm
Sunday 29 September 2013
at Jantar Mantar
JOIN US
Artistes: Aditya Dipankar, Ashish Dha, Dhruv Sangari and Rooh, IPTA, Janrang, Madan Gopal Singh, Maya Rao, Manglesh Dabral, Namrata Pamnani,
Sanjay Rajaura, Sanjay Sharma, 'The Ska Vengers', Urshilla Dance Company, Vidya Rao
कहो कि अब कोई कातिल अगर इधर आया
तो हर क़दम पे ज़मीन तंग होती जाएगी
Artistes Against Fascism & Anhad
artistsagainstfascism@gmail.com
August 17, 2013
India: Mob of Hindutwa Right Wing Activists Vandalises Ahmedabad Pakistani artists’ paintings exhibit, Tears Down Paintings
http://www.indianexpress.com/news/mob-vandalises-ahmedabad-art-exhibition-tears-down-paintings/1156449/
Mob vandalises Ahmedabad art exhibition, tears down paintings
Express news service : Ahmedabad, Sat Aug 17 2013
A group of 20 persons vandalised an art exhibition at Amdavad ni Gufa in Ahmedabad on Friday afternoon. The group tore down more than two dozen paintings belonging to celebrated artists hailing from both India and Pakistan.
It is being alleged that a group of "right wing" activists was behind the act. However, no organisation has so far claimed responsibilities. The art gallery was designed by well-known painter M F Hussain and the city's noted architect B V Doshi.
The exhibition was organised by Mumbai-based International Creative Art Centre (ICAC). Gallery in-charge Vipul Prajapati said, "About 15 to 20 men, shouting slogans of 'Jai Shree Ram', entered the gallery and started damaging the paintings. I have no idea who these people were, but they targeted the whole gallery, damaging paintings, glass panes, as well as furniture."
The exhibition, inaugurated on Tuesday, was scheduled to conclude this weekend. While interacting with mediapersons, Ravindra Maradia, who is associated with ICAC, said the organisers recieved no warnings in this connection.
"I think that due to the recent incidents between India and Pakistan on the Line of Control, some people could have targeted the exhibition. The same exhibition was held in Mumbai a year ago, but there was no problem at all," he added.
No police complaint was lodged till late in the evening, while Gujarat University Police Inspector V M Selar said that organizers have not asked for any sort of protection.
Deputy Commissioner of Police, Zone-1, Virendra Singh Yadav, however, said that police are looking into the incident.
o o o
http://www.firstpost.com/india/ahmedabad-alleged-vhp-supporters-vandalise-pak-artists-paintings-in-art-gallery-1039523.html
Mob vandalises Ahmedabad art exhibition, tears down paintings
Express news service : Ahmedabad, Sat Aug 17 2013
A group of 20 persons vandalised an art exhibition at Amdavad ni Gufa in Ahmedabad on Friday afternoon. The group tore down more than two dozen paintings belonging to celebrated artists hailing from both India and Pakistan.
It is being alleged that a group of "right wing" activists was behind the act. However, no organisation has so far claimed responsibilities. The art gallery was designed by well-known painter M F Hussain and the city's noted architect B V Doshi.
The exhibition was organised by Mumbai-based International Creative Art Centre (ICAC). Gallery in-charge Vipul Prajapati said, "About 15 to 20 men, shouting slogans of 'Jai Shree Ram', entered the gallery and started damaging the paintings. I have no idea who these people were, but they targeted the whole gallery, damaging paintings, glass panes, as well as furniture."
The exhibition, inaugurated on Tuesday, was scheduled to conclude this weekend. While interacting with mediapersons, Ravindra Maradia, who is associated with ICAC, said the organisers recieved no warnings in this connection.
"I think that due to the recent incidents between India and Pakistan on the Line of Control, some people could have targeted the exhibition. The same exhibition was held in Mumbai a year ago, but there was no problem at all," he added.
No police complaint was lodged till late in the evening, while Gujarat University Police Inspector V M Selar said that organizers have not asked for any sort of protection.
Deputy Commissioner of Police, Zone-1, Virendra Singh Yadav, however, said that police are looking into the incident.
o o o
http://www.firstpost.com/india/ahmedabad-alleged-vhp-supporters-vandalise-pak-artists-paintings-in-art-gallery-1039523.html
Ahmedabad: Alleged VHP supporters vandalise Pak artists’ paintings in art gallery
Aug 16, 2013 Ahmedabad: An art gallery exhibiting works by Pakistani artists was vandalised today by alleged VHP activists, who tore all the paintings and ransacked furniture.
Around 20 people were involved in the vandalism at Amdavad-ni-Gufa, witnesses said.
“How can paintings of Pakistani artists be allowed to be on display here when that country is beheading and killing our soldiers, waging a proxy war,” VHP Gujarat unit general secretary Ranchhod Bharvad told PTI.
Evading a question on whether VHP activists had ransacked the gallery and torn paintings, he said, “Our workers went there and registered a strong protest.”
Exhibition organiser Raveendra Maradia said, “Some people came and vandalised the exhibition. They even tore paintings by Indian artists. I don’t know if they were from VHP or Bajrang Dal, but I am sure that they were anti-social elements.”
Amdavad-ni-Gufa is an art gallery established jointly by the late M F Husain and noted architect B V
Doshi. Seventeen paintings were on display since August 13, including 11 by Pakistani artists.
“The purpose of this exhibition was to showcase the development in art and artists of both countries for more than 60 years,” Maradia said.
A complaint was registered at the Gujarat University police station, he said.
PTI
Around 20 people were involved in the vandalism at Amdavad-ni-Gufa, witnesses said.
“How can paintings of Pakistani artists be allowed to be on display here when that country is beheading and killing our soldiers, waging a proxy war,” VHP Gujarat unit general secretary Ranchhod Bharvad told PTI.
VHP supporters allegedly targetted an art exhibition in Ahmedabad. The image of an eralier VHP protest is used for representational purposes only. AFP.
Exhibition organiser Raveendra Maradia said, “Some people came and vandalised the exhibition. They even tore paintings by Indian artists. I don’t know if they were from VHP or Bajrang Dal, but I am sure that they were anti-social elements.”
Amdavad-ni-Gufa is an art gallery established jointly by the late M F Husain and noted architect B V
Doshi. Seventeen paintings were on display since August 13, including 11 by Pakistani artists.
“The purpose of this exhibition was to showcase the development in art and artists of both countries for more than 60 years,” Maradia said.
A complaint was registered at the Gujarat University police station, he said.
PTI
April 16, 2013
March 16, 2013
India Rightwing thugs of Shiv Sena disrupt performance by Pakistani singer in Delhi
The Hindu,
NEW DELHI, March 17, 2013
Sainiks disrupt Pakistani singer
Staff Reporter
The Hindu
Shiv Sena activists protesting against the Pakistani folk and sufi
singer Sanam Marvi (standing behind) during her performance at the
Sindhi Sufi Music Festival in New Delhi on Saturday. Photo: Shiv Kumar
Pushpakar
Over half-a-dozen Shiv Sainiks disrupted the Sindhi
Sufi Music Festival at the Indira Gandhi National Centre for the Arts
here on Saturday, protesting against the participation of Pakistani
singers in the wake of the recent terror attack at a CRPF camp in
Srinagar.
Pakistani folk and Sufi singer Sanam Marvi
was performing on the open lawns at Mati Ghar around 8.30 p.m. when the
Sena workers barged into the premises despite police presence.
“The
protesters got on to the stage and even before the audience and the
artists could realise what was happening, they took hold of the mike and
started raising slogans against Pakistan. The protesters announced that
no Pakistani singer would be allowed to perform at the festival. The
commotion lasted a few minutes before the organisers managed to push the
protesters away from the stage and handed them over to the police,”
said an eyewitness.
Protesters detained
Over
two dozen Sainiks, including women, had earlier staged a protest
outside the venue around 5.30 p.m., raising slogans. The protesters
were, however, detained by the police and taken away in a Delhi
Transport Corporation bus.
“As the festival is being
held on the open lawns and entry is without invitation, it is easy for
anyone to walk inside posing as audience and disrupt the show. Still, we
had deployed police personnel in adequate numbers. Those who took part
in the earlier protest were detained and later let off,” said Deputy
Commissioner of Police (New Delhi) S.B.S. Tyagi.
In a
press statement, the Sena secretary said Pakistan was stabbing the
country in the back, but the Indian government was reaching out to them
with proposals of love and peace. He said no Pakistani singer or player
would be allowed on Indian soil until Pakistan stopped abetting
terrorism.
The two-day festival hosts Sufi singers from India and Pakistan displaying their shared heritage of Sindhi Sufism.
February 12, 2013
On 6th Feb when ultra right wing activists tried to shut down an art exhibition at the Delhi Art Gallery
The Naked, and the Death of Free Expression
What happened on 6th February afternoon when the ultra right wing activists tried to shut down an art exhibition at the Delhi Art Gallery. Read to find out
by Ajachi Chakrabarti
http://tehelka.com/the-naked-and-the-death-of-free-expression/
What happened on 6th February afternoon when the ultra right wing activists tried to shut down an art exhibition at the Delhi Art Gallery. Read to find out
by Ajachi Chakrabarti
http://tehelka.com/the-naked-and-the-death-of-free-expression/
February 04, 2013
India: Art exhibit on the Nude at Delhi Art Gallery under attack from Hindu Right Durga Vahini
The Times of India
Nude exhibition at Delhi gallery draws protest
TNN | Feb 4, 2013, 08.00 PM IST
Gallery owner Ashish Ananad said the exhibition "explores a popular thematic concept in art" and will continue as planned.
NEW DELHI: An art exhibition here showcasing a retrospective on modern nude art ran into trouble today with right wing activists forcing it to shut down temporarily and organisers reopening it with police protection.
"The Naked and the Nude" exhibition hosted at the Delhi Art Gallery's exhibition space in south Delhi witnessed a protest by the women's wing of VHP demanding a ban on the show which they said contained "nude and obscene paintings that showed women in very bad light".
Gallery owner Ashish Ananad, however, said the exhibition "explores a popular thematic concept in art" and will continue as planned, with police protection if necessary.
"We have today personally seen all such paintings and called the police to stop it as the nude and obscene paintings show women in very bad light and disrespectfully and are highly objectionable," said Sanjana Chaudhary, state convener of Durga Vahini.
The exhibition, which opened in the city this Saturday and scheduled to continue till March 15 showcases around 250 works by artists like Karamkar, Goud and Ara.
"Delhi Art Gallery current exhibition 'The Naked and the Nude' explores a popular thematic concept in art, that of the human body, and how artists have looked at it historically as a part of their narrative. This exploration has been part of the tradition in the West as well as in India. It forms part of the national heritage and is represented by the country's great masters," said Anand.
"Certain attempts to disrupt the exhibition seem to be a cause for alarm, with regard to India's liberal tradition and freedom of artistic expression guaranteed under the Constitution" he said.
The protesters objected to the "indecent pictures" that showed women as a mere commodity.
"In the light of Delhi's gang rape, this kind of immoral act which depicts women as a sex object should not be allowed," said Chaudhary.
The protesters say they had written to the organisers before the exhibition opened and sent a copy of letter to Home Minister Sushilkumar Shinde, LG Tejendra Khanna, Chief Minister Sheila Dikshit and Police Commissioner Neeraj Kumar, requesting them to get the exhibition banned and arrest its organisers.
Organisers remained defiant saying "the entry to the exhibition is only by invite" and it will "continue as planned".
"We believe in everyone's right to debate, discussion and even protest, provided it is non-abusive, non-violent and non-threatening. The exhibition at the gallery will continue as planned, with, if necessary, the support and safety provided by the state to cultural organisations," said Anand.
Nude exhibition at Delhi gallery draws protest
TNN | Feb 4, 2013, 08.00 PM IST
Gallery owner Ashish Ananad said the exhibition "explores a popular thematic concept in art" and will continue as planned.
NEW DELHI: An art exhibition here showcasing a retrospective on modern nude art ran into trouble today with right wing activists forcing it to shut down temporarily and organisers reopening it with police protection.
"The Naked and the Nude" exhibition hosted at the Delhi Art Gallery's exhibition space in south Delhi witnessed a protest by the women's wing of VHP demanding a ban on the show which they said contained "nude and obscene paintings that showed women in very bad light".
Gallery owner Ashish Ananad, however, said the exhibition "explores a popular thematic concept in art" and will continue as planned, with police protection if necessary.
"We have today personally seen all such paintings and called the police to stop it as the nude and obscene paintings show women in very bad light and disrespectfully and are highly objectionable," said Sanjana Chaudhary, state convener of Durga Vahini.
The exhibition, which opened in the city this Saturday and scheduled to continue till March 15 showcases around 250 works by artists like Karamkar, Goud and Ara.
"Delhi Art Gallery current exhibition 'The Naked and the Nude' explores a popular thematic concept in art, that of the human body, and how artists have looked at it historically as a part of their narrative. This exploration has been part of the tradition in the West as well as in India. It forms part of the national heritage and is represented by the country's great masters," said Anand.
"Certain attempts to disrupt the exhibition seem to be a cause for alarm, with regard to India's liberal tradition and freedom of artistic expression guaranteed under the Constitution" he said.
The protesters objected to the "indecent pictures" that showed women as a mere commodity.
"In the light of Delhi's gang rape, this kind of immoral act which depicts women as a sex object should not be allowed," said Chaudhary.
The protesters say they had written to the organisers before the exhibition opened and sent a copy of letter to Home Minister Sushilkumar Shinde, LG Tejendra Khanna, Chief Minister Sheila Dikshit and Police Commissioner Neeraj Kumar, requesting them to get the exhibition banned and arrest its organisers.
Organisers remained defiant saying "the entry to the exhibition is only by invite" and it will "continue as planned".
"We believe in everyone's right to debate, discussion and even protest, provided it is non-abusive, non-violent and non-threatening. The exhibition at the gallery will continue as planned, with, if necessary, the support and safety provided by the state to cultural organisations," said Anand.
October 07, 2012
Does art have boundaries? [Kannada writers opposing a memorial for India’s one and only R K Narayan because he is not a Kannadiga]
From: Deccan Herald, Oct 7, 2012
by Vatsala Vedantam
If one state cannot tolerate persons from another, this country is far from becoming a “melting pot”.
Newspapers have carried two interesting stories and viewpoints recently. The first one comes from a far away country. It tells us that the Norwegian prime minister has appointed a Muslim woman from Pakistan as the new minister for Culture in Norway. The second one is nearer home and talks about eminent Kannada writers opposing a memorial for India’s one and only R K Narayan because he is not a Kannadiga.
While the first story conveys a deep sense of inclusiveness at a time when communal passions are riding high in the world, the second leaves us stunned by its narrow conviction that a writer who wrote in English has no place in the city that he loved and immortalised.
Read Mysore for Malgudi, and RKN immediately becomes a more loyal Kannadiga than anyone else. If the Town Hall, the Market place, Lawley Extension, the Sarayu river and the Memphi forest are not quintessential Mysore, what else are his novels all about?
To disown their creator would be disowning our own Kannada way of life.
Yes. R K Narayan was a Tamilian by birth who made English language his own. But so were Kannada’a greatest playwright, T P Kailasam, novelist Masti Venkatesha Iyengar, poets G P Rajaratnam and and P T Narasimhachar and many others who spoke in Tamil, studied in English and wrote in Kannada.
Why, our most renowned Kannada intellectuals like A N Moorthy Rao and L S Seshagiri Rao cut their teeth on English literature which they studied and taught before branching into Kannada writing. Moorthy Rao used to humourously describe Mysore in the 1930s, when there was a wave of Kannada revival in that city, with agitators shouting in English “Please speak in Kannada only!”
Not outsiders
When we see the number of Tamilians, Malayalis, Bengalis, Maharashtrians and Telegu speaking people in Karnataka, who have made significant contributions in various fields, who are ‘we’ to call them ‘outsiders’ or to deny them honours? If Raja Ramanna spoke in Tamil, studied in English and went on to become an international scientist in nuclear physics, have we not proudly claimed his achievements as ‘ours?’
Our best scientific institution was established by a Parsi. Our popular dance and music genres originated in Andhra and Tamil Nadu. Some of our literary gems were written in English.
The poet, essayist and translator AK Ramanujan who was a Tamilian born in Mysore, majored in English and migrated to America at the age of 30, where he lived and died, after an illustrious career as a scholar in Tamil, Telegu, Sanskrit and English. He is still revered as a son of Karnataka. Shall we deny them all honours when the world has recognised their genius?
Why, the first Kannada-English dictionary was produced in 1894 by a Christian missionary, Rev Kittel. He was a scholar in Kannada who dedicated his life to studying Kannada literature, art and customs.
Should we obliterate his memory because he was a “foreigner”? Or, throw away a painter of the staure of Yusuf Arrakkal because he is Malayali/Muslim? Our narrow boundaries have to give way to “boundlessness” if we desire our state to progress.
If one state cannot tolerate persons coming from another state in India, this country is far from becoming a “melting pot” like America where so many immigrants from so many countries and cultures have all come together to live in harmony.
When we consider the flow of people long ago from England, Ireland and other European countries who came to the two Americas in search of a living – added to the more recent rush of educated immigrants from Asian countries - we may as well ask where are the original inhabitants of those great continents?
The native American Indian has become a small minority in his own land which has absorbed and assimilated so many languages, dialects and cultures. The Nobel Laureate Chandrashekar did not go unrecognised in the country of his adoption just because he was born in India.
Sweden gave him the highest scientific award, while America showered honours on him. Similarly, the mathematical genius of Ramanujan went unrecognised in his own country but hailed by mathematical societies world wide as a scientific marvel.
So, let us not grudge or deny recognition to an eminent writer simply because he was born in another state. On the other hand, we can prevail on our state government to award similar honours on Kannada writers and artists of eminence. We have had such abundance of talent, now and in the past.
Whether it is our rashtrakavi Kuvempu, theatre wizard Gubbi Veeranna, film maker Puttanna Kanagal, legendary sculptor Jakanacharya or even the 12th century mystic poet Akka Mahadevi – the state should feel proud to preserve and honour the rich heritage they have left behind.
We must also learn to view all creative artists and geniuses through ‘a different mirror.’ Art has no boundaries or walls. It is a bridge where everyone should feel free to walk cross.
by Vatsala Vedantam
If one state cannot tolerate persons from another, this country is far from becoming a “melting pot”.
Newspapers have carried two interesting stories and viewpoints recently. The first one comes from a far away country. It tells us that the Norwegian prime minister has appointed a Muslim woman from Pakistan as the new minister for Culture in Norway. The second one is nearer home and talks about eminent Kannada writers opposing a memorial for India’s one and only R K Narayan because he is not a Kannadiga.
While the first story conveys a deep sense of inclusiveness at a time when communal passions are riding high in the world, the second leaves us stunned by its narrow conviction that a writer who wrote in English has no place in the city that he loved and immortalised.
Read Mysore for Malgudi, and RKN immediately becomes a more loyal Kannadiga than anyone else. If the Town Hall, the Market place, Lawley Extension, the Sarayu river and the Memphi forest are not quintessential Mysore, what else are his novels all about?
To disown their creator would be disowning our own Kannada way of life.
Yes. R K Narayan was a Tamilian by birth who made English language his own. But so were Kannada’a greatest playwright, T P Kailasam, novelist Masti Venkatesha Iyengar, poets G P Rajaratnam and and P T Narasimhachar and many others who spoke in Tamil, studied in English and wrote in Kannada.
Why, our most renowned Kannada intellectuals like A N Moorthy Rao and L S Seshagiri Rao cut their teeth on English literature which they studied and taught before branching into Kannada writing. Moorthy Rao used to humourously describe Mysore in the 1930s, when there was a wave of Kannada revival in that city, with agitators shouting in English “Please speak in Kannada only!”
Not outsiders
When we see the number of Tamilians, Malayalis, Bengalis, Maharashtrians and Telegu speaking people in Karnataka, who have made significant contributions in various fields, who are ‘we’ to call them ‘outsiders’ or to deny them honours? If Raja Ramanna spoke in Tamil, studied in English and went on to become an international scientist in nuclear physics, have we not proudly claimed his achievements as ‘ours?’
Our best scientific institution was established by a Parsi. Our popular dance and music genres originated in Andhra and Tamil Nadu. Some of our literary gems were written in English.
The poet, essayist and translator AK Ramanujan who was a Tamilian born in Mysore, majored in English and migrated to America at the age of 30, where he lived and died, after an illustrious career as a scholar in Tamil, Telegu, Sanskrit and English. He is still revered as a son of Karnataka. Shall we deny them all honours when the world has recognised their genius?
Why, the first Kannada-English dictionary was produced in 1894 by a Christian missionary, Rev Kittel. He was a scholar in Kannada who dedicated his life to studying Kannada literature, art and customs.
Should we obliterate his memory because he was a “foreigner”? Or, throw away a painter of the staure of Yusuf Arrakkal because he is Malayali/Muslim? Our narrow boundaries have to give way to “boundlessness” if we desire our state to progress.
If one state cannot tolerate persons coming from another state in India, this country is far from becoming a “melting pot” like America where so many immigrants from so many countries and cultures have all come together to live in harmony.
When we consider the flow of people long ago from England, Ireland and other European countries who came to the two Americas in search of a living – added to the more recent rush of educated immigrants from Asian countries - we may as well ask where are the original inhabitants of those great continents?
The native American Indian has become a small minority in his own land which has absorbed and assimilated so many languages, dialects and cultures. The Nobel Laureate Chandrashekar did not go unrecognised in the country of his adoption just because he was born in India.
Sweden gave him the highest scientific award, while America showered honours on him. Similarly, the mathematical genius of Ramanujan went unrecognised in his own country but hailed by mathematical societies world wide as a scientific marvel.
So, let us not grudge or deny recognition to an eminent writer simply because he was born in another state. On the other hand, we can prevail on our state government to award similar honours on Kannada writers and artists of eminence. We have had such abundance of talent, now and in the past.
Whether it is our rashtrakavi Kuvempu, theatre wizard Gubbi Veeranna, film maker Puttanna Kanagal, legendary sculptor Jakanacharya or even the 12th century mystic poet Akka Mahadevi – the state should feel proud to preserve and honour the rich heritage they have left behind.
We must also learn to view all creative artists and geniuses through ‘a different mirror.’ Art has no boundaries or walls. It is a bridge where everyone should feel free to walk cross.
September 20, 2012
Gujarnica: Yusuf Arakkal's 2003 installations on the Gujarat riots
From Tehelka, 13 September 2012
CULTURE & SOCIETY
ART
‘Gujarnica was a product of my emotional outburst’
In 2003, artist Yusuf Arakkal made two large installations on the Gujarat riots --- ‘Gujarnica’, a triptych depicting the gruesome pogroms, and 'War, Guernica Re-occurs', a series of three 8x3.5 ft panels reflecting the impact the riots have left on our minds.The latter even won him a silver medal at the fourth Biennale Internazionale Dell'Arte Contemporanea at Florence in 2003. With the verdict on the Naroda Patiya case having come out recently, he tells Shazia Nigar why he chose to express himself on canvas
'Gujarnica’, a triptych depicting the gruesome pogroms of the Gujarat riots
You painted your triptych ‘Gujarnica’ in response to the 2002 massacre. Can you tell us about the process:When did you start work on the painting, how long did it take, but, most importantly, how did the painting help you work through your own feelings about the violence?
I had been reading about the Gujarat riots and seeing a lot of visuals in the media. The more I saw of what happened in Naroda Patiya and other areas, the more I was disturbed and pained. I didn't know what to do at that point. Then my friend, sarod maestro Dr. Rajeev Taranth, told me that I should paint a picture about it. I remembered how Picasso painted Guernica on the bombing of a small town during the Spanish Civil war. He created a masterpiece. I consider it to be the most important reaction to war. Thus when I finished the painting, Rajeev suggested I call it Gujarnica.
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After I finished Gujarnica, I got an invite from the fourth Biennale Internazionale Dell'Arte Contemporanea in Florence. I was the first Indian invited to participate. Intially, I wanted to send Gujarnica, but I felt that there were certain artistic deficiencies in it. You know when you shout at someone you forget to use nice words. That's why I made the second painting War, Guernica Re-occurs, which is about 11-feet long and 7-feet high. I sent it for the Florence Biennale where it won me a silver medal. That was in 2003.
Can you describe what Picasso’s Guernica means to you? Was it immediately obvious to you when you decided to do your own painting that Guernica would be the reference?
It means a lot to me and has given me a lot of direction in my life. The first time I learned about Guernica was when it was at The Museum of Modern Art in New York. I saw the painting at the Prado in Madrid when it was returned to Spain. I had seen a lot of reproductions earlier but when I saw the actual work, I was amazed. Picasso is known for using a lot of vibrant colours, but this painting is almost black and white. The way he has visualised the agony of the people --- the crying human figure, the horse in agony, have become symbolic world over. I don't think it is possible to describe the way he manages to convey his message.
In fact, Picasso's Guernica is one of the sources from which I have taken images for War, Guernica Re-occurs. The last time I saw the painting was in 2003 after I won the silver medal at the Biennale Internazionale Dell'Arte Contemporanea at Florence for War, Guernica Re-occurs. I was very surprised when I won the silver medal. My wife and I were supposed to return to India the day after the award ceremony. However, after winning the award I had to pay my respects to Picasso. Thus instead we flew to Madrid and viewed Guernica at the Reina Sofia.
Once you finished the painting, why did you decide not to show it?
Frankly, I was not very happy with the painting as an artist because this was more of an emotional outburst. I didn't want to sell that painting so I kept it to myself. I was very attached to it sentimentally. I didn't even talk about it till recently.
Frankly, I was not very happy with the painting as an artist because this was more of an emotional outburst. I didn't want to sell that painting so I kept it to myself. I was very attached to it sentimentally. I didn't even talk about it till recently.
The obvious follow-up to that would be --- what about the Naroda Patiya verdict changed your mind? Why is this the right time to show your work?
I was very disturbed when I heard about the riots. My first reaction was to take a flight to Baroda. I wanted to meet some friends there and know more about what was happening. As soon as I landed, a very dear friend, who didn't want to be named, asked me to leave immediately because it was Baroda and I am well known in the art circles. They were afraid that something would happen to me. So I left the same night and came back to Bombay. The only thing I could do as a creative person was to react in this way, through a painting. I was always praying that the culprit should be brought to book. And I think Tehelka did a great job of it. When this verdict came out, I felt that justice was done. Somehow the confidence of the people is being restored. Our country is a great country, no doubt about it. Only a few elements here and there are creating these problems.
Look at what's happening in the Northeast. Some of the best human beings I have met are people from the Northeast and suddenly they are being hounded from Bengaluru. Some of my friends are scared. These situations are created by a few unscrupulous people. We should all be vigilant about it, especially the media, and us creative people. Everybody should talk about it and everybody should react to it. I don't think there is any point in us relying on the politicians to do that.
Tell us a little about the techniques you used for ‘Gujarnica’, how you settled on the form.
I was actually trained in European academic painting. Before I went to art school, a famous portrait painter called Jaya Varma, who belonged to Raja Ravi Varma's family, taught me European Academic painting for one-and-a-half years. He was 75 at that time. That was my basic training in art. Only then did I do my graduation. Later when I started painting, I was doing it more or less in an academic painting technique. The method was to work layer by layer and I would take months to finish a painting. I felt like I started with an important issue and by the time I finished a lot of things were lost in the process. So I thought I should find a technique of my own which would allow me to finish my paintings faster. So I searched and experimented. I finally found a technique that is basically used by European Academic painters themselves and is called Glazing. After they work on a painting with dull colours, they overlap the painting with thin colours. So I put up a canvas, create a thick layer background and use thin paints on it on a very fast track. Today I can produce a 10 by 10 canvas in hours.
shazia@tehelka.com
CULTURE & SOCIETY
ART
‘Gujarnica was a product of my emotional outburst’
In 2003, artist Yusuf Arakkal made two large installations on the Gujarat riots --- ‘Gujarnica’, a triptych depicting the gruesome pogroms, and 'War, Guernica Re-occurs', a series of three 8x3.5 ft panels reflecting the impact the riots have left on our minds.The latter even won him a silver medal at the fourth Biennale Internazionale Dell'Arte Contemporanea at Florence in 2003. With the verdict on the Naroda Patiya case having come out recently, he tells Shazia Nigar why he chose to express himself on canvas
'Gujarnica’, a triptych depicting the gruesome pogroms of the Gujarat riots
You painted your triptych ‘Gujarnica’ in response to the 2002 massacre. Can you tell us about the process:When did you start work on the painting, how long did it take, but, most importantly, how did the painting help you work through your own feelings about the violence?
I had been reading about the Gujarat riots and seeing a lot of visuals in the media. The more I saw of what happened in Naroda Patiya and other areas, the more I was disturbed and pained. I didn't know what to do at that point. Then my friend, sarod maestro Dr. Rajeev Taranth, told me that I should paint a picture about it. I remembered how Picasso painted Guernica on the bombing of a small town during the Spanish Civil war. He created a masterpiece. I consider it to be the most important reaction to war. Thus when I finished the painting, Rajeev suggested I call it Gujarnica.
ALSO READ
The Bhatts’ Guide To Sleeper Hits
Shooting Sex
Bollygood Stereotypes
After I finished Gujarnica, I got an invite from the fourth Biennale Internazionale Dell'Arte Contemporanea in Florence. I was the first Indian invited to participate. Intially, I wanted to send Gujarnica, but I felt that there were certain artistic deficiencies in it. You know when you shout at someone you forget to use nice words. That's why I made the second painting War, Guernica Re-occurs, which is about 11-feet long and 7-feet high. I sent it for the Florence Biennale where it won me a silver medal. That was in 2003.
Can you describe what Picasso’s Guernica means to you? Was it immediately obvious to you when you decided to do your own painting that Guernica would be the reference?
It means a lot to me and has given me a lot of direction in my life. The first time I learned about Guernica was when it was at The Museum of Modern Art in New York. I saw the painting at the Prado in Madrid when it was returned to Spain. I had seen a lot of reproductions earlier but when I saw the actual work, I was amazed. Picasso is known for using a lot of vibrant colours, but this painting is almost black and white. The way he has visualised the agony of the people --- the crying human figure, the horse in agony, have become symbolic world over. I don't think it is possible to describe the way he manages to convey his message.
In fact, Picasso's Guernica is one of the sources from which I have taken images for War, Guernica Re-occurs. The last time I saw the painting was in 2003 after I won the silver medal at the Biennale Internazionale Dell'Arte Contemporanea at Florence for War, Guernica Re-occurs. I was very surprised when I won the silver medal. My wife and I were supposed to return to India the day after the award ceremony. However, after winning the award I had to pay my respects to Picasso. Thus instead we flew to Madrid and viewed Guernica at the Reina Sofia.
Once you finished the painting, why did you decide not to show it?
Frankly, I was not very happy with the painting as an artist because this was more of an emotional outburst. I didn't want to sell that painting so I kept it to myself. I was very attached to it sentimentally. I didn't even talk about it till recently.
Frankly, I was not very happy with the painting as an artist because this was more of an emotional outburst. I didn't want to sell that painting so I kept it to myself. I was very attached to it sentimentally. I didn't even talk about it till recently.
The obvious follow-up to that would be --- what about the Naroda Patiya verdict changed your mind? Why is this the right time to show your work?
I was very disturbed when I heard about the riots. My first reaction was to take a flight to Baroda. I wanted to meet some friends there and know more about what was happening. As soon as I landed, a very dear friend, who didn't want to be named, asked me to leave immediately because it was Baroda and I am well known in the art circles. They were afraid that something would happen to me. So I left the same night and came back to Bombay. The only thing I could do as a creative person was to react in this way, through a painting. I was always praying that the culprit should be brought to book. And I think Tehelka did a great job of it. When this verdict came out, I felt that justice was done. Somehow the confidence of the people is being restored. Our country is a great country, no doubt about it. Only a few elements here and there are creating these problems.
Look at what's happening in the Northeast. Some of the best human beings I have met are people from the Northeast and suddenly they are being hounded from Bengaluru. Some of my friends are scared. These situations are created by a few unscrupulous people. We should all be vigilant about it, especially the media, and us creative people. Everybody should talk about it and everybody should react to it. I don't think there is any point in us relying on the politicians to do that.
Tell us a little about the techniques you used for ‘Gujarnica’, how you settled on the form.
I was actually trained in European academic painting. Before I went to art school, a famous portrait painter called Jaya Varma, who belonged to Raja Ravi Varma's family, taught me European Academic painting for one-and-a-half years. He was 75 at that time. That was my basic training in art. Only then did I do my graduation. Later when I started painting, I was doing it more or less in an academic painting technique. The method was to work layer by layer and I would take months to finish a painting. I felt like I started with an important issue and by the time I finished a lot of things were lost in the process. So I thought I should find a technique of my own which would allow me to finish my paintings faster. So I searched and experimented. I finally found a technique that is basically used by European Academic painters themselves and is called Glazing. After they work on a painting with dull colours, they overlap the painting with thin colours. So I put up a canvas, create a thick layer background and use thin paints on it on a very fast track. Today I can produce a 10 by 10 canvas in hours.
shazia@tehelka.com
September 19, 2012
India: Class XI history textbook 'Themes in World History' in divine trouble
From: Mail Today, 19 September 2012
Painting trouble now for NCERT
By Ritika Chopra in New Delhi
BARELY a week after putting an end to the cartoon controversy, the National Council of Educational Research and Training ( NCERT) seems to be staring at another in the making.
This time, the spotlight is on two paintings reproduced in a Class XI history textbook titled Themes in World History.
The Shahi Imam of Fatehpuri Mosque, Mohd Mukarram Ahmed, has written to human resource development minister Kapil Sibal asking for the removal of a medieval painting of Archangel Gabriel ( on Page 79) and another of pilgrims at the Kaba ( Page 80) from the chapter ‘ The Central Islamic Lands’ on the ground that they are against the Sharia law.
According to sources, the ministry had sought a response from the NCERT on the complaint and the textbook development committee ( TDC) for history has already replied.
The letter, dated September 10, has also been sent to Delhi CM Sheila Dikshit, education minister Kiran Walia and NCERT chief Parvin Sinclair.
“ Jibril ( Gabriel) is the chief angel who brought messages to the Prophet. The painting in the book is comical in its presentation of the Archangel. Secondly, the caption for the illustration on pilgrims at the Kaba states that they are ‘ touching’ the stone even though it’s customary to kiss it. But the Jibril painting is the most objectionable and will not be tolerated,” Ahmed, who is also planning to write to the PM and Congress chief Sonia Gandhi, said.
Sinclair told MAIL TODAY : “ The paintings have been procured from a reputed sourced and have been made by people of the Islamic world. Having said that, we take all opinions seriously and the complaint will be taken up during the textbook’s review.” According to Najaf Haider — associate professor at the Centre for Historical Studies at JNU who was a member of the TDC — the Gabriel painting was sourced from a 13th century text called Ajaib- ul- Makhluqat , written by a renowned scholar, Kazrini. The second illustration was taken from a 15th century collection of fragmented pieces.
Haider said the NCERT’s book is the only history textbook in the country that has a chapter on Islam. He said: “ The letter only states the paintings are against Sharia and doesn’t exactly point out what’s objectionable about them. Moreover, these texts ( from where the paintings are sourced) were written in Muslim courts by people who were far more scholarly and pious than anyone can claim to be today.”
Painting trouble now for NCERT
By Ritika Chopra in New Delhi
BARELY a week after putting an end to the cartoon controversy, the National Council of Educational Research and Training ( NCERT) seems to be staring at another in the making.
This time, the spotlight is on two paintings reproduced in a Class XI history textbook titled Themes in World History.
The Shahi Imam of Fatehpuri Mosque, Mohd Mukarram Ahmed, has written to human resource development minister Kapil Sibal asking for the removal of a medieval painting of Archangel Gabriel ( on Page 79) and another of pilgrims at the Kaba ( Page 80) from the chapter ‘ The Central Islamic Lands’ on the ground that they are against the Sharia law.
According to sources, the ministry had sought a response from the NCERT on the complaint and the textbook development committee ( TDC) for history has already replied.
The letter, dated September 10, has also been sent to Delhi CM Sheila Dikshit, education minister Kiran Walia and NCERT chief Parvin Sinclair.
“ Jibril ( Gabriel) is the chief angel who brought messages to the Prophet. The painting in the book is comical in its presentation of the Archangel. Secondly, the caption for the illustration on pilgrims at the Kaba states that they are ‘ touching’ the stone even though it’s customary to kiss it. But the Jibril painting is the most objectionable and will not be tolerated,” Ahmed, who is also planning to write to the PM and Congress chief Sonia Gandhi, said.
Sinclair told MAIL TODAY : “ The paintings have been procured from a reputed sourced and have been made by people of the Islamic world. Having said that, we take all opinions seriously and the complaint will be taken up during the textbook’s review.” According to Najaf Haider — associate professor at the Centre for Historical Studies at JNU who was a member of the TDC — the Gabriel painting was sourced from a 13th century text called Ajaib- ul- Makhluqat , written by a renowned scholar, Kazrini. The second illustration was taken from a 15th century collection of fragmented pieces.
Haider said the NCERT’s book is the only history textbook in the country that has a chapter on Islam. He said: “ The letter only states the paintings are against Sharia and doesn’t exactly point out what’s objectionable about them. Moreover, these texts ( from where the paintings are sourced) were written in Muslim courts by people who were far more scholarly and pious than anyone can claim to be today.”
April 03, 2012
Put Your Art Where Your Mouth Is
Indian artists may not want their art to be weighed on a social justice scale but don’t mind if their actions are, finds Aradhna Wal
http://www.tehelka.com/story_main52.asp?filename=hub070412PUT.asp
http://www.tehelka.com/story_main52.asp?filename=hub070412PUT.asp
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