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PAST FORWARD The future of India’s creativity

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The Asian Herita Heritage Foundation C-52, South Extension- III, New Delhi -110049 phone- 0091.11. 26263984-7. 26263984- Fax: 0091.11.26263988 [email protected] mail@asianheritag www.asianheritagefoundation.org www.asianheritag

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In the transition to a knowledge based economy, the creative and cultural industries have become the most rapidly growing phenomena in the world. Take, for example, the United Kingdom where it accounts for 7.9% of the GDP, growing by an average of 9% per annum between 1997 and 2000, compared to an average of 2.8% for the whole economy. Following the UNESCO charter, a number of countries initiated a slew of policies, programmes, pilot projects and administrative mechaQLVPVWRWDSWKHSRWHQWLDORI WKHVHFRQWHQWGULYHQHQWHUSULVHV:KLOHHDFKRI WKHVHQDWLRQVIRUPXODWHGWKHLURZQFRQWH[WVSHFLÀFGHÀQLWLRQV they all acknowledge the synergy of the cultural and creative industries and see them together as the primary drivers of their economy. The importance of culture and creative potential is also increasingly recognised by the international community as a key to more sustainable development models. Cultural industries are generally small, decentralized and mobilize communities for self empowerment (especially the women and the poor) and require more grassroots participation than any other industry. Furthermore, they utilise resources that are geoVSHFLÀFDQGGUDZRQVNLOOVWKDWDUHHQWUHQFKHGLQRXUZD\RI OLIH7KHUHIRUHWKH\DUHPRUHHIIHFWLYHLQEXLOGLQJHPSOR\PHQWDQGKXPDQ capital than agriculture, IT or large industry. In India, Agriculture employs 37-40% of the workforce while other Industries together employ around 17-20%; the skilled and semi-skilled people that could constitute India’s legacy, cultural and creative industries form the bulk of the EDODQFH6RXUFH3RSXODWLRQ3URÀOH6XUYH\LQWHUSRODWHGZLWKLQGXVWU\GDWD Most developed nations have already lost their traditional skills and are now attempting to nurture what is left as heritage while simultaneously capitalizing on the creative design-led industries where they have an edge. India is in the enviable position of having a large variety of living, skill-based traditions and a number of highly versatile creative people capable of carrying this unique legacy further (approx. 145-175 million skilled practitioners). We have a nascent but expanding design and media industry that can help us reposition our traditional knowledge and thereby create original inroads into the global market.

We must exploit this edge to our best advantage…by combining the vast resources of heritage we have at our disposal and the advances made in technology to create distinctively Indian products and services – India’s own USP that can hold its own against the best the world has to offer. For example, our pictorial traditions of Madhubani, Warli, Saura, Pithora, Gondh, Patuas, Patachitra, miniatures and painted textiles could extend their vocabulary through animation, an industry where the Indian share of the global market (US $70 bn) is already about a billion dollars and is predicted to rise to $15 billion by 2009-10. Similarly, India’s share of the global Gifts, Handicrafts and Handlooms market (over US$ 250 bn) is growing consistently at an average of over 20% year on year mostly due to product development. To this end, there is a pressing need to encourage planning, investment and engagement in key areas such as mapping and statistical analysis, human resource development, capacity building, design innovation, creativity indices and benchmarking systems, infrastructure development, protection of intellectual property rights and copyright regulation, support policies for developing businesses, small and medium enterprises and targeted promotional and export measures. Simultaneously, urgent assistance is also required to facilitate structured private/public sector cooperation, access to credit and loans, market research and the deployment of information and communication technology to ensure cross-sectoral linkages and access to data and the global market. ,I VXFKV\QHUJLHVDUHWREHPRUHWKDQWKHSURYHUELDOÁDVKLQWKHSDQJRYHUQPHQWDOLQWHUYHQWLRQLQWKHIRUPRI D1DWLRQDO0LVsion for Creativity in Cultural Industries (draft enclosed) is urgently required to delineate a cohesive strategy and to spearhead cooperative ventures, private sector participation and civic engagement.

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Chapter 3 GLOBAL PHENOMENON

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MESSAGES

President of India UPA Chairperson Former Prime Ministers of India

CONTENTS VOLUME I By Shri Manmohan Singh, Honourable Prime Minister of India On the need for out- of- the- box solutions for nurturing India’s heritage and the importance of creativity in a global Market place

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POSITIONING THE BIG IDEA CREATIVE AND CULTURAL INDUSTRIES AS A LEAD SECTOR IN INDIA By Dr Montek Singh Ahluwalia, Executive Head of the Planning Process, Government of India

2

MAKING, DOING, BEING : A TIME FOR JOINED-UP THINKING By Rajeev Sethi, Chairman and Founder Trustee of the Asian Heritage Foundation, Advisor to the Ministry of Panchayati Raj and Vice-Chairperson of the Taskforce on Cultural and Creative Industries, Planning Commission

3

A GLOBAL PHENOMENON : EVOLUTION OF THEORY, POLICY & PRACTICE



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0(7$0253+26,6$'251272¶$57632/,&<· Cross cultural milestones &5($7,9,7<$1'&217(17,1$.12:/('*((&2120< Shift from Manufacturing to Services to Knowledge ,17(51$7,21$/$&7,21 An overview of multilateral global mechanisms in place Case studies of Nine Countries : Forward Group -UK, Singapore/Hongkong & China, Canada/USA; Peer Group - Philippines, South Africa, Brazil/Columbia

Overview Shri Montek Singh Ahluwalia took a pioneering step by setting up the Taskforce for Creative and Cultural Industries within the Planning Commission. In his introduction he outlines why positioning this sector in the lead is a big idea.

Positioning The Big Idea

Positioning The Big Idea

Creative and Cultural Industries as a Lead Sector

Buying a papier-mache box from a Kashmere crafts person while walking around the Silk Route Festival in Washington with my wife, provided a brief but talismanic experience of global trade LQFXOWXUHVSHFLÀFJRRGV7UDGLWLRQDO$UWVDQG&UDIWVKDYHEXLOWIRUWXQHVIRUPDQ\FRXQWULHVRYHU PDQ\FHQWXULHVDQGKDYHKHOSHGGHÀQHWKHLUXQLTXHQHVV$VDSUHFXUVRUWRWKH,QWHUQHWDQGQRZ WKH XELTXLWRXV HFRPPHUFH WKHVH DQFLHQW QHWZRUNV RI  WUDGH URXWHV DQG WKH HYROYHG VKDULQJ RI artistic sensibilities through import and export have united a large part of the world in its pursuit WREHFRPHULFK

By Dr Montek Singh Ahluwalia

Executive Head Of The Planning Process,government Of India

$PRQJVW WKH PDQ\ FKDOOHQJHV , DFFHSWHG ZKLOH WDNLQJ FKDUJH RI  WKH 3ODQQLQJ &RPPLVVLRQ ZDV to look for contemporary ways of transforming ‘unorganized’ economic talent and aspirations with VXVWDLQDEOHUHYHQXHPRGHOVZLWKFURVVFXOWXUDOPRGHUQHQWHUSULVHV 7KLV ODVW GHFDGH KDV VHHQ ,QGLD EX]]LQJ ZLWK WKH HQHUJ\ RI  QHZ PRQH\ PDQWUDV «  LQ WKH EDFNURRP RI  ,7 FRUSRUDWLRQV « LQ WKH ODEV RI  ELRJHQHWLFV 5 ' FHOOV « LQ WKH RSHQ ÀHOGV of agro industries; this entrepreneurial energy must now reach the threshold and transform our GHSULYHGQHLJKERUKRRGVHVSHFLDOO\LQWKHYLOODJHVÀOOHGZLWKDEXQGDQWO\VNLOOHGSHRSOH

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“Culture blooms as naturally as mother earth. In one earth grow many trees— mangoes and guavas, OLPHVDQGRUDQJHVÁRZHUVDQGKHUEV &XOWXUHEORRPVDVQDWXUDOO\DVDÁRZHU If it takes the crutch of a wall it dies. It has to be below the sky, rooted to the earth. Roots lie in darkness. When nourished they shoot up and gain luminosity. A seed should not be shy of germination. $ ELUG LQ ÁLJKW DQRQ\PRXV SLFNV D VHHG DQG ZKHQ LW drops it becomes a plant, then a tree. Cultur’e like a seed has an organic growth. Sanskriti ek shehed ki nadi hai jo chup chaap behti hai. Water makes sound not honey. Mun ki pehchaan jis se hai woh hi sanskriti hai.

Positioning The Big Idea

$ORWPRUHWKDQLVHDVLO\DSSDUHQWQHHGVWREHDVVHVVHGDQGWDNHQLQWRDFFRXQW«KRZIRU LQVWDQFHZRXOGWKHÀHOGVWKDWDUHUHFLSLHQWVRI VXEVLGLHVDOUHDG\SURYHWKHLUFDSDFLW\WR VXUYLYHZLWKRXWWKHSURSV":KDWLQGHHGQHHGVVXSSRUWWRVXUYLYH"+RZZRXOGWKHGLYHUVH UHTXLUHPHQWVRI GLIIHUHQWÀHOGVEHUHÁHFWHGLQSROLF\FKDQJHV"+RZZRXOGWKHJDUJDQWXDQ task of exhaustive mapping as a start to the recommended actions, be completed in the WLPHSHULRGRI WKHPLVVLRQ"7KHTXHVWLRQVDUHPDQ\EXWDVZLWKHYHU\QHZLQLWLDWLYHDOO DQVZHUVPD\QRWEHLPPHGLDWHO\DSSDUHQW\HWWKHVWHSPXVWEHWDNHQ0RVWRI DOOOHW·VVHH VRPHWDQJLEOHUHVXOWVLQWKHÀHOG«DQGDVVRRQDVSRVVLEOH

BABA AMTE, Anandwan, Nagpui

7

To be a painter one must know sculpture To be an architect one must know dance Dance is possible only through music And poetry therefore is essential (Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)

Making, Doing, Being...

Making... Doing... Being...

Occasionally rebuked since childhood as a ‘jack of all trades’ I was mostly at a loss in describing what I did in life. With the overarching umbrella offered by the new nomenclature of “cultural and creative industries”, I now have reason to feel comfortable. Being labeled “designer”, “theatre scenographers”, “artist”, “activist”, even “policy planner” or “impresario”, I know that making things happen in today’s world requires more muscle than one’s core-competency. Being a designer itself places one on the larger canvas of what a mentor in youth, Romesh Thapar called, ‘Design for Life’. Charles Earns used to say, “Everything Connects”. My Gurus, Smt. Kamala Devi Chattopadhyay and Smt. Pupul Jayakar held a seed and sourced the sap, Gira Sarabhai offered talismanic views, while charismatic leadHUVOLNH6PW,QGLUD*DQGKLDQG6KUL5DMLY*DQGKLVKRZHGKRZÁXLGHQHUJ\FDUYHVFRQQHFWHGSDWKZD\V This publication is also a tribute to the indomitable courage of India’s extraordinarily gifted people who’s ‘never-saydie’, tenacious identities, coupled with their skills to make or to do, allows them to be special. We marvel at India’s legacy of cultural industries seamlessly infusing tradition with new vitality. We bow to India’s vision of remaining still and centered, while surging ahead …. to the strength of our roots that go deeper even as our spirits continue to sour.

11

PART I ,QDSUHVHQWDWLRQ,PDGHWRWKH3ODQQLQJ&RPPLVVLRQODVW\HDU,VWUHVVHGRQWKHQHHGWRHVWDEOLVKD dialogue with related governmental initiatives running in parallel and sometimes opposite directions ZLWKOLWWOHFRRUGLQDWLRQ7KHQHZO\IRUPHG.QRZOHGJH&RPPLVVLRQZDVDQLGHDOSODWIRUPIRUXVWR share our concern for the future of our traditional and contemporary knowledge systems, creative LQGLFHVDQGFXOWXUDODVVHWV &RQVLGHUWKLV0RUHPRQH\LVPDGHE\PRUH,QGLDQVLQGRLQJZKDWWKH\GRZLWKRXWXELTXLWRXVWUDGH OHDGHUVRUSROLWLFRVGHGLFDWHGPLQLVWULHVRUSODQQHUVWRKHOSWKHP7KH\VXUYLYHLQDV\VWHPVRPHKDYH WHUPHGDVDIXQFWLRQLQJDQDUFK\ 0HHWLQJDVZHGLGLQWKH0HFFDRI FDVKULFK,7FRPSDQLHV,VSRNHIRUWKHVPDOODQGPDUJLQDOL]HG« )RUWRRORQJ,QGLDKDVKDG&RPPLVVLRQVWRORRNLQWRWKHQHHGVRI LWVVRFDOOHGunRUJDQL]HGVHFWRUDQG not take stock of its scale and strength as a selfRUJDQL]LQJPHFKDQLVP
:KHUH D VPDOO IUDJPHQW RI  FRDUVH FRWWRQ G\HG $DO DQG 0DQMLWKD RU PDGGHU5HGZDVIRXQGZUDSSHGDURXQGDPHWDOYDVHLQ0RKHQMRGDUR

With the inevitability of our future being so heavily informed and shaped by the forces of globalisaWLRQ,IHOWWKHQHHGWRLQIRUPWKHQHZ&DSWDLQVRI RXUQHZHFRQRP\DERXW,QGLD·VÀUVWJOREDOLVDWLRQ ORQJEHIRUHDQ\RWKHU

12

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7KLVLV¶$DO·PDGHIURPGU\LQJWKHURRWVRI 5XELDWLQFWRUXPWKHPDGder plant evoking sakthi, the chance discovery of which marks the beginQLQJVRI RXULQFUHGLEOHVWRU\DVDQDWLRQWKDWFORWKHGWKHZRUOG,QGLD·V WH[WLOHVFRXOGZHOOEHWKHVWRU\RI ,QGLD·VZHDOWK

Making, Doing, Being...

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7KHVHFRQGFRORXULQWKLVHPEURLGHU\«¶1LOD·ZDVG\HGIURPLQGLJR 5HSOHWHZLWKGDUNPDJLFDOQXDQFHVWKLVFRORXUWDNHVXVLQWRWKHJDUGHQVRI DQFLHQWDOFKHP\«ODERUDWRULHVZKHUHWKHVHDUFKIRUWKHHOL[LU RI OLIHWKHIUHHLQJRI WKHERG\DQGPLQGIURPWKHRQVODXJKWRI WLPHZDVWKHPDLQSXUVXLW/LNHLQGLJRHYHQWRGD\PDQ\SODQWVXVHGLQ QDWXUDOG\LQJSURFHVVHVDUHIRXQGOLVWHGDQGGHVFULEHGLQ$\XUYHGLF3KDUPDFRSRHLD

13

7KHORRNRI WKHVHHDUO\VSHFLPHQV LVVRVLPLODUWRZKDWZHÀQGHYHQ WRGD\ IRU H[DPSOH  LQ WKH $MUDN 3ULQWVRI 6LQGKDQG.XFFK 0XFKHOVHFDQEHUHDGLQWKHEDODQFHGSOD\RI PDGGHUDQGLQGLJR«$DOWKH FRORURI 2[EORRGRI OLIHJLYLQJHWHUQDOIRUFHV$QG1HHOGHHSHOXVLYHHYRNLQJ SULPRUGLDOPHPRULHV« «WRJHWKHU1HLODQG$DOIRUPHGWKHWZRHQGVRI RXUEDVLFFRORXUSDOHWWHDQG ZLWKWKDWDQHZSODQWFKHPLVWU\ZDVLQWURGXFHGWRWKHPDVWHUG\HUVRI ,QGLD «RXUWU\VWZLWKWKH5DLQERZG\HGLQWKHVDSRI QDWXUH

Now look at these specimens found in /RZHU(J\SW Made much later in the peULRG IURP WKH WK WR WK FHQWXU\ DQG known as the ‘Fustat’ fragments these are composed largely of printed cottons FUXGHO\ G\HG EXW À[HG PDJLFDOO\ ZLWK ,QGLD·VÀUVWGLVFRYHU\RI IDVWHQLQJFRORXU ZLWKWKHP\ULDGP\UREODP

14

Used probably as tomb coverLQJV,QGLD·VIDEULFVWKHQIDPRXV IRUWKHLUTXDOLW\ZHUHFDUULHGE\ $UDE7UDGHUVDFURVVWKHVHDVDQG used in barter between Egypt and 6XGDQ 7KH 6LON 5RXWH HQWUHSUHQHXUV WR $VLD DQG PHGLHYDO (XURSH ZHUH also a part of this intercontinental trade that was a precursor to WKHLQWHUQHW

Making, Doing, Being...

The Silk Route at Smithsonian,Washington produced in deferent part of the world by an entirely Indian team

15

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16

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Making, Doing, Being...

2OGLVUHF\FOHGLQWRQHZ0UV3XSXO-D\DNDUXVHGWRVD\“negating the linear movement of history; the

tradition develops like a spiral that re-coils and un-coils. Within this movement, nothing is totally rejected.”

'U.DSLOD9DWV\D\DQGHVFULEHVWKLVLVVXHYHU\SRHWLFDOO\6KHVD\V ¶¶7KHÁRZRI DWUDGLWLRQPD\EHFRPSDUHGWRDGRXEOHUHHGÁXWH2QHUHHGLVDSHUHQQLDOVWUDLQDWRQDO

consistency, immutable across space and time; the other reed plays the tune of immediate time and space. One then is repetitive but stable; the other changing. The two together create the music that sounds different at different times.’’ In an era when tradition and modernity are seen as two polar realms, devoid of any mutual interaction, we have much to learn from these two wise women.

17

$QGWKLVLVZKHUHWKH7DVN)RUFHRQ&UHDWLYHDQG&XOWXUDO,QGXVWULHVWDNHVLWV FXH While staggering statistics are being widely acknowledged in the developed FRXQWULHVLQWKLVÀHOGWKHLUIRFXVKDVEHHQWKH¶FUHDWLYHVHFWRU·WKHVDPHDGvancement has not occurred in developing countries which draw more on traGLWLRQKHULWDJHDQG NQRZOHGJHVKDUHG E\FRPPXQLWLHV2QHPXVWUHPHPEHU however, that this imbalance is due to the fact that most developed nations that have put in place mechanisms for cultural industries are bereft of traditional VNLOOVDQGDUHQRZDWWHPSWLQJWRQXUWXUHZKDWLVOHIWDV¶KHULWDJH·7KH\DUHQRZ FDSLWDOLVLQJRQWKHFUHDWLYHGHVLJQOHGLQGXVWULHVZKHUHWKH\KDYHDTXDOLWDWLYH HGJH ,QGLDLVLQWKHHQYLDEOHSRVLWLRQRI KDYLQJDODUJHYDULHW\RI OLYLQJVNLOOEDVHG traditions and a number of highly versatile creative people capable of carryLQJWKLVXQLTXHOHJDF\IXUWKHUDSSUR[LPDWHO\PLOOLRQVNLOOHGSRWHQWLDO SUDFWLWLRQHUV 

How is this sector perceived in India today? Let’s open up the Big devide MODERN INDIA

TRADITIONAL INDIA

• Science

• Culture

• Large Industry = IT Telecom

• Cottage Industries & household manufg

• Textiles = Techno mechanized multi-fiber

• Handlooms & Khadi …

• Energy = Nuclear, hydel power

• Water mills, manual labour

• Irrigation=Big Dams, Canals

• Kunds, Kollams, Cheras, Baolis, Vaavs, Acqueducts

• Agriculture = Green Revolution

• Organic farming, indigenous seeds, fert r ilizers..

• Health = Allopathic Medicine

• Indigenous Systems of health & healing

• Media = Electronic broadcast, cinema

• Live & itinerant performance • Popular theatre, dance, music ..

• Education = English, IITs, IIMs etc. Fine Arts

18

• Vernacular dialects ..Gurukuls, Madarsas .. • Craft fs

• Travel = Tourism, hotels, resort rs

• Pilgrimages, dh d ara r msala l s ..

• Transportation = ships, highways, aircraft f

• Boats, bullock-cart r s, bridges

• Heritage = Commerce

• Identity, memory ..

Why do cultural and creative industries spell the future of work?

% of Workforce Population of India (2005 E) Employed (Workforce) Agriculture (Cultivators & Agri Labour) Organised Industry & Services “Self-organised”/ Household /Artesenal/ Legacy Industries

EMPLOYMENT

% share Amt. (Rs.) in GDP GDP

Growth Rate %

48% 22%

110 Crores 50 Crores 24 Crores 11 Crores

20% 66%

6,00,000 Cr. 20,00,000 Cr.

2-3% 10-12%

30%

15 Crores

14%

4,00,000 Cr.

12-15%

SHARE IN GDP Agriculture 48%

Cultural Industries, 30%

No. of people

Making, Doing, Being...

Employment Scenario

Cultural Industries, 14%

Agriculture 20%

Creative Iinds, 20%

Org. Industry, 22%


Other Industries, 46%

•

Rate of Employment is 45% of population and 35% of the population is un-employable (i.e.under 18 years/over 65 years/physically handicapped). There is a potential to gainfully employ 20% of the 110 Cr. population i.e. 22 Crores (mainly in rural areas - 10Cr. Literates & 12 Crore illiterates)

•

Surveys prove that there is an excess capacity of 20-22% in the population employed by agriculture which tranlates into 5 Crores of people unemployed/underemployed in this sector. (2 Cr. Literates & 3 Cr. Illiterates)

•

The Agriculture sector growing at approx 2-3% p.a. cannot absorb this potential workforce.

•

Organised manufacturing, mining & services can absorb a maximum of 2 Crores (~20% of their present employment potential i.e. 11 cr) especially in urban and suburban areas. This still leaves a large employable workforce of 13 crores literate and 15 Crores illiterates)

•

Creative, cultural and Traditional/legacy industries is the only key to gainfully employ this potential work force especially in the rural areas which attract very little industrial investment/interest. This workforce (at least the literate population) can be absorbed in the industry if an enabling environment is created within next 6 to 8 years.

•

Additional contribution to GDP created by the potential employment in this sector even at one–half the per-capita income (Rs.18,000 pa) is to the tune of Rs. 216,000 Crores (6% of GDP at current prices)

19

3$57,,

Finally, the most important issue we must raise is the state of the skilled person behind these legacy industries. What are they thinking? How are they relating to the tremendous developments taking place…many of which have a direct impact on them? What are their aspirations for their children and themselves? Working out ways of addressing the concerns of skilled craftspeople is meaningless if their own voices are not articulated. We bandy them about the world as the repository of our heritage, but never recognize their needs as people, when we bring them back to dump them in inhospitable slums. Do we know what miserable conditions many of our artisans and artists live and work in today? Do we feel for the gloom they face and indeed, the doom that India will face, if we allow them to disappear? Let me give you an example…

+HUHLVWKHWKUHVKROGRI DZHDYHU·VKXWLQ&KLQDODPSDWKL« 2QFH D WKULYLQJ FHQWUH IRU KDQGORRPV 1RZ D WKULYLQJ SRZHU PLOO VHOOLQJ LWV PHUFKDQGLVHWRELJEDQQHUV 7KLVLVDZHDYHU·VKXWLQWKHVDPHYLOODJH²KXWDIWHU KXWLVDEDQGRQHG7KHUHLVQRWKLQJEXWDJUDYH\DUGRI VLOHQWORRPVDOODURXQG GLVPDQWOHGWREHVROGDVÀUHZRRG

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Gopal, well versed in the art of weaving, sells balloons and his mother 0XWKDPDDQGZLIH5DGKDDOOH[SHULHQFHGZHDYHUVZRUNDVKRXVHPDLGV

20

Making, Doing, Being...

Who has the time today to pause and think-could this man pulling a rickshaw, selling balloons DQGYHJHWDEOHVRUVLIWLQJWKURXJKJDUEDJHEHDPDQZLWKDJLOHVHQVHVDQGDÀQHO\WXQHGPLQG" «&DSDEOHRI H[SORULQJLQÀQLWHSRVVLELOLWLHVRI RQHSOXVRQHPLQXVRQH 7KHVHDUHWKHVDPHZHDYHUVWKDWPDGH,QGLDIDPRXV«VWURQJDQGV\QRQ\PRXVZLWKTXDOLW\ 8QSUHFHGHQWHGDQGXQFKHFNHGJURZWKRI SRZHUORRPVLQZLWKQRPHDQLQJIXOLQFHQWLYH

,Q&KLUDODDIWHUWKHDJUHHPHQWRI WH[WLOHSROLFLHVLQZKHQEDODQFHVRI JURZWKZDVOLIWHGLQIDYRXU of powerloom,SXWZHDYHUVRI KDQGORRPRXWRI ZRUNLQ\HDUVFRPPLWWHGVXLFLGH7KHUH ZHUHVWDUYDWLRQGHDWKV 7KHSRRUGRQRWNQRZZKRWRWXUQWRDQ\ORQJHU7KHUHLVQR6XQZDLQRRQHLVOLVWHQLQJ So, who in this scenario where few survive, is going to bother about the hundreds of thousands displaced IURPWUDGLWLRQDOYRFDWLRQV

Nathilal LVDGLVSODFHGZHDYHUIURP83VHOOLQJLFHOROOLHVLQ'HOKL +HVLQJVDERXWKLV¶KXQDU·²KLVKRQRXUDEOHYRFDWLRQDVDORYHU«ORQJLQJDQHPEUDFHOLIHLVXQFHUWDLQ 1DWKLODOVLQJV¶0HUH0HKERREDDMDODJDORRQJDOH]LQGLJLNDNRLEKDURVDQDKL· $VOLYLQJUHSRVLWRULHVRI RXUKHULWDJHRXUWUDGLWLRQDODUWLVWVDUHDWKUHDWHQHGVSHFLHV

21

:HKDYHUDLVHGDFU\DERXWGLVDSSHDULQJWLJHUVDQGELUGV-XVWKRZDUHVNLOOVRI WKHKDQGWKHYRLFHWKH ERG\DQGWKHVHQVHV³QXUWXUHGE\OLIHWLPHVDQGJHQHUDWLRQVRI GHGLFDWLRQ³DQ\OHVVLPSRUWDQW" :KDWZLOOKDSSHQWRWKHFKLOGUHQRI WKRVHZKRZHUHRQFHVNLOOHG«QRZERQGHGJURZLQJURRWOHVVLQ RXUEDFN\DUGV«VHHWKLQJZLWKIUXVWUDWLRQ«DQGSHUKDSVYLROHQFH ,WLVDJDLQVWWKLVGDUNEDFNJURXQGWKDW,FKRRVHWRGHÀQHWKHFRQGLWLRQVRI WKHQXPHURXVFUDIWVSHRSOH DQGSHUIRUPLQJDUWLVWV1XPEHULQJLQPLOOLRQVSDUWLFXODUO\DURXQG6RXWK$VLDVHHQDVDYHVWLJHRI WKH SDVWWKH\GUDZIHHEO\RQWKHPLQLPDOUHVRXUFHVRI RXU*RYHUQPHQWV ,Q,QGLDWKLVVXUYLYLQJJURXSFRQVWLWXWHVWKHVHFRQGODUJHVWZRUNIRUFHDIWHUDJULFXOWXUH:KDWKDSSHQV WRWKHPDQGWRXV"7RWKHGHSWKRI RXUDQFLHQWFXOWXUH" 7KHUHLVQRFHQVXVRUVWDWLVWLFDODQDO\VLV:KRGRZHFRQVLGHUVNLOOHG":KDWLVWKHLUUROHLQWKHHFRQRP\ RI DQ\6RXWK$VLDQFRXQWU\" :KDWFDQ·WEHPHDVXUHGFDQ·WEHPDQDJHG«ZHKDYHQRURDGPDSV²MXVWSURPLVHVRI DFXOWXUHVKLQLQJ 7KHUHDUHQRFRQQHFWHGPRYHPHQWVOLQNLQJ1*2VSURGXFLQJDUWLVDQVRUSHUIRUPHUV«QRGHGLFDWHG PLQLVWULHVRUGHSDUWPHQWVRUFKHVWUDWLQJDV\QHUJ\IRUFXOWXUDOLQGXVWULHVDQGPLFURHQWHUSULVHV« $WDPRPHQWZKHUHHYHU\WKLQJELJLVEHDXWLIXOLWLVGHSUHVVLQJWKDWQRWRQHJUHDW&HQWUHRI /HDUQLQJ LVFRPPLWWHGWRHYROYLQJDEOXHSULQWIRUWKHPDUJLQDOL]HGPDMRULW\RI WKHVPDOOSURGXFHUVDQGFXOWXUDO HQWUHSUHQHXUV 7KHIXWXUHRI WKHLUVNLOOVLVPRUHYXOQHUDEOHWKDQHYHUEHIRUH

=DKLUD %HJXP ]DUL HPEURLGHUHU RI  ÁRRU FRYHULQJV IRU SDODFHV OLYHV here with her family of eight, three members, 3 cats and a fat goat.

$VXQHPSOR\PHQWUDYDJHVWKHFRXQWU\VLGHWKHVWUXJJOHRI WKHIDPLOLHVZRUNLQJLQWKHLUVFDWWHUHGFRWWDJHV PLJUDWLQJLQVHDUFKRI ZRUNLVQRWSHUFHLYHGDVKHURLFUHYHQXHPRGHOVE\ÀOHSXVKLQJIXQFWLRQDULHV« :K\EODPHRIÀFLDOERGLHVZKHQDVHGXFDWLRQLVWVZHKDYHRXUVHOYHVGHYDOXHGWKHFRQFHSWRI 0DKDWPD *DQGKLV%XQL\DGL6KLNVKDRI OHDUQLQJWKURXJKODERXUZLWKRQHVKDQG$VSURIHVVLRQDOVHJZHDVDUchitects have never learnt to use traditional skills as a relevant part of our building activities around the ZRUOG Who then can employ the incredible science and art known to the communities of the Sthapthies, MaKDUDQDV0DKDSDWUDV6RPSXUDV&KDULV0RRVDUL²DOOFDVWHVRI WUDGLWLRQDOEXLOGHUV" &DQZHDIIRUGWRGHVNLOOVRFLHW\DQ\ORQJHU" +DOIZD\WKURXJKWKHÀUVWGHFDGHRI DQHZPLOOHQQLXPQHDUO\VL[W\\HDUVDIWHULQGHSHQGHQFHWKHVHYHQHUDEOHWUDGLWLRQV«VWDQGYXOQHUDEO\DWWKHHGJHRI DSUHFLSLFH&KDOOHQJHGWRÁ\DVQHYHUEHIRUH«

22

The late Zameer Khan, equally starred, stayed with his family in a house nearby.

&21&/86,21

The once solid and expansive base of the pyramid where culture seeks to measure itself would erode and its peak will be entombed in the silent graveyard of museums. You will remember the beginning, the inter-play of madder --- evoking shakti – the force of life and repository of memory …. An indigo resonant with Rasayana and the eternal chemistry of change. Where did it all go wrong? At one micro level let’s take the case of Ramaswami .. a master dyer living in a small village, near Salem in Tamil Nadu – amongst the few crafts people who know the process of making natural die. The colonial invention of Alizarin and substitute for indigo changed the natural scale of our vocabulary and pallette forests forbid him entry to get the raw material he needs and few, including Ramaswami, are aware of the economic value of natural dies or the buzz around it in world markets. To conclude, let me go back to textiles, may I translate a muhavara….. It is said that colour is the king, the fabric the subject and the motif the maid: Let us for a moment, see the colour Neel and Aal, as a metaphor for India’s balanced spirit, …. the tenacious fabric, as the indomitable skill of its people, …..the unique design or motif as the unbridled imagination of our culture, … At another level, making, doing and being become one… …. There is Creativity in culture, their is future for skilled work and the ethos of our nation is GHÀQHGE\LWVH\HVKDQGVDQGVSLULW

Making, Doing, Being...

My generation must ask… as have those before us, “Do we leave our country as a better place or do we accept this tag as an also ran, in a race seething with borrowed synthetic aspirations?” If all services were automated and available at the press of a button – the interpersonal language of sharing will be lost and if all the modern methods of production points only to the machine, then the honourable skills of the hand will survive only as in gene banks…. For the few, by the few, of the few.

Hello, Handover dover

Dangers of Corporate Involvement: &DQWKH'KDUPDRI 3URÀWÀQGD%DODQFHZLWK&XOWXUDO,QLWLDWLYHVWKDWDUHQRWQHFHVVDULO\DERXW SURÀW"

If there is to be a roadmap including a knowledge base, positioning as in the 20th century the Planning Commission, an august body seeking to bolster our economy, would have to lay the path that charters an unprecedented journey.

Culture and industry? While romantics have always lived by the notion that the two don’t go together, that to be “industrious” is to be non-creative and that creative people need only fresh air and water for survival, the reality is different. Vibrant cultures are those that guarantee a full stomach, a roof, however leaky, and a reasonable future to the children of every cultural worker. This, besides of course, teaching them to be industrious. The most committed Chhau performer can be forgiven if he would rather watch his son pedal a cycle rickshaw on the streets of Ranchi than starve as an unemployed dancer. And were data to be compiled on the number of hereditary performers of music and dance who have had to take to blue collar and even menial jobs or become petty traders in post-Independent India in order to just survive, it would shock the chattering classes. Shanta Serbjeet Singh, Dec 18, 2005, The Hindu

24

THE ECONOMIC TIMES

Artscape

28th October, 1990

Making, Doing, Being...

SOLILOQOY RAJEEV SETHI

Of culture, Mao DQGGXVW\ÀOHV On the one hand you have those son-of-the-soil types who dismiss it as merely a leisure time activity. The song-and dance routine on the other hand is relegated to the confines of hot houses – under the guise of documentation and preservation.

Alas! The word ‘Sanskriti’ — like ‘Paryavaran’ — is only pronounced with priest like perfection, or in anglicized accents, in and around the India International Centre. Either way, it makes little sense to the man on the street. I don’t believe we have the vaguest idea of what a cultural policy really means.

Then, we have many who talk of poverty and expect culture to take a back seat. True, large manifestations is how the concept translated in the 1980s and that perhaps can be only a small part of what we ought to be doing, but to say that the country is poor, and culture must unfortunately be treated as a luxury is like requesting someone to stop breathing because the air is polluted. I, for one, have no doubt that the nations much prioritized economic programme is intrinsically dependent on the cultural awakening and pride of its people. Culture as a word has lost its medieval connotation - to do with mere agricultural productivity. Our equivalent - ‘Sanskriti’, suggests the ac-

tion of doing and creating. Gandhi (the Mahatma) preferred the word ‘Sabhyatha’ - civilization instead of ‘Sanskriti’. The word expresses how we produce and use what we need and what we don’t...it reflects on what constitutes our habitat and t he shape, size and materials of our shelter...It shows how we grow, cook, serve, eat, amid drink…. how we adorn and dress and even undress It explains the way we speak, think and act... the manner in which we gesticulate, connect, greet or abuse...the way we cure and heal.., the manner in which we control rebel and organize and much, much more. Lately, much is being made of an exercise that will place a holistic cultural policy on the anvil. The Haksar Committee Report they say has provided the main salvo. Despite the dust it has raised I believe that like all the earlier policy reports before, the dust will soon settle on it! Despite all the fizz and the shoulds, it is going to end up being

just another olive in the cocktail. The report was primarily concerned with the reports of the Akademies. Amid anyone who thinks that a national culture policy can be equated to the functioning of the Akademies is plain ignorant. On the other hand, Mao thought it of his great revolution as cultural. And look where it got him! In my next column I will outline why culture needs more teeth and how it should set about acquiring real influence.

Working experiences Seven generations of my family have been carving stone. From my father, I came to understand the beauty that lies in cleanliness and clarity. Just see the exquisiteness of the jali; it gives you a feeling of air and light. I like doing complicated designs that take a long time. They stay in my hands longer. Jobs don’t come all the time. Work doesn’t depend on me. I depend on work. Soni Ram 6WRQH&DUYLQJ,QOD\DQG7UHOOLV8WWDU3UDGHVK

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THE ECONOMIC TIMES

Artscape

13th October, 1990

SOLILOQOY RAJEEV SETHI

Teeth for Culture The word culture made Field Marshal Goering reach for his gun. Chairman Mao thought of his great revolution as cultural. Gandhiji preferred to use the word sabhyata or “civilization.” A Sufi poet is said to have described culture as the fragrance that is left behind after the incense stick of life is burnt. There are no barriers to fragrance; boundaries created fifty years ago in a fractured South Asia cannot change the essence of shared experiences, history and geography. Evanescent, it permeates the being of the subcontinent - as much a part of its wilderness, as in its villages or cities. Unfortunately, since culture defies a definition, it has no single face for the common man and therefore no ballot value, no official programme or policy – or appropriate budgets. On the one hand you have those ‘sons of the soil’ types who dismiss it as merely a leisure time activity... the song and dance routine. On the other hand, it is relegated to the confines of hot houses - under the guise of documentation, preservation and silk lined museum shelves. Then we have many philistines who talk of poverty and expect culture to take a back seat. True, official patronage, setting up academies, development boards, holding large manifestations, pumping in sentimental subsidies and stipends, is a small part of what was required but to say that the country is poor and culture must be treated as a luxury is like requesting someone to stop breathing because the air is polluted. Conventional economic indices may rate us as poor but our wealth of heritage could make us

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a forerunner in an alternative developmental paradigm. I believe sustainable economic growthh is a cultural process. Therefore, I see red, whenever I hear dilettante’s whisper. “Let culture be! The people will decide”. Sure! But look which people? Look around at the greed and chaos around you and see who’s winning and at what cost?

speak up? Today 4,000 Chenalamapatti weavers from Tamil Nadu live in the squalor of Delhi slums - some selling balloons while their wives work as housemaids. An entire tradition is being lost and a culture is being altered to a point where it loses its center. Does then a cultural statement amount to precious little textile exhibitions mounted neatly in the crafts museums and festivals of India? The shift of production and greater automation in agriculture should mean keener concern for systems that ensure decentralized and self-employed sectors. But no, these are further marginalized and the

us that care is not just a privilege of the rich. Visiting a hospital’s OPD for even one hour will convince anyone that we have very little of culture or civilization. Our own indigenous systems of medicine are receiving more attention outside the country while thousands of un-translated manuscripts gather dust in forgotten libraries all over India. Some of these are rotting under the various State Departments of Culture! When the Ministry of Steel sets up a factory in a tribal belt, does someone in tribal welfare have a greater say in the matter? Does the Industrialist give thought about its impact on

The mandarins in the finance and planning ‘mehakmas’ have to first understand what promotes productivity, what leads to intolerance and contempt, breeding new insecurities and uncontrolled pollution. What we spend on the entire department of culture is a tiny fraction of what we spend for VIP security... Could there a connection? In this age of liberalization, I am all for the middle path with defined measures of control and a social contract with the money tigers, that can check the abuse of culture in the name of so called development. t. What we now require is parliamentary intervention and appropriate legislations that will give more teeth to the Department of Culture. I feel the Ministry of Human Resources must feel compelled to draft or seek approach-papers from all other ministries on connected issues that alter time honoured cultural perceptions and set up inter-ministerial task forces required to make culture less cosmetic. The country went up in flames over the reservation of 80,000 jobs for backward classes. Yet many times that number of the so called OBCs was displaced by unfeeling governments that did little to ensure proper support and imaginative promotion of marginalized sectors of cottage industries handloom etc. Did anyone from culture

heritage becomes a mediocre copy of a copy in the name of modernity? Who protests when pesticides poison our foods, or preservatives debase our cooking and eating styles and who has studied how fertilizers and hybrids have changed the perception of season and our varied ecoagri-cycles. When a river is poisoned, all the culture that it supports also dies. Shouldn’t the Dept. of Culture think about all this as being of cultural concern as much as an environmental one? Should the Ministry of Urban Development get away without building codes that allow cities and towns to flout local climate, aesthetics, materials and skills? Does not cultural identity suffer when the built environment envelops us in a homogenized spiritless landscape? Does the Dept. of Culture challenge its own sister Department of Education when curricula for higher education to point only to the west, and when teachers would rather have us toe the line than find time for questions. And what of us, as parents, preferring that our children learn Jack and Jill and not some ‘exotic’ vernacular rhyme? Rampant consumption breeds its own insecurities - it thrives on it. In this age, consumer is king and culture its handmaiden.

lifestyles of a people are being drastically altered. Urban migration and the great shift of people from one region into another in search of work is creating its own social and cultural conflicts. The Ministry of Health needs desperately to evolve a new strategy of unitary care for preventive and curative medicine, the alternative small stream systems have to be integrated with the mainstream to convince

tribal aspirations and culture, their tradition and ultimately on the quality of their lives? The fact is that hundreds of thousands of tribals have been displaced involuntarily from their ancestral occupation with the arbitrary deforestation, false promises and intimidation. Has this provoked the Dept. of Culture to even sponsor a study to examine these charges or their altered conditions? The lives of the people have changed but it is necessary that a virile expression and rooted

Indian TV is a medium that sought heavy public investments on the ground that it will serve rural needs. Today instead, it is mostly subservient to gross urban demands manipulated through consumer plugs by a growing, articulate and a very resourceful creed of white-collared communicators. There attitudes and official resources profoundly convert culture into an entertainment activity with programmes that take away even the little leisure in which we entertain ourselves. TV today caters to a plethora of urban neuroses. This, more than any other medium, is affecting the way people in rural areas have begun to perceive

and express themselves through gross imitation, intimidation and identification. How many hours of software is commissioned for rural viewers? Has anyone put the Panchayat on TV or catered in a robust creative manner to real rural issues without talking down? If all this is not meant to be the Department of Culture’s concern, I feel it will have very little left to sing or dance about! I want more teeth for culture and for it a finger in every pie. The loss of a custom or a ritual from memory or practice has not been my enduring concern. The potter has stopped making some beautiful votive offerings. Well too bad but so what!! There is no longer a felt need to propitiate certain deities linked with fatal diseases that are now extinct. For example, the worship of Shitala Mata, the goddess of smallpox will perhaps have to change as she takes on different functions within the reality of modern medicine. A man driving a tractor does not need the same footwear and plow as his forebears. The village shoemaker and carpenter can therefore, not expect the customary exchange of grain for their efforts. New varieties of seeds, methods of irrigation, and of factorymade fertilizers, have changed man’s perception of the season and the harvest. The balladeer, called in to invoke the blessings of the gods and to lift evil spirits that cause the illness of a patron’s camel, has now to compete with the veterinarian. Women who sang the most telling songs on the way to the well, sharing the day’s happening with each other, have now merely to open a faucet in their homes. Good! No doubt the water pot – however superbly designed to be carried on the waist and on the head would now require to be changed. The songs, invented by the women to lessen drudgery, will fade away. What should concern us more is how the need and energy

— so delicately expressed and enshrined in the communication of the women — now finds a new vehicle for expression? 1. What is replacing that which must go? 2. What do we want to preserve and how do we proceed to preserve and for whom? 3. The concern then, is to constantly and persistently ask, from here to where? Can people participate and relate creatively to the pace of development and absorb its consequences with any sense of quality? Lately, much is being made of an exercise that will place a holistic cultural policy on the anvil. I don’t believe even in another 50 years we will have the vaguest idea of what a cultural policy really means. Various Committee Reports they say have provided the main salvo. Despite the dust these reports have raised, I believe that like all policy papers, the dust will soon settle on them. Despite all the fizz and the ‘should be’s’ and ‘shouldn’t be’s’ they are like olive’s in a cocktail. Most reports concern themselves with the official programmes and the functioning of Academies. And anyone who thinks that a national culture policy can be equated to the functioning of august bodies is plain ignorant. What is needed is a pragmatic and a very common sense approach to the way cultural policy is being administered or even the fact that there was a lack of culture policy. At 50 if I was to take stock of what hasn’t been done and what requires immediate attention, I would point out the critical lack of comprehensive schemes for the welfare of artists and artisans, the people behind all the art - the repository of our heritage - bandied about the world as our ambassadors and brought home to live in squalid slums. We need a methodology for a census on the arts to evolve a system that helps to classify cultural expression in its varied contexts;

then we need to set up neighbourhood and voluntary infrastructures that can support and generate its own cultural programming. We need to redress the hazards in the arts, and evolve a less officious and more inspiring system of rewarding excellence, offering privileges and infusing pride amongst skilled people who feel vulnerable in this age of flux. We need to detail the composition of curricula for cultural education and administration and insure autonomy and networking between institutions. We need better designs, wider - much wider access to documentation and a redefinition of the scale and nature of cultural dissemination not just for the sake of the few, for the few. More interdisciplinary interaction is required in the arts and the brilliantly conceived Zonal Cultural centers have to become more focused on revitalizing their devised agenda. Training in the arts has to become more realistic and market oriented and presentation format for the arts has to take on the bull TV– horn by horn,z channel by channel. No one can have a final say in matters related to culture. Culture, like breath is to life, will always be an inseparable part of our existence, the fragrance of our civilization. The air we breathe is polluted because we have not invented new systems to check the decay. How to restore to a society its self-purifying mechanism? How to prevent our senses from shrinking further? How to celebrate innovation and decry the mediocrity of imitation? There are many questions and answers will come from those who don’t take freedom for granted. In my future columns I will be writing about the methodology for a census for the arts, on the need for evolving a system that helps to classify cultural expression in various context, on the setting up of neighborhood and voluntary infrastructures to support cultural programming, on issues related to the hazards in the arts and the critical lack of schemes for artistic welfare, on the pros

and cons of awards and on the issue of pride and privileges. I would like to explore the composition of a curriculum for cultural administration and offer my views on autonomy and networking between institutions, on the design and access to documentation and on the scale and nature of dissemination. Also, on inter- disciplinary interaction and innovation, on marketing and presentational formats and on the theme of continuity and training in the arts. I want more teeth for culture and for it - a finger in every pie. “But the pie is becoming smaller for the want of resources”; they say, “and culture is not a basic.”...Really? Perhaps, because the entire Dept. of Culture gets only Rs. 80 crores and Rs.200 crores a year for VVIP security becomes a necessity. Should we ‘let the people decide’?

Seeing the whole I am a Muslim and I make Hindu, Christian and Islamic themes. We assume each consumer respects the spirit. Yes, ZHGRFUHDWHWDEOHWRSVZLWKWKHVHVDFUHGÀJXUHVRQLWEXW we hope that people do not put an insulting object by its side. While making it, I don’t touch it with my feet. There is “kadar and ibadat” (respect and devotion). Then there LV´NDODDQGKXQDUµDUWDQGSULGH DQGÀQDOO\WKHUHLV “karigari” (skill). Without one the other does not come. Shaukat Ali Figure cutting and joinery

Ankhen do, drishti ek, honth do, lafaz ek Pair do, raftaar ek, Haath do, taali ek Bhed phiryeh aisa kyoon?” BABA AMTE, Anandwan, Nagpui

27

THE ECONOMIC TIMES

Artscape

October, 1990

SOLILOQOY RAJEEV SETHI

Of Tourist Interest Only

A NATION in which a leader can seriously ask “Do you think an artist is a special person?” is a nation in jeopardy. The other day I tried to explain this in chaste Hindi to our new minister for textiles. He yawned. Our delegation of master craftspersons and weavers tried telling him about specific projects related to housing, occupational diseases, product reservations and other things. His political producer was more voluble; he warned us about this nation of thieves, chastised us for our servility, and told us to take what we need with the force of a ‘danda’. We reminded him that the fate of ten million weavers and several million craftspeople was clubbed with his own ministry and unless they took precedence, the ‘danda’ will continue to be wielded by the textile barons. Yet, I must agree that political rhetoric has some effect. After all didn’t Shri Datta Samant make a lot of noises and hasn’t the government been dishing out more than 200 crores annually to maintain the sick textile units, employing only a 100,000 workers. The silent handlooms with a hundred times that number get only a piffling fraction of that figure. Preferential treatment based on heirarchies exists amongst government machinery associated with the performing arts as well. Without going into the arts versus craft, folk versus classical debate, I would like to point out another case of faulty perspectives. s. Nine months ago the then Prime Minister magnanimously announced registration of all slum dwellers in Delhi and the giving of ration cards. So far so good. But implementation was characteristically short sighted as targets had to be immediately achieved. The population in Delhi slums and squatter colonies doubled overnight. The increased density and close proximity of jhuggies, improvised with waste plastics and wood crates, made them more vulnerable. To top it

28

all zealous legislators encouraged everyone to tap the “electric poles feeding rich mans homes” without permission. Working for the last fifteen years in one slum, housing more than six hundred puppeteers, balladeers, acrobats etc., we were alarmed and warned the concerned authorities about the implication of such actions. The slums in Delhi burnt last summer as never before. In the fires, along with all others, about hundred artists also lost all they had.. Since S we were more organised, we got some relief from the hotels where the artists had performed on various occasions.The five star kitchens of the ‘Taj’ catered to the slum dwellers of Shadipur for 15 days We also made the Sangeet Natak Akademni promise them that they would sponsor some programmes to help them purchase new instruments. The slum dwellers have never heard from them after their empty assurances, inspite of repeated requests and reminders for action.

There is a feeling that these poor folk artists only make a noise with their drums. And, yes of course we have the Utsavs and Festivals, tomtomming the nation’s pride in its cultural heritage. The artists are bandied about as the fast depleting repository of this wealth. No doubt, while the various festivals have made people more aware of the variety of art forms, I have somewhat naively harboured the illusion that this increased exposure will help us hasten a better deal for the well-being of artists or in meeting their needs. Since Independence, India has seen rapid industrial growth and consequent urbanisation. Migration from rural India to the burgeoning metropolis has fractured ancient links and channels of interpersonal communication. The principles of philosophy of inter- dependence required to nurture production systems and community-life are gradually lost, being perceived as irrelevant or unscientific. This alienation has been felt more than ever before and with much greater intensity in the last few decades. Unprecedented changes

On cooperative action For every known artist there are hundreds today, who for want of basic amenities and spport never see the light of day have reflected on the patronage conditions and environments of traditional performers and artisans, challenging the survival of their time-honoured skills. It is time that we recognised that the responsibility of society does not end with the sponsoring of a project here and a bit there, or by conferring titles and awards that offer the artist little more than a once in a lifetime stint with status. For every known artist they are hundred today who, for want of basic amenities and support, never see the light of day. If the base of the pyramid erodes, the top will be of little consequence. Even successful artists should realise that their pursuit of excellence implies a shared concern and responsibility for those who are less fortunate. I know of a few musicians who think nothing of charging thousands but who profess ignorance about the monthly emoluments of their accompanists. Once an accompanist tabla player from Shahdara told me, “The emptiness of my stomach resounds with the encores. I hardly have enough for a scooter fare back home from the concert. After spending about 12 years in rigorous rehearsals, I used to get Rs. 450/- per month, which is less than the lowest of the low government scale. I am 50 now…not more than 15-20 people know me… I remain only a part of the show and after show time… with the applause, we exit ‘Raat Khatam-Bat Khatam.’

Carrying their heritage, Miras ( from which is derived the degenerated title of Mirasi) artistes move in consonance with their own rhythm and harmony. From the courts of kings and tawaifs, they today find themselves confronted with the three Ts of Time, Technology and Targets on the one hand and a culture of paper weights on the other. Talent, like a soap, has to be packaged, and officially graded or it slips into a gutter. Tan Ras of Delhi Gharana in Bahadur Shah Zafar’s court was given Chandini Mahal as a ‘jagir’. Today Chandini Mahal has scores of musician families living with many others in cramped one room tenements. Facelessness stalks everywhere as the city reeks of apathy. Thousands, of weavers, craftspersons, ‘folk’ and ‘classical’ artists who carry the rich millennial heritage of our culture now live on the peripheries of urban areas under squalid and destitute conditions. There is a complete absence of National Institution or Bodies that address themselves, in any significant manner, to the artists medical, education, environment and social needs – although these are interlinked to the quality and often the probability of their performance and occupation. There is unemployment and underemployment, exploitation and an age old indifference; there is self-deprecatory alienation that devalues their art; and most of all there is a debilitating sense the traditional artists feel today – that they may be of interest to tourists but of little use any longer to their own society.

Our workshop has all young people. Hindus and Muslim- where is religion in a round chapati? We recognize each other’s skill as well as the spiritual PRWLYDWLRQ7KHUHKDYHQHYHUEHHQFRQÁLFWVDPRQJVW our workers. Yes, we don’t always agree about money. People cut rates and try to defeat cooperative action to control pieces. Quality suffers in the bargain and then even the chapattis disappear. Nur Ahmed Sayyid Hamanullha Khan, Siddh Rama, Sidh Dayyia

On his work I like designs that challenge the mind to invent a treatment. Today‘s repetition tires the heart. It would be alright with a machine, but with hands it is bothersome. There is not enough mind-work in it. If we did not use our brain - food would reach our ears, or our QRVHRUH\HV²QRWRXUPRXWK,ZDQWWRVHHSURJUHVVDQGÀOOP\ stomach by my own work. I cannot change my profession. I have WRÀWLQWRWKHPRGHUQZRUOGZLWKWKHVNLOOV,KDYH7UDGLQJP\ IUHHGRPIRUDQ\WKLQJOLNHDQRIÀFHMREXQGHUVRPHERVVLVXQWKLQNDEOHHYHQLI LWPHDQVPRUHPRQH\7KHRIÀFHERVVZLOOEHFRPHWKH master of my time. If I stop doing work with my hands, my mind will loose its ability to play as well. Afzal Khan Crewel and Staple Stitch, Kashmir 29

THE ECONOMIC TIMES

Artscape

30th December, 1990

SOLILOQOY RAJEEV SETHI

The art is alive as long as the artist is !

past and the mute relics of our threatened present for so called ‘posterity’. Glitzy exhibits silk lined show cases, leather bound documentation and bulky project reports are not even the beginning of preservation and are marginal as exercises for creating public awareness. When will these programmes and records become accessible to those who need them most as ready reference? I refer in particular to those artists who belong to the oral traditions and need more than their vulnerable memory to keep their art alive. Aren’t most artistic manifestations held today becoming increasingly an end in themselves, to be celebrated as annual events on the manicured lawns of the arts academies and international centres? Is the amount being spent on exposure and preservation, generating some returns whereby the repository of rich traditions can get a new lease of life where ever they belong?

Artists of all calibers and in every age, have allowed their arts - once in a while to be pandered for commerce. This would even be acceptable if they could find the time and space to return to themselves and to each other for rejuvenation and renewal. It would now seem that the majority of artists are even more socially isolated than before and are increasingly dependent on the curiosities and goodwill of the ‘upper’classes and file pushing ‘connoisseurs’. The rural and ‘folk’ artists are particularly bonded to the whims of their new patrons. Even people studying their art forms or working with the artists seem to get more recognition and economic benefit than those practicing it. Deterioration of tradition comes from such economic disparity of professional pursuit. The sense of achievement influenced by ma-

30

terial gains becomes critical. Today, most people on the arts bandwagon are more concerned with personal ambitions and reaping dissensions. A great part of their lives is spent in cornering key positions, and ubiquitous roles allowing for only a few to come up. Such people exist for years on a running relay of ongoing projects that guarantee a steady flow of official resources and high level of contact. Their programmes are designed more for personal aggrandizement and less for ameliorating the suffering of the artists or celebrating their genius. Very few people are really concerned about the disappearance of time honoured skills as living components of our traditions. I have had enough of grandiose official efforts to preserve the vestiges of our glorious

If you go around eastern Rajasthan you will be hardpressed to find even a few women on the roadside wearing traditional prints on their skirts or blouses. What the mills of Manchester were unable to do in a hundred years, has now been achieved by the mills of the brown sahibs in less than two decades. Yet, funds have been allocated for a forthcoming exhibition for the Festival of India in Germany, extolling the textiles of the Thar desert. Although I am weary of seeing the same team do all the major exhibition of the Festival of India for the last 8 years what concerns me more is whether they are capable of raising even a fraction of the budget that will help make the women of Rajasthan more aware. How many know today how their traditional apparel evokes their own landscape, how it suits their climate and how it helps to keep their own village folk employed? How many of those who talk of conservation or make be nurtured and stored in weather proof museums and electronic hardware or in official hot houses from 10 a.m. to 5.00 p.m. with salaried master craftspersons or media Ustads ? The real reason we spend such a great deal of our energy seeking to define our connec-

tions with the past – or preserving the past for what its worth, is because we are so unsure of our future. While change scares some of us, a climate of innovations will require a broader base of involvement from those numerous artists who’s daily struggle leaves them no space or time for creative thinking; it will require greater participation of the everyman – from the millions out there, who have skills to make things, to express themselves and to communicate with those around them.It is from this extended and humble base of creative activity that any culture has to measure and sustain its growth. Re-established mohallas llas of artists and artists in every mohalla is what will finally determine the health of our heritage as a nation. Just before his death, Bade Gulam Ali Khan had said that if only each family could have just one member trained in music there would be an end to communal hatred. I have written, my earlier columns, about the cost society has to pay for undervaluing the importance of culture. Now to round up this piece I will highlight the problems faced by those most easily identified as culture’s chief protagonists the professional artists and artisans themselves.

Who is this artist in NEED ? It could be a performer too old to work or a community of leather workers with a skin condition that deteriorates with their livelihood; or a metal caster or stone carver fighting for a whole generation inflicted with disease due to unscientific and exploitative conditions of work. Visit Moradabad and you will find that communal hatred is not just about severed heads of cows or chasing pigs into some neighbourhood. Or breathe in th silica-laden air of Kambhat to find out the T.B. rampant in this filthy town is not just because the artisans have an unbalanced diet. Have the official bodies in charge of arts and crafts ever looked comprehensively into issues related to health matters, occupationed diseases, insurance and environmental degradation ? Most organizations are only concerned with the packaging of the product or arranging a performance. They feel better means of marketing will alone provide the artists the wherewithal to look after themselves; they will then be able to move out of a slum and buy a roof over their heads, find a place to work and see their children through a life furthering their skills. Really ?

Some of us have been going from pillar to post for the last 15 years now to get some land for the creation of a pilot habitat for the several hundred families of artists living in the slums of Delhi, Jaipur, and Bombay. We are constantly told to wait because we are in the queue and land prices are prohibitive; yet we see doctors, lawyers, journalists, officers, and 700 others co-op’s of middle and upper income groups get the land they need at concessional rates. The economically vulnerable are suspect – even if they have organized themselves into cooperatives to avail the same facility. We are told we cannot ask for a work-cumdwelling space because the zoning laws of the city do not permit the same. Cities are made keeping commercial, industrial and residential areas as rigidly separate. Who asked traditional craftsmen whether they can travel with their families to a workshed everyday or whether a musician can rehearse in one place and stay in another ? Jaipur’s gunijan khanas nas and artisans’ mohallas llas are an indication of how cities were planned earlier. A catalytic environment for nurturing the skills of traditional artists and artisans is the critical need of the day. A musician’s child who rarely sees a tree living in the squalor of a tin shed cannot be taught the nuances of Raag Basant. So, Hon. Ministers of Textiles and Culture, don’t just tell us to go to the Department of Urban Development or Ministry of Health. The artisans and artists are seen like files that never move. Instead you liaise with your colleagues from the different departments or go back to the Planning Commission and fight hard to make them give you the appropriate allocations that will enable you to serve your constituents better. Creative artists have also a growing need for legal advice and action. Artists, writers, scholars barely know how to draft a con tract document to protect their interests and I know many performing artists who should sue several agencies and individuals for misusing their work. The disparity of payments in the official mass media – between south-north,

men-women, dance- music; disparity of payments between different agencies, their dubious grading systems, the multiple usage of programme’s through electronic extensions, are all issues ready for some legal prodding. Likewise the issue of reservations for handlooms, stayed in the court by a vested powerloom lobby, has stood unchallenged and unheard in the Judiciary in the absence of public interest. There are child artists whose skills are often abused, like in the carpet trade, and women artists whose problems of status, space, time and resources require special attention. Artists need management skills to run their coops, set up thrift and credit societies, arrange loans and combat indebtedness. They need marketing skills to deal with specialists, critics, media, buyers, exporters etc. These are problems that many do not even perceive as problems in the present scenario. Some artists also need help to readjust with contemporary values where their ethnic group traditions dictate an antisocial life style. The rather robust attitude towards sex of a Kanjri dancer and a Nat from Maharash-

tra had me thinking about parallel morality in variance with what’s around. That is till I saw them buckle under the abuse of demonic lust. I also remember an alcoholic poet who no one wanted to help and a sensitive painter who left everything because he could not see the debasement of art. Then someone also has to think about recreational activities for the artists – the interpersonal and interdisciplinary contacts required for growth; about a creative halwai wanting to experiment with regional foods and new recipes. There may be a traditional painter wanting to know about computer graphics or a goldsmith wishing to learn about watch assembly. I have always wanted to arrange a national workshop of tribal painters and dancers in a

tribal area so that they could meet and share each other’s joys, aspiration and apprehensions. Some of the most poignant moments in the arts for me have been my meetings with ‘small’ artists wanting to raise collective social consciousness on vital issues. A magician wanting to be a part of the of the mainstream has evolved ingeneous acts to express his concern for national integration. An acrobat wanting to train in gymnastics wishes to bring in an Olympic gold for her country. A Hindu mat-weaver from Bengal creates a long roll weaving a series of mehrabs abs in a prayer rug for the Jama Masjid of Delhi. These are people out to save the world and may their tribe increase! Society owes to these artists and artisans a special debt. Their contribution is irreplacable. Likewise the environment they need for their work is particular. What needs to be strenghthened is their inherent capacity to create wealth for themselves and their community My voice, while it lasted My feet, while they danced My fingers, while they played My hands, while they worked My senses while they prevailed Have asked you so many questions..........?

On the quality of life ,DPDYHU\SRRUPDQDQG,KDYHLQÀQLWHWROHUDQFH,I P\ hunger is for two chapattis and I can only mange one, it is alright. I mange, but with honesty and fairness because lies have short lives. Where is the need for me to lie to you any way? When I say I need your help to make my living, you will see that I am genuine, and you will help me. If you saw that I was a liar or a cheat, with what eyes would you look at me. Tell me? Does anybody look with friendly eyes at a liar? Ali Osad Urf Sadiak Leather worker

31

PART III 6<1236,6RI WKH5HSRUW3XEOLFDWLRQRQWKH&XOWXUDODQG&UHDWLYH,QGXVWULHVRI ,QGLD 5HSRUWVDUHWKHLQHYLWDEOHHQGSURGXFWRI D7DVN)RUFH7KLVRQHFOHDUO\LVPRUHYROXPLQRXVWKDQRWKHUVDQGGRHV QRWSUHWHQGWREHDPHUHUHSRUW2WKHUWKDQWKHRYHUYLHZVWKDWSUHFHGHHDFKFKDSWHUZHJLYHDV\QRSVLVRI ZKDWWKLV ZKROHSXEOLFDWLRQLVPHDQWWREH+RZDQGZK\WKH7DVN)RUFHIRU&UHDWLYHDQG&XOWXUDO,QGXVWULHVLQWKH3ODQQLQJ &RPPLVVLRQZDVVHWXSLVWDNHQXSLQ Chapter 6DQGLQWKHLQWURGXFWLRQJLYHQE\'U0RQWHN6LQJK$KOXZDOLDLQ Chapter 17KHUHPDLQLQJFKDSWHUVRI WKLVRPQLEXVUHSRUWDQWKRORJ\RUSXEOLFDWLRQ«ZKDWHYHURQHFKRRVHVWR FDOOLWDUHDVIROORZV Chapter 3 traces the evolution of the concept of cultural industries and its transformation into a GLOBAL PHENOMENON, fueled by State policy intervention and the positioning of private-public initiatives in different counWULHVZKHUHLWLVDFNQRZOHGJHGDVWKHIDVWHVWJURZLQJVHFWRUJHQHUDWLQJFRQVLGHUDEOHHPSOR\PHQWDQGUHYHQXH&RPSLODWLRQVIURPUHDPVRI UHSRUWVDQGUHIHUHQFHVIURPDOORYHUWKHJOREHKDYHEHHQSUHVHQWHGIRUWKHÀUVWWLPHE\WKH $VLDQ+HULWDJH)RXQGDWLRQWRHODERUDWHWKHUROHRI WKHFUHDWLYHDQGWKHFXOWXUDOLQGXVWULHVLQFRQWHPSRUDU\QDWLRQ VWDWHVDQGPXOWLQDWLRQDOHFRQRPLHV Chapter 4 brings us home with THE INDIAN SCENARIO with eminent personalities throwing light on where ZHVWDQGWRGD\SRLVHGWRWDNHRQWKHIXWXUH:HKDYHDWWHPSWHGDFRPSUHKHQVLYHFODVVLÀFDWLRQV\VWHPRI ZKDWFXOWXUDOLQGXVWULHVFRQVWLWXWHLQWKH,QGLDQFRQWH[W(YHQDQRYHUYLHZIRUHDFKRI WKHVXEVHFWRUVUHTXLUHVPRUHZRUN and space than provided here; this gargantuan effort will continue with the development of a web portal for this secWRU)RUQRZZHKDYHKDGWRGLYLGHWKHRYHUZKHOPLQJUHVSRQVHZHKDYHUHFHLYHGIURPDXWKRUVDVPDWHULDORQHDFK sub-sector and extended the rest into Chapter 5 and Chapter 7 DVZHOO

Are we biting off more than what one can chew by clubbing these many sectors together? ,QChapter 5 titled a INDIA’S EDGE we argue otherwise and show how ‘the traditional’ and ‘the modern’ can help HDFKRWKHUWRFUHDWHD863IRU,QGLD6RD3RFKDPSDOOLZHDYHULQDYLOODJHRI $QGKUDVKDUHVWKHVDPHVSDFHLQRXU SURMHFWPLVVLRQDVDFRPSXWHUJDPHGHVLJQHULQWKHFLW\RI 0XPEDL'RWKHIDFWRUVWKDWFRQQHFWWKHLUYDULHGVNLOOV JHWOLQNHGLQFRPSOHPHQWDU\SURJUDPPHVWKDWLPSURYH,QGLD·VFUHDWLYHH[SUHVVLRQ":LOOWKHSULRULWLHVDQGYDU\LQJ DVSLUDWLRQVRI WKHPRGHUQGLVFLSOLQHVGLOXWHWKHGHYHORSPHQWDODJHQGDIRUWKHPRUHWUDGLWLRQDODQGYXOQHUDEOHVHFWRU" :LOOWKHFUHDP\OD\HURI FUHDWLYHDQGFXOWXUDOLQGXVWULHVJUDEWKHEHQHÀWVRI VFKHPHVPHDQWIRUWKHPRUHGHSULYHGDQG PDUJLQDOLVHG",GHDVDQGWKRXJKWVRQDQDSSURSULDWHO\OD\HUHGVWUDWHJ\RI SXEOLFSULYDWHLQWHUYHQWLRQDUHSUHVHQWHGLQ WKLVFKDSWHU'RYHWDLOLQJLQWHUQDWLRQDOQRUPVRXULQWHQWLRQVDUHWRKDUQHVVV\QHUJLHVLPSOLFLWLQG\QDPLFFRXSOLQJV i of the old and the new, margii and deshiHDVWDQGZHVWEHWZHHQGLIIHUHQWGLVFLSOLQHVHWF Chapter 6 THE WHEEL MOVES GHVFULEHVWKHRQH\HDU,VSHQWDWWKH
32

Making, Doing, Being...

LQSRZHUEHFDPHHDVLHUDQGWKHOHDUQLQJFXUYHVWHHSDVFKDOOHQJHVEHFDPHPRUHIRUPLGDEOH$IWHUPXFKGLVFXVVLRQ we felt the concept for a single Ministry grouping all connected departments from other ministries to form a whole ZDVWRRSUHPDWXUH(YHQDQHVWDEOLVKHG&RXQFLORU&RPPLVVLRQUDQWKHULVNRI EHFRPLQJKLHUDUFKLFDODQGGULYHQE\ DGPLQLVWUDWRUV,QVWHDGDQDXWRQRPRXVPDUNHWGULYHQERG\LQD0LVVLRQ0RGHZRXOGRIIHUDWLPHERXQG DJHQGDIRUDFWLRQ7KLVZRXOGDOVRIDFLOLWDWHDPRUHSXEOLFSULYDWHLQLWLDWLYHFULWLFDOIRULPSOHPHQWLQJLQWHUGLVFLSOLQDU\ DVZHOODVLQWHUPLQLVWHULDOSURMHFWVDQGSURJUDPPHVLQWKHÀHOG$VLQJOHZLQGRZRUFKHVWUDWLRQLPSOHPHQWLQJVXFKD FURVVVHFWRUDODJHQGDSXWVXVLQDEHWWHUSRVLWLRQWRDUWLFXODWHDPHDQLQJIXOLQIUDVWUXFWXUHVXVWDLQLQJDPRYHPHQW Chapter 7 points to THE WAY AHEAD..RXWOLQLQJWKHÀYHNLQGVRI VHUYLFHVSURSRVHGIRUWKH1DWLRQDO0LVVLRQ IRU&XOWXUDO,QGXVWULHV²3ROLF\ 3ODQQLQJ6HUYLFHV&UHGLWDQG)LQDQFLDO6HUYLFHV&DSDFLW\%XLOGLQJ6HUYLFHV/HJDO 6HUYLFHVDQG3URPRWLRQDQG0DUNHWLQJ6HUYLFHV$QDWWHPSWKDVEHHQPDGHWRLOOXVWUDWHHDFKRI WKHVHWKURXJKLOOXPLQDWLQJFDVHVWXGLHVDQGLQIRUPHGRSLQLRQ Chapter 8 celebrates the making of BRAND INDIA E\GZHOOLQJRQVSHFLÀFGHOLYHU\PHFKDQLVPV7KHÀYH\HDUV suggested as a tenure for the Mission would help it devise and implement the mixed media programme outlined in WKLVFKDSWHU3XEOLFSULYDWHSDUWQHUVKLSZLWKFRQFUHWHDFWLRQLQWKHÀHOGZRXOGKHOSGHWHUPLQHWKHFRQWRXURI DQ XQSUHFHGHQWHGSROLF\LQWHUYHQWLRQIRUWKHIXWXUH Chapter 9 $IXQGLQJPHFKDQLVPWRVXSSRUWWKLVIXWXUHLVFUXFLDOIRUSXWWLQJWKHZKROHWDVNRQWUDFN:HKDYHUDWKHU optimistically, called it the PURNA KUMBHA, ‘the pot of plenty,’ providing a blue print for sourcing resource would PDNHWKH10&,VHOI VXVWDLQLQJLQLWLDWLQJDOOVXSSRUWLQJUHYHQXHPRGHOVDFURVVGLYHUVHVHFWRUV 7KHFRQFOXGLQJChapter 10, brimming with hope, is titled SHAJAR-E-HAYAT, ‘the tree of life’. We have here colODWHGRYHUOHWWHUVDUWLFOHVDQGLQWHUYLHZVRXWOLQLQJDFRKHUHQWVHFWRUDOIUDPHZRUNDQGDJDPHSODQEDVHGRQZKLFK WKH JRYHUQPHQW DQG 1*2V PD\ WDNH DFWLRQ  7KH DSSHQGLFHV FDUU\ D PLVFHOODQ\ RI  GHWDLOV DQG UHIHUHQFH PDWWHU LQFOXGLQJDGUDIWFRS\RI WKHQRZDSSURYHG&XOWXUDO3ROLF\GRFXPHQWIURPWKH*RYHUQPHQWRI *RDVKRZLQJRQH PRGHOWKDWRWKHUVWDWHVRI ,QGLDFRXOGHPXODWH PAST FORWARD is a timely reminder of what we need to do before it is too late and loosing our legecy and being RYHUWDNHQE\RWKHUVHYHQLQRXUQHLJKERXUKRRG7KLVSXEOLFDWLRQLVDQDPELWLRXVEXWSDVVLRQDWHRIIHULQJFHOHEUDWLQJ WKHIXWXUHRI ,QGLD·VFUHDWLYLW\LQVHFWRUVWKDWKDYHVRIDUODFNHGFRKHVLYHRIÀFLDOVXSSRUW

Rajeev Sethi 33

Overview Created in the 1940s, an era when technological developments such as cinema, the photo-illustrated press and broadcasting were making rapid inroads into individual homes and society as a whole, the term ‘cultural industries’ was originally intended as a FULWLFLVPRI PDVVPHGLDDQGWKHEHJXLOLQJEXW´VXSHUÀFLDOµ´PDFKLQHFXOWXUHµLWFUHDWHG'HVSLWHWKHDQWDJRQLVPRI FXOWXUDOSXUists, the new media was there to stay, impelling a rethinking of the very understanding of culture. Furthermore, the popularity and unprecedented reach of mass media made it a lucrative commercial venture as well as a potentially powerful tool for cultural and political dissemination. State policy now began to address this issue – in capitalist countries, cultural policies aimed to generate employment and greater economic returns through sector; in socialist countries, culture, subject to extreme State intervention, became a vehicle for propaganda; and in newly independent post-colonial states, culture became an important means of creating a national identity. With the more recent shift from a manufacturing to a service based economy that is largely content driven, creativity and content have become the basis of competitive advantage in a global market. Creativity has to now be seen as not just residing in the arts and media industries but as a central and increasingly important input into all sectors where design and content form the basis. Over forty countries, some of which have economies and cultural contexts with little in common with that of India’s and others which could be considered our peer group, have already recognized this factor and accordingly implemented programmes and policies that can nurture and support their particular cultural and creative industries. Simultaneously, national and international bodies are also examining the potential offered by the cultural and creative industries as a tool for grassroots development and the preservation of cultural diversity and heritage. Running the gamut of commercially, politically, economically and culturally driven policies and programmes, the examples of these prior experiments in the domain of the cultural industries present us in India, poised on the brink of following suit in the same direction, with the opportunity to better equip our vast cultural and creative sector for success.

,W LV FKDUDFWHULVWLF RI  WKH ODVW FHQWXU\ WKDW FXOWXUH ZDV embroiled in debates about its value within transitional HFRQRPLHV DQG VRFLDO SURFHVVHV 7KLV FKDQJH LQ WKH G\QDPLFRI FXOWXUHZDVJUHDWO\LQÁXHQFHGE\WKHDGYHQW RI  QHZ WHFKQRORJLHV RI  PDVV PHGLD ¶&XOWXUH· EHFDPH accessible to a far larger and more heterogeneous audience, fracturing previous notions of ‘art’ and its DXGLHQFH 0DVV PHGLD JHQHUDWHG LWV RZQ LQGXVWULDO infrastructure and micro-economy; the newfound pervasiveness of its products implied that electronic PHGLDFRXOGVHUYHDVWKH´YRLFHRI WKHSHRSOHµ(TXDOO\ the massive capital investment and the technical expertise LWUHTXLUHVLPSOLHGWKDWLWVFRQWUROOLHVLQWKHKDQGVRI D IHZ

DVDELWWHUO\LURQLFFULWLTXHRI DOOPDVVPHGLD)LOPVUDGLR DQGPDJD]LQHVZHUHVHHQDVWKHVWDQGDUGL]HGSURGXFWV of a single factory system geared towards nothing more WKDQ ÀOOLQJ OHLVXUH WLPH ZLWK DPXVHPHQWV WR GLVWUDFW its consumers from the drudgery of their increasingly automated work and to prevent them from recognising WKH UHDOLW\ RI  WKHLU VXEVHUYLHQW H[LVWHQFH 0DVV PHGLD ZDVWRWKHPQRWKLQJPRUHWKDQDQRSLDWH

Global Phenomenon

Global Phenomenon

Raoul Hausmann

%\WKHHDUO\VFXOWXUDOWKHRU\KDGWKXVEHHQIRUFHG WR VWHS RXW RI  LWV QDYHOJD]LQJ PRGH DQG FRQIURQW DQ HQWLUHKRVWRI PRUH´PDWHULDO·FRQVLGHUDWLRQV7KHNH\ TXHVWLRQ ZDV ZKR ZDV JRLQJ WR KDYH FRQWURO RQ WKH beast called culture and how could they use it to their EHQHÀW"

METAMORPHOSIS : Adorno to Art Policies Cross-cultural Milestones

$W WKLV WLPH FRXQWULHV DFURVV WKH ZRUOG ZHUH IDFLQJ WKHLURZQLQWHUQDOFRQÁLFWV²WKLVZDVDQHUDRI SROLWLFDO revolution, class struggles, the establishment of capitalism and resistance towards its monopoly, the end RI  FRORQLDO UXOH DQG WKH EHJLQQLQJ RI  QDWLRQ EXLOGLQJ Located within this framework and actively shaping and being shaped by it, culture was becoming increasingly VSHFLÀFFRQWH[WGULYHQDQGLGHRORJLFDOO\LQÁHFWHG

Culture in the free enterprise economy: Art becomes a commodity :KHQ LW ZDV LQYHQWHG LQ  E\ WKH *HUPDQ FULWLFV 7KHRGRU $GRUQR DQG 0D[ +RUNKHLPHU WKH QRZ LPPRUWDOLVHGWHUP¶7KH&XOWXUH,QGXVWU\·ZDVLQWHQGHG

Amid the chaos of World War I, Europe was taking a quantum leap into the modern era through rapid technological development. While critics condemned the “machine culture” spawned by the birth of the photo-illustrated press, radio broadcasting, industrial assembly line production as well as commercial cinema, a small group of artists of di-

37

verse nationalities – the Dadaists – were using the new media at their disposal to challenge both traditional artistic categories as well as contemporary society. $W DERXW WKH VDPH WLPH LQ QHZO\ LQGHSHQGHQW ,QGLD cinema, the latest entrant on the cultural scene, took over, DQGHYHQHFOLSVHGHDUOLHUIRUPVRI FXOWXUDOSURGXFWLRQ $QHZEUHHGRI +LQGLÀOPVH[SORGHGRQWRWKHVFUHHQV RI FLQHPDKDOOVDFURVVWKHFRXQWU\$EDQGRQLQJ¶VHULRXV· detail and politically charged subjects in favour of HVFDSLVWURPDQFHVKLVWRULFDOH[WUDYDJDQ]DVDQGWKHQRZ XELTXLWRXVPDVDODEORFNEXVWHUVWKHSURGXFWLRQKRXVHV of Bombay focussed on providing ‘light entertainment’ IRU ,QGLD·V EXUJHRQLQJ XUEDQ SRSXODWLRQ ² WKH UXUDO PLJUDQWVWKHODERXUIRUFHDQGWKHXUEDQSRRU

The major audience for a normal Hindi commercial ÀOPLVSHRSOHZKRDUHLQWKHPLGGOHRUORZHUPLGGOH income groups. But more important than them are the people who live below the poverty line. It’s very strange, but most of the people who do odd jobs, or even beggars, ZLOONHHSWKHLUPRQH\WRVHHWKHÀUVWVKRZRI WKHQHZ releases. In fact, I played a character like that. She was a rag-picker, and whatever money she got from selling rags she would stuff in her blouse, so she didn’t have to give it to her father or mother. She would then use WKHPRQH\WRVHHWKHÀUVWVKRZRI WKHÀUVWZHHNRI DQ $PLWDEK%DFKFKDQÀOP,WUHDOO\KDSSHQVLW·VQRWD far-fetched imaginary fantasy or some funny incident. It’s the truth.

(YHU\RQH ZDQWHG D VOLFH RI  WKH ¶IDLU\WDOH RQ FHOOXORLG· 7KHFXOWXUDOHOLWHDVJXDUGLDQVRI ´,QGLDQQHVVµODEHOOHG the commercial cinema an impersonating, debased, and SDUDVLWLF IRUP $OWKRXJK PDQ\ DQ LQGLJQDQW FXOWXUDO purist seeking to maintain and police cultural boundaries DFFXVHG +LQGL ÀOPV RI  EHLQJ PHUH FRPPRGLWLHV WKDW emerged out of a system of assembly-line production – WKDWLVDIRUPXOD²WKH%RPED\ÀOPLQGXVWU\FRQWLQXHG WRWKULYHHFRQRPLFDOO\7KHQXPEHURI ÀOPVSURGXFHG each year had been steadily increasing and the years following the Second World War had created a boom in WHUPVRI WKHPRQH\ÁRZLQJLQWRÀOPSURGXFWLRQ

Ten years from now we’ll have good roads, housing schemes, hospitals, food, buildings, etc, but no culture. We can import technology and know-how, but we can’t import culture… 'LOLS.XPDU+LQGLÀOPDFWRU

The Indian cinema is still held in its foreign leading strings and is totally unrelated to any tradition in Indian culture, old or new. In fact, what the Indian cinema is doing is to force Indian sensibilities into alien moulds. Its disruptive effect is going to be, and already is, far-reaching among the common people. It is rapidly destroying their folk culture and converting them mentally into a typical town rubble, a disgusting plebs urbana always crying for the circus.

6PLWD3DWLO%RPED\ÀOPDFWRU1 -Nirad Chaudhari2

 7KLVZDVWUXHRI WKHHDUO\VZKHQ6PLWD3DWLOZDVDWKHU SHDN7RGD\KRZHYHUWKHVXFFHVVRI WKH%RPED\ÀOPLQGXVWU\LVQR ORQJHUGHSHQGHQWRQWKHSRRURUUXUDODXGLHQFHV

38

 ¶,V,QGLDDFXOWXUDOYDFXXP"·,OOXVWUDWHG:HHNO\RI ,QGLD $XJXVW

“To spin the simplest yarn on celluloid the wheels of a ODUJHVFDOHIXOO\ÁHGJHGLQGXVWU\KDYHWRWXUQµ - Satyajit Ray3 3UHRFFXSLHG ZLWK WKH WDVN RI  QDWLRQ EXLOGLQJ WKH SRVWFRORQLDO ,QGLDQ VWDWH·V IRFXV UHVWHG RQ WZR PDMRU JRDOV²WKHFRQVWUXFWLRQRI DXQLÀHG,QGLDQLGHQWLW\DQG HFRQRPLFGHYHORSPHQW,QWKHPDLQIUDPHRI QDWLRQDOLVW planning, this translated into large-scale industrial projects such as power plants and factories as well as RIÀFLDOUHFRJQLWLRQIRU¶KLJKFXOWXUH·DQGVRPHVXSSRUW IRU WKH ¶WUDGLWLRQDO DUWV· &LQHPD ZDV QRW LQFOXGHG LQ HLWKHU FDWHJRU\ $V D EXVLQHVV WKH ÀOP LQGXVWU\ GLG not produce an essential commodity, and as a culture industry, its products did not enhance or embody the SUHVWLJH RI  WKH QHZ QDWLRQ 7KH DOOHJRU\ RI  D QDWLRQ FHQWUHGRQUHFODLPLQJIURPKLVWRU\DQ,QGLDQSDVWWKDW SURFODLPHG D XQLW\ LQ GLYHUVLW\ &LQHPD ZDV VHHQ DV an alien imposition devoid of any organic connection with a long and illustrious history of diverse indigenous FXOWXUDOIRUPVDQGRQWKHVHJURXQGVGLVTXDOLÀHGDVDQ DXWKHQWLFDOO\QDWLRQDOFXOWXUDOH[SUHVVLRQ7KXVFLQHPD – what was to become perhaps the most pervasive LQÁXHQFHLQ,QGLDQFXOWXUH²ZDVSRVLWLRQHGZLWKLQWKH ,QIRUPDWLRQDQG%URDGFDVWLQJ0LQLVWU\ Once popularised, cinema became an electronic extension of ‘folk’ art forms. Thus, ‘Jhoot bole cauwa kaate’, a song of WKH.ROLÀVKHUPHQZDVVHWWRWKHWXQHRI D*RDQVRQJDQG IHDWXUHGLQWKHKLW+LQGLÀOP¶%REE\·7KHEHQHÀWVRI WKH VRQJ·V VXFFHVV ² ÀQDQFLDO DQG RWKHUZLVH ² JR WR WKH )LOP Industry. The original stakeholders of its artistic property remain marginalised.  Ray, Satyajit, ‘Under western eyes,’ Sight and Sound $XWXPQ S  &KDNUDYDUW\

“Movies and radio need no longer pretend to be art. The truth that they are just businesses is made into an ideology in order to justify the rubbish they deliberately produce. They call themselves industries; and when their directors’ incomes are published, any doubt about WKHVRFLDOXWLOLW\RI WKHÀQLVKHGSURGXFWVLVUHPRYHGµ -Theodor Adorno and Max Horkheimer

Bobby poster

7KLVGLVFRPIRUWZLWKWKHQHZPHGLDDQGLWVV\VWHPRI  RSHUDWLRQZDVVKDUHGE\$GRUQRDQG+RUNKHLPHUDOEHLW IRU GLIIHUHQW UHDVRQV 7KH\ PDLQWDLQHG WKDW ZKLOH WKH culture industry claimed to be serving the consumer’s need for entertainment, it concealed the way in which it VWDQGDUGL]HG WKHVH QHHGV PDQLSXODWLQJ WKH FRQVXPHUV WR GHVLUH ZKDW LW SURGXFHV 0DVV SURGXFHG FXOWXUH therefore feeds a mass market where the identity and tastes of individual consumers becomes increasingly less important and the consumers themselves are DV LQWHUFKDQJHDEOH DV WKH SURGXFWV WKHPVHOYHV $OO pervasive, media culture was seen to impress its stamp

7R $GRUQR PDVV FXOWXUH ZDV HVVHQWLDOO\ D PHDQV RI UHLQIRUFLQJWKHVWDWXVTXRRI PRGHUQFLYLOL]DWLRQDQGLWV HPEHGGHGFODVVKLHUDUFKLHV$QGLWLVWKHRU\DQG¶WUXHDUW· – painting, sculpture, music and dance – that are deemed the only remaining expressions of freedom, creativity DQG LQGLYLGXDOLW\ :KLOH KH WDNHV RQ DQ DQWLFDSLWDOLVW SRVLWLRQ $GRUQR·V FRQVSLUDF\ WKHRU\ LV QRQHWKHOHVV ORFDWHG ZLWKLQ D FDSLWDOLVW SDUDGLJP +LV FULWLTXH RI  capitalism is based on a romantic Marxism untouched E\ WKH UHDOLWLHV RI  FRQWHPSRUDU\ VRFLDOLVW VWDWHV ,W LV this utopian world view that he extends to his discourse RQ FXOWXUH FULWLTXLQJ DQ\WKLQJ WKDW PD\ EH VHHQ DV DQ expression of “bourgeois subjectivity” and extolling the virtues of the few cultural forms he deemed to be XQWDLQWHGE\FRPPHUFH )RUPRVWRI $GRUQR·VFRQWHPSRUDULHVPRGHUQLVWDUWDQG music represented the key sites of resistance to cultural PDQLSXODWLRQ ,Q FRQWUDVW :DOWHU %HQMDPLQ VRXJKW WR forge connections between the cultural avant-garde and the new popular media, arguing that both functioned outside the boundaries of conventional art production, reaching out to new audiences and embracing original IRUPDWVRI SUHVHQWDWLRQ 

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&RLQLQJWKHWHUP¶PHFKDQLFDOUHSURGXFWLRQ·WRUHIHUWR any form of cultural production characterised by the relatively large-scale replication of cultural artefacts by means of technology, Benjamin acknowledges that HDFK SURGXFW RI  VXFK D SURFHVV LV D UHSOLFD 8QOLNH $GRUQRDQG+RUNKHLPHUJORRP\FXOWXUDOSHVVLPLVPIRU Benjamin, mass media and avant-garde art provided the initial conditions, at least, for the creation of something WKDWFRXOGEHFRPHDFXOWXUDOGHPRFUDF\¶,WLVLQKHUHQW LQ WKH WHFKQLTXHV RI  ÀOP· KH ZURWH ¶WKDW HYHU\ERG\ who witnesses its accomplishments is somewhat of an H[SHUW«WKHSXEOLFLVSXWLQWKHSRVLWLRQRI FULWLF· $WKLUGDQJOHLQWKLVGHEDWHZDVWKDWRI -XUJHQ+DEHUPDV $GRUQR·VVWXGHQWDQGDVVLVWDQW+HUHDJDLQWKHZKROHVDOH refusal of capitalism is abandoned in favour of a democratisation of capitalism through critical public RSLQLRQ

Global Phenomenon

on everything until “the whole world is made to pass WKURXJKWKHÀOWHURI WKHFXOWXUHLQGXVWU\µ 

&ULWLFDOWR+DEHUPDV·SURMHFWZDVKLVYLHZRI VRFLHW\DV consisting of two distinct parts – the ‘system’ and ‘lifeZRUOG·7KHÀUVWUHIHUUHGWRWKHVSKHUHRI WKHHFRQRP\ and the state, of money and power; the second to the world of everyday experience, social discourse and FXOWXUDO YDOXHV VFLHQFH SROLWLFV DQG DUW +DEHUPDV believed that ‘undistorted communication’ between free DQG HTXDO FLWL]HQV LQ WKH ¶OLIHZRUOG· ZRXOG HVWDEOLVK values that could successfully counteract the dominative WHQGHQFLHVRI WKHV\VWHP 7KH SUREOHP ZLWK WKLV XWRSLDQ PRGHO DV +DEHUPDV himself recognised, was that the life-world was increasingly subject to ‘colonisation’ by the system, thus radically reducing the possibility of collective, FRPPXQLFDWLYHDFWLRQ7KXVLI PDVVPHGLDZDVVXVSHFW IRULWVVXEPLVVLRQWRFDSLWDOLVPVRZDVWKHDFDGHPLFDUW $V WKH DYDQWJDUGH IRXQG WKHLU SODFH ZLWKLQ JDOOHULHV  %HQMDPLQ SDVTXRWHGLQ0LOQHUDQG%URZLWW  S

39

and discourses on art, they too joined the ranks of the FRORQLVHG

To work in a factory blacken your face with smoke then at leisure later WRÁDSEOHDU\H\HOLGVDW other men’s luxuries – what is the good of that? Wipe the old out of our hearts! Enough of penny truths! The streets our brushes the squares our palettes. The thousand-paged book of time says nothing about the days of revolution. Futurists, dreamers, poets, come out into the street.

7KLV ZDV WKH HVVHQWLDO DPELJXLW\ RI  PRGHUQLW\ ² WKH historical need for emancipation from the rigid social structures of pre-modern tradition on the one hand, the ‘colonisation of the life-world’ by the logic of capitalism RQWKHRWKHU

Culture in the socialist state: Art as an ideological weapon While thinkers within capitalist Western societies were VWUXJJOLQJ WR GHÀQH FXOWXUH·V UROH LQ LWV ODUJHU VRFLR economic context, communist states, such as the Soviet 8QLRQ &KLQD DQG &XED VKRZHG QR VXFK DPELYDOHQFH WR FXOWXUH ,QVWHDG WKH\ UHSUHVHQW DQ H[WUHPH RI  VWDWH intervention in the cultural domain whereby all art was XVHGDVDQLQVWUXPHQWRI WKH&RPPXQLVW3DUW\$UWZDV ¶GLUHFWHGE\VWDWHSROLF\QRWDUELWUDULO\E\GLNWDWEXWE\ codifying a system of artistic rules, which ensure the FRQWLQXDWLRQRI D«KRPRJHQRXVDUWUHÁHFWLQJWKHVWDWH LGHRORJ\· Unlike capitalist states where the artist is seen as a JHQHUDWRURI FRQVXPHUJRRGVWKDWDUHSUL]HGIRUWKHLU ´VXUSOXV YDOXHµ WKH VRFLDOLVW DUWLVW LV UHFRJQL]HG DV D SROLWLFDO YRLFH DQG D PRUDO IRUFH $QG \HW IRU MXVW these same reasons, artists and art in socialist states ZHUH FRQVLGHUHG IRUHYHU TXHVWLRQDEOH DQG FRQWUROOHG $UWLVWLF LQGLYLGXDOLW\ LV OLPLWHG RU GHQLHG 7KH DUWLVW·V YRLFH FDQQRW VLPSO\ EH KLV RZQ $UW SURGXFWLRQ ZDV utterly subservient to the state, its progress, ideological objectives, and creative pursuits determined by the 3DUW\·VUHTXLUHPHQWIRUSURSDJDQGD



40

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- Vladimir Mayakovsky8 An order to the Art Army (December 1918)

7KH JHQHVLV RI  WKLV SKHQRPHQRQ JRHV EDFN WR WKH 2FWREHU5HYROXWLRQRI DQGWKHIRUPXODWLRQRI WKH 3UROHWNXW 7KH 3UROHWDULDW &XOWXUDO DQG (QOLJKWHQPHQW 2UJDQLVDWLRQ ZLWKLQWKH6RYLHW0LQLVWU\RI (GXFDWLRQ $UJXLQJ WKDW DUW OLNH DOO PDWHULDO JRRGV DQG PHDQV RI production in a communist economy, belonged to the FRPPXQLW\ DV D ZKROH DQG QRW WR D VSHFLÀF FODVV WKH 3UROHWNXW HQFRXUDJHG DUWLVWV WR EUHDN DZD\ IURP WKH ‘bourgeois’ subject matter and style of art produced under the tsars and embrace their new task as “engineers RI WKHKXPDQVRXOµ 

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 7KH SKUDVH ¶HQJLQHHUV RI  WKH KXPDQ VRXO· ZDV FRLQHG E\ <XUL 2OHVKD DQG ZDV ODWHU SRSXODUL]HG E\ 6WDOLQ QRWDEO\ LQ KLV VSHHFKDWWKH)LUVW&RQJUHVVRI WKH8QLRQRI 6RYLHW:ULWHUVLQ ´7KHSURGXFWLRQRI VRXOVLVPRUHLPSRUWDQWWKDQWKHSURGXFWLRQRI  WDQNV«$QGWKHUHIRUH,UDLVHP\JODVVWR\RXZULWHUVWKHHQJLQHHUV

“It [Russian art] concerns the value a man puts on his own life. The Russian cannot believe that the meanLQJRI KLVOLIHLVVHOIVXIÀFLHQW²DQGWKHUHIRUHWKDWKLV existence can be pointless. He is inclined to think that his destiny is larger than his interests. This leads in art to an emphasis on truth and purpose rather than on aesthetic pleasure. Russians expect their artists to be prophets – because they think of themselves, they think of all men, as subjects of prophecy.” 10

7KLV QHZIRXQG UROH RI  WKH DUWLVW LV PRVW HYLGHQW LQ WKH 5XVVLDQ SROLWLFDO VWUDWHJ\ RI  ¶$JLWSURS· $ IXVLRQ RI  ¶DJLWDWLRQ· DQG ¶SURSDJDQGD· $JLWSURS SURPXOJDWHG the use of political slogans and imagery as a means to PRXOGSXEOLFRSLQLRQDQGPRELOLVHPDVVVXSSRUW0DVV PHGLD ² SDPSKOHWV PDJD]LQHV QHZVSDSHUV UDGLR DQG WHOHYLVLRQ ² DV ZHOO DV WKH ¶ÀQH DUWV· DQG DUFKLWHFWXUH were marshalled to the cause of re-educating the entire SRSXODWLRQLQWKHFRPPXQLVWPRXOG 'XH WR WKHLU OXFLGLW\ DQG VLPSOLFLW\ RI  IRUP WKH comparative ease of large print runs, the vividness of its imagery and its greater accessibility, posters became WKH FKRVHQ H[SUHVVLRQ RI  WKH DJLWSURS 3URPLQHQWO\ featured on town walls, fences, boats and special propaganda trains, and in demonstrations, Russian SRVWHUVGHYHORSHGDODQJXDJHDQGOLIHRI WKHLURZQ7KH\ ZHUH´WKHPLQXWHVRI WKHPRVWGLIÀFXOWWKUHH\HDUSHULRG of the revolutionary struggle, a record in colours and words,” enthusing those who were participating in the 5HYROXWLRQRQWKHPLOLWDU\IURQW RI WKHKXPDQVRXOµ  %HUJHU>@ SS

Global Phenomenon

Soviet Poster, Chinese Poster, Haripura Congress

In the Soviet Union and China of the early 20th century, posters became a visual extension of State propaganda, urging the common man to join in the task of building a communist nation. In India, Gandhi commissioned Nandlal Bose to design posters for the Haripura Congress. The protagonist of these posters is the rural Indian busy with work, making SRWVSORXJKLQJWKHÀHOGZHDYLQJWH[WLOHVFRRNLQJDPHDO7KH style of the poster derives from Indian miniatures, creating a sense of ‘Indianness’ that all Indians could identify with.

‘Working relentlessly for the Military Department since the beginning of 1919, Comrade Moor has rendered an immense service to the Red Army with his bold poster designs. The ranks of the Red Army cherish his revolutionary posters which raised their morale and illuminated the way forwards. During the past three years, Comrade Moor has designed 150 canvases and posters for the Red Army. The Military Revolutionary Committee of the Republic, noting Comrade Moor’s services to the Revolution, honours him for the heroic battle he has waged with his own particular weapons – the brush and the pencil.’

Fuelled by the belief that they were contributing to the political and spiritual future of their country, Russian artists tried to create an art form that bore no semblance to that patronised by the autocracy or to the ‘soulless’ FDSLWDOLVP RI  WKH :HVW 7KH UHVXOW ZDV DQ HQWKXVLDVWLF rediscovery of pre-European Russian art coupled with a search for the most advanced, the most modern means of H[SUHVVLRQ· Once the revolutionary ship was stabilised, however, state intervention in cultural production grew PRUH DXWKRULWDULDQ 7KH 3UROHWNXW·V DVVLPLODWLRQ DQG promotion of radical, non-traditional directions such as impressionism, constructivism, cubism, concept art, and SHUIRUPDQFHDUWQRZFDPHXQGHUVHYHUHFULWLFLVP7KH 

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41

realpolitik of building an industrial base in a backward country meant that all avant-garde art became at best, a sort of luxury and, at worst, a vestige of pre-revolutionary bourgeois culture which had to be extirpated from the QDVFHQWZRUNHUVVWDWH 7KH 3UROHWNXW ZDV GLVEDQGHG LQ  DQG ¶VRFLDOLVW realism’ was instated as the state policy on the grounds that realist art was more popular and comprehensible WRWKHXQHGXFDWHGPDVVHV$UWZDVQRZWREHHYDOXDWHG based on a sense of its task – who it is addressing, what has to be done to consolidate economic progress and encourage its new constituency, the common man, to HPXODWHWKHVRFLDOLVWPRGHO,QSUDFWLFHWKLVPHDQWWKDW DUWLVWV KDG WR SURGXFH ZRUNV WKDW HLWKHU JORULÀHG WKH leaders and policies of the Soviet Union or elevated WKH FRPPRQ ZRUNHU ZKHWKHU IDFWRU\ RU DJULFXOWXUDO  E\SUHVHQWLQJKLVOLIHZRUNDQGUHFUHDWLRQDVDGPLUDEOH $UWLVWLF LPDJHU\ DQG IDFWXDO FRQWHQW UHLQIRUFHG RQH another, always highlighting the move towards a SURJUHVVLYHWHFKQRORJLFDOO\DGYDQFHGVRFLHW\ $UWLVWV ZKR FRXOG QRW ZRUN ZLWKLQ WKH ERXQGDULHV RI  socialist realism, especially those who wished to work in avant-garde or non-representational genres were not regarded as employed when working on their art and could therefore be accused of social parasitism, a charge that could send a person to the Gulag labour FDPSV LQ 6LEHULD DQG HOVHZKHUH :KLOH DUWLVWV ZHUH urged to represent realism, it was only a limited view of UHDOLW\WKH\ZHUHSHUPLWWHGWRUHSUHVHQW$Q\GHSDUWXUH from heroic portraits of Stalin and Lenin, muscular peasants, happy factory workers, collective farms, and industrial landscapes was frowned upon, as were novels deemed inconsistent with Marxist doctrine and musical FRPSRVLWLRQVWKDWGLGQRWDSSHDUWRURXVHRUUHÁHFWWKH OLIHDQGVWUXJJOHVRI WKH3UROHWDULDW

42

Without wholly identifying with the Revolution, the DUWLVWZLOOLQHYLWDEO\IDLOWRÀQGWKHULJKWVW\OHDQGWKH true colours for his revolutionary cartoons’. -Lenin

I do not know how radical you are or how radical I am. I am certainly not radical enough; that is, one must always try to be as radical as reality. - Lenin

7KH 6RYLHW 8QLRQ·V SROLF\ RQ DUW SURGXFWLRQ ZDV H[SRUWHGWRYLUWXDOO\DOOWKHRWKHU&RPPXQLVWFRXQWULHV $OWKRXJK WKH GHJUHH WR ZKLFK LW ZDV HQIRUFHG WKHUH varied somewhat from country to country, socialist realism became the predominant art form across the FRPPXQLVWZRUOGIRUQHDUO\ÀIW\\HDUV Mao clocks

In an extreme of state intervention in the cultural sphere, literature and in the arts in China of the 1940s were made entirely subservient to Communist ideology. Strict guidelines were laid down regarding the style, content and format that was considered permissible. In an ironic twist, Chairman Mao’s visage has since found its way onto clocks, sold as popular memorabilia. ,QWKHFDVHRI &KLQDDUWZDVPRELOLVHGDVDPHGLXPRI class struggle and nationalistic regeneration under Mao’s OHDGHUVKLS7RTXRWH0DRKLPVHOI´,QRXUVWUXJJOHIRU WKHOLEHUDWLRQRI WKH&KLQHVHSHRSOHWKHUHDUHYDULRXV fronts, among which there are the fronts of the pen and WKHJXQWKHFXOWXUDODQGWKHPLOLWDU\7RGHIHDWWKHHQHP\ ZHPXVWUHO\SULPDULO\RQWKHDUP\ZLWKJXQV%XWWKLV army alone isn’t enough; we must also have a cultural army, which is absolutely indispensable for uniting our RZQUDQNVDQGGHIHDWLQJWKHHQHP\µ ,Q0D\DW
The purpose of our meeting today is precisely to ensure WKDWOLWHUDWXUHDQGDUWÀWZHOOLQWRWKHZKROHUHYROXWLRQary machine as a component part, that they operate as powerful weapons for uniting and educating people and for attacking and destroying the enemy, and that they KHOSWKHSHRSOHÀJKWWKHHQHP\ZLWKRQHKHDUWDQGRQH mind. What are the problems that must be solved to achieve this objective? I think they are the problems of the class stand of the writers and artists, their attitude, their audience, their work and their study.” – Mao Zedong12

Mao left no doubt about the subservience of art to SROLWLFV´5HYROXWLRQDU\OLWHUDWXUHDQGDUWDUHSDUWRI WKH whole revolutionary cause; they are cogs and wheels in LWµ From the notion that the value of art derived from revolutionary necessity, came a heightened esteem and FRQFHUQIRUDUWLVWV

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Mao, however, made it abundantly clear that this would only apply to those who could adhere to the new VSHFLÀFDWLRQV SUHVFULEHG IRU WKHLU ZRUN ´:ULWHUV ZKR cling to an individualist, petty-bourgeois stand cannot WUXO\VHUYHWKHPDVVHV«1RUHYROXWLRQDU\ZULWHURUDUWLVW can do any meaningful work unless he is closely linked with the masses, gives expression to their thoughts and IHHOLQJVDQGVHUYHVWKHPDVDOR\DOVSRNHVPDQµ 0DR GHÀQHG WKH LVVXH RI  VW\OH LQ WHUPV RI  FRPSUHKHQVLELOLW\ WR WKH PDVVHV ´:H PXVW SRSXODUL]H only what is needed and can readily be accepted by the ZRUNHUV SHDVDQWV DQG VROGLHUV WKHPVHOYHV« 2QO\ E\ starting from the workers, peasants and soldiers can we KDYH D FRUUHFW XQGHUVWDQGLQJ RI  SRSXODUL]DWLRQ DG RI WKHUDLVLQJRI VWDQGDUGVDQGÀQGWKHSURSHUUHODWLRQVKLS EHWZHHQ WKH WZRµ ´3RSXODU DUWµ GHÀQHG WKXV LV unambiguous, comprehensible to the audience, designed ´WRDZDNHQWKHPDVVHVµ>WR@ÀUHWKHPZLWKHQWKXVLDVP DQG LPSHO WKHP WR XQLWV DQG VWUXJJOHµ 7KH ¶VPLOLQJ counterpart’ of ‘socialist realism’, Mao’s aesthetic of ‘popularisation’ was designed not as a representation RI  DFWXDO UHDOLW\ EXW DV D GHSLFWLRQ RI  DQ ´LQWHQVLÀHGµ realism – in other words, idealism and not realism at DOO´3RSXODUL]DWLRQµPDNHVWKHKHURLFPRUHKHURLFWKH YLOODLQVPRUHYLOODLQRXVWKHFRQWUDVWVH[WUHPH$Q\WKLQJ that was a departure from this approach was labelled ´XQSRSXODUµRUDV´KDUGIRUWKHPDVVHVWRXQGHUVWDQGµ $QGWKHRQHWKLQJWKDWZDVEHOLHYHGLQFRPSUHKHQVLEOH WRWKHPDVVHVZDVDQ\FULWLFLVPGLUHFWHGDJDLQVWWKH3DUW\ LWVHOI 7KH PDVVHV ´LQFRPSUHKHQVLRQµ ZDV D FHQVRULDO VKLHOGZLWKZKLFKWKH3DUW\FRXOGGHIHQGLWVHOI

  

“As Marx put it in a famous exhortation to philosophers; the task is not just to understand the world but to change it. So too with artists. “Socialist realism” is more than mere faithfulness to reality: it contributes to reality; it creates reality….There is, in fact, only one taboo: the recognition of a variety of realities is forbidden, including any separate reality of one’s own. “Realism” operates this way not because it does not wish to know abut reality. You do not need much theoretical training to realise that there can be no “real” reality when there are many realities.”

Global Phenomenon

lingering individualism into the collective service of UHYROXWLRQDU\SROLWLFDOHQGV+LVSUDFWLFDOLPSHUDWLYHZDV to deliver control of literature and art, once in the hands RI WKHZULWHUVDQGDUWLVWVWKHPVHOYHVLQWRWKHFHQWUDOL]HG PDQDJHPHQWRI WKH3DUW\

– Miklos Haraszti in his dark-humoured account of state-directed socialist art in Eastern Europe, The Velvet Prison 7KHUH QRZ DURVH WKH YH[LQJ LVVXH RI  KRZ WR HVWDEOLVK DQLGHRORJLFDOO\FRUUHFWDUW7UDGLWLRQDO&KLQHVHDUWDQG Western-style art were both considered ideologically WDLQWHG WKH ÀUVW EHFDXVH RI  LWV IHXGDOLVWLF RULJLQV WKH VHFRQGEHFDXVHRI LWV(XURSHDQERXUJHRLVDVVRFLDWLRQV Other sources also existed as potential models for development, including European and Soviet socialist DUWV SULQWPDNLQJ DQG VFXOSWXUH DV ZHOO DV SDLQWLQJ 7KHVH ZHUH QRW ¶LGHRORJLFDOO\ FRQWDPLQDWHG· EXW WKH very fact that they were foreign would from time to time EHGHWULPHQWDOWRWKHLULQÁXHQFH)LQDOO\WKHUHZHUHWKH WUDGLWLRQDO&KLQHVHIRONDUWVKRZHYHUOLPLWHGWKH\PLJKW KDYH EHHQ LQ WKHLU RZQ KLVWRULFDO GHYHORSPHQW 0XFK of the time, Mao seemed to favour those theories and programs intended to cultivate indigenous “national IRUPVµ

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43

“Some works which politically are downright reactionary may have a certain artistic quality. The more reactionary their content and the higher their artistic quality, the more poisonous they are to people, and the more necessary it is to reject them.” – Mao Zedong16

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expressions could be solved by showing folklorisms, ORFDO FRORXUV WUDGLWLRQV«$ GDQJHURXV HUURU EHFDXVH the solution is not in showing our identity, but in acting IURPLWIURPLQVLGHWRZDUGVWKHRXWVLGH:ROH6R\LQND VDLG´$WLJHUGRHVQ·WDQQRXQFHLWVWLJULWXGH²LWOHDSVµ «2XUGLOHPPDLVQRWUHVROYHGE\WKURZLQJFDSLWDOLVW instruments) into the garbage can, to then go back WR SUHFDSLWDOLVW RSWLRQV %XW QHLWKHU LV LW D PDWWHU RI DUULYLQJ DW WKH 7KLUG 0LOOHQQLXP IROORZLQJ FDSLWDOLVW culture), adapting it, or even nationalising it, which may EHDWUDQVLWLRQDOVROXWLRQ:HKDYHWRPDNHLWRXUVHOYHV with our own criteria, or at least participate actively in LWV HYROXWLRQ 6ORZO\ DQG PRUH HDFK WLPH $QG RQFH this happens, it will have stopped being a Western &XOWXUHµ

Culture in the postcolonial economy: Art as identity $OWKRXJKRQHPD\DUJXHWKDWDUWLQFRPPXQLVWFRXQWULHV was as much about national identities as politics, in SRVWFRORQLDOFRXQWULHVVXFKDV0H[LFRDQG,QGLDFXOWXUH SOD\HG D FUXFLDO UROH LQ WKH FRQVWUXFWLRQ RI  D XQLÀHG QDWLRQ 8QOLNH (XURSHDQ QDWLRQDOLVP ZKHUH QDWLRQDO consciousness grew from common bonds of language DQG FXOWXUH 0H[LFDQ DQG ,QGLDQ QDWLRQDOLVP UHVXOWHG from the necessity of unifying diverse cultural groups LQWKHVWUXJJOHDJDLQVWIRUHLJQGRPLQDWLRQ3ULRUWRWKHLU formation as independent republics, what we today call 0H[LFRRU,QGLDZHUHJHRJUDSKLFDODUHDVZKHUHFXOWXUDO and social assemblies lived side by side but were deeply GLIIHUHQWLDWHG1HLWKHUKDGDFXOWXUDOEDVHWKDWZDVPRUH or less homogenous and permitted itself to extend loops RI LGHQWLW\LQVRYDVWDWHUULWRU\7KHQHZQDWLRQVWDWHV had perforce to “invent” a national identity that would  0RVTXHUD ,GHQWLGDG\FXOWXUDSRSXODUHQHO1XHYR DUWHFXEDQR+DYDQD7\SHVFULSWDVTXRWHGLQ/XLV&DQQLW]HU  S

create solidarity among its varied population, assimilate their individual cultures, as well as consolidate their SRVLWLRQDVDYLDEOHQDWLRQLQWKHLQWHUQDWLRQDOFRQWH[W 7KH FXOPLQDWLRQ RI  WKH 0H[LFDQ 5HYROXWLRQ   PDUNVWKHEHJLQQLQJRI UHODWLYHSROLWLFDOVWDELOLW\ LQWKHFRXQWU\7KHQHZOHIWLVWJRYHUQPHQWRI 3UHVLGHQW $OYDUR2EUHJRQLQLWLDWHGLPSRUWDQWUHIRUPVWKHIHXGDO land system was dismantled, labour was organised and reformed, foreign economic despoliation were initiated, and indigenous culture became the focus of a national FXOWXUDOSURJUDP'XULQJWKLVSHULRGRI UHFRQVWUXFWLRQ 0H[LFDQ FXOWXUH HQJDJHG LQ D VHDUFK IRU LGHQWLW\ ,Q music, literature, theatre, dance, and painting, there ZDV D ´UHWXUQ WR RULJLQVµ D UHDIÀUPDWLRQ RI  0H[LFR·V LQGLJHQRXVSDVW3UH&ROXPELDQDUWDQGSRSXODUDUWZDV UHYDOXHG 6RSKLVWLFDWHG FLW\ ZRPHQ EHJDQ WR GUHVV LQ native costumes, and painters not only populated their ZRUNVZLWK,QGLDQDQGQDWLYHDUWHIDFWVWKH\DOVRLPLWDWHG WKHIRONORULFVW\OHRI SRSXODUDUW 7KH UHDIÀUPDWLRQ RI  0H[LFR·V LQGLJHQRXV FXOWXUH LQ WKH V KDG PXFK WR GR ZLWK WKH WKHQ 0LQLVWHU RI  (GXFDWLRQ -RVH 9DVFRQFHORV +H ODXQFKHG D FUXVDGH WRHGXFDWHWKH0H[LFDQSHRSOHDQGWREULQJWKH,QGLDQ LQWR WKH ERG\ SROLWLF 5HDOLVLQJ QRW RQO\ WKDW PDQ\ Mexicans were illiterate and that, as he put it, “Men are more malleable when approached through their senses as happens when one contemplates beautiful forms and ÀJXUHV«µKHFRPPLVVLRQHGSDLQWHUVWRZRUNDWPDVRQ·V wages decorating public walls with paintings that could WHDFKSHRSOH 3HUKDSVWKHPRVWVLJQLÀFDQWDUWLVWVRI WKLVSHULRGZHUH 'LHJR 5LYHUD 'DYLG 2OIHUR 6LTXHLURV -RVH &OHPHQWH 2UR]FR (DFK ZDV GULYHQ E\ GHVLUH WR FUHDWH D WUXO\ Mexican art, one that expressed the Mexican character DQG ZDV HTXDO WR DQ\ RWKHU 6SHDNLQJ DERXW WKHLU

7KHLU ZRUN KRZHYHU UHYHDOV WKHLU FRPSOH[ DQG RIWHQ FRQWUDGLFWRU\ DSSURDFKHV WR WKHLU VXEMHFW 5LYHUD UHWXUQLQJ DIWHU D ÀIWHHQ\HDU VRMRXUQ LQ (XURSH ZDV H[KLODUDWHGE\WKHEHDXW\RI KLVFRXQWU\´LWZDVDVLI , ZDVEHLQJERUQDQHZERUQLQDQHZZRUOGµ+HVDLGKH ZDQWHGKLVSDLQWLQJV´WRUHÁHFWWKHVRFLDOOLIHRI 0H[LFR DV,VDZLWWKURXJKP\YLVLRQRI WKHWUXWKWRVKRZWKH PDVVHVWKHRXWOLQHRI WKHIXWXUHµ5LYHUD·VZRUNLVDWRQFH nostalgic, romanticising a Mexican past and prophesying, UDWKHURSWLPLVWLFD0DU[LVWIXWXUH

Diego Rivera, Frida Kahlo, Amrita Shergil

Mexican and Indian art of the immediate post-colonial era shares certain similarities – primarily, a search for an identity that is at once local yet global. This often translated into a romanticisation of the rural population, now considered the true and rightful occupants of the land. Diego Rivera’s work represents the pro-active peasants and workers of the Mexican State, and Frida Kahlo’s work is tinged with a

nostalgic reimagining of a picturesque national and personal identity. Although “Western” in terms of its medium and style, the works of both Mexican artists are littered with local references. Likewise, the Indian artist Amrita Shergil’s ZRUNLVLQÁXHQFHGE\WKHWKHQSRSXODU,PSUHVVLRQLVWVW\OHEXW is transformed by her choice of subjects and colours – village women represented with a rich palette of earthy browns, reds and ochres.

2UR]FRRQWKHRWKHUKDQGDEKRUUHG5LYHUD·VIRONORULVP ,QKHZURWH´3HUVRQDOO\,GHWHVWUHSUHVHQWLQJLQP\ works the odious and degenerate type of common people WKDWLVJHQHUDOO\WDNHQDVD¶SLFWXUHVTXH·VXEMHFW«:H DUHFKLHÁ\UHVSRQVLEOHIRUKDYLQJSHUPLWWHGWKHFUHDWLRQ DQGIRVWHULQJRI WKHLGHDWKDWWKHVHÀJXUHVUHSUHVHQWVR FDOOHG0H[LFDQLVP«7KHVHLGHDVLQGXFHPHWRDEMXUH once and for all, the painting of sandals and dirty cotton SDQWVµ 2UR]FR GLGQ·W LGHDOLVH WKH 0H[LFDQ SDVW DV GLG 5LYHUD+HVDLGWKDW´WKHJUHDWGUDPDVRI KXPDQLW\GR QRWQHHGWREHJORULÀHGIRUWKH\DUHOLNHPDQLIHVWDWLRQV

Global Phenomenon

DUWLVWLFPLVVLRQ2UR]FRVDLG´:HZRXOGOHDUQZKDWWKH ancients and the foreigners could teach us, but we could GRDVPXFKDVWKH\RUPRUH,WZDVQRWSULGHEXWVHOI FRQÀGHQFHWKDWPRYHGXVLQWRWKLVEHOLHI1RZIRUWKH ÀUVW WLPH WKH SDLQWHUV WRRN VWRFN RI  WKH FRXQWU\ WKH\ OLYHG LQµ (DFK EDVHG WKHLU ZRUN RQ 0H[LFDQ KLVWRU\ developing an art form that was at once nationalist, antiFRORQLDODQGRIWHQH[SOLFLWO\0DU[LVW

RI QDWXUDOIRUFHVVXFKDVYROFDQRHVµ)URPKLVSRLQWRI  view, no matter how much the world changed, the same evils – war, injustice, poverty, oppression, ignorance – SUHYDLOHG+HKDGOLWWOHIDLWKWKDWKXPDQEHLQJVMRLQLQJ WRJHWKHULQJURXSVPLJKWEULQJDERXWVRFLDOFKDQJH+H MRLQHGQRSROLWLFDOSDUW\´1RDUWLVWKDVRUHYHUKDVKDG SROLWLFDOFRQYLFWLRQVRI DQ\VRUWµKHVDLG´7KRVHZKR SURIHVV WR KDYH WKHP DUH QRW DUWLVWVµ 8QOLNH 5LYHUD

45

whose work was full of hammers and sickles and who did QRWGHQ\KHLUYDOXHDV&RPPXQLVWSURSDJDQGD2UR]FR LQVLVWHG WKDW KLV PXUDOV WRRN QR SDUWLVDQ SRVLWLRQV 7R him ideologies were suspect; they all led to demagoguery DQGWRWDOLWDULDQLVP

IURPWKHLUORFDOSDWURQVLQWRDZLGHUUHJLRQDOQDWLRQDO QHWZRUN RI  FXOWXUDO SHUIRUPDQFHV %\ WKLV WLPH WKH VSLULWXDOLPDJHRI ,QGLDDVWKHFRXQWHUSDUWWR(XURSHDQ materialism had matured, nourished by western adulation DQGDQHZSHUFHSWLRQRI DKLVWRULF,QGLDQSDVW

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:KHQ ,QGLD DFKLHYHG ,QGHSHQGHQFH LQ  LWV QHZ government had a mammoth task at its hands – the creation of models for a national culture and translating WKDW LQWR SROLF\ +HUH DV LQ 0H[LFR WKH FRQVWUXFWLRQ RI LGHQWLW\KDGWKUHHGLVWLQFWVWUDQGV7KHUHYLWDOLVDWLRQ and reclamation of a historic past capable of eliciting national pride and cohesion, the upliftment and economic development of its vast population, and a progressiveinternationalism which allowed the new nation state to KROGLWVRZQDPRQJLWVFRQWHPSRUDULHV

- Diego Rivera 3HUKDSVZKDWGLVWLQJXLVKHGDUWLQWKHSRVWFRORQLDOVWDWHLV WKHPDQ\YRLFHVWKDWMRVWOHIRUVSDFHZLWKLQLWVSDUDPHWHUV 7KH0H[LFDQFXOWXUHWKDWZDVEHLQJLQYHQWHGVWUHWFKHG across centuries, classes and geographies, expressing itself in the folklorism of Rivera on one hand and the FXELVWLFDEVWUDFWLRQRI 2UR]FRRQWKHRWKHU%RWKIRXQG YDOLGDWLRQDQGSDWURQDJHZLWKLQWKHVWDWH 6LPLODUO\,QGLDLQKHUVWUXJJOHIRU,QGHSHQGHQFHORRNHG WRZDUGVKHUKLVWRU\IRUJLQJDQLPDJHRI DQ,QGLDQFXOWXUDO heritage that was free, and often superior, to that of her RFFLGHQWDOUXOHUV1DWLRQDOLVWOHDGHUVWRRNUHFRXUVHLQD romantic reconstruction of the past to imbue a ‘legitimate VHQVHRI QDWLRQDOSULGH·LQ,QGLD·VKHULWDJHDVZHOODVWR resist the social and cultural challenges posed by the LPSHULDOLVWV 'UDPDWLVWV QRYHOLVWV DQG SRHWV SUHVHQWHG heroes of popular legends from regional ethnic groups ZLWK D SDQ,QGLDQ FRQVFLRXVQHVV LQWURGXFLQJ ORFDO culture of the various regions to the rest of the country DQGWRGHYHORSDIHHOLQJRI QDWLRQDOFRKHVLRQ 6LJQLÀFDQW LQVWLWXWLRQV RI  FXOWXUH ZHUH VHW XS WKURXJK purely voluntary efforts – among them, Rabindranath 7DJRUH·V 8QLYHUVLW\ DW 6KDQWLQLNHWDQ 5XNPLQL 'HYL $UXQGDOH·V .DODNVKHWUD ,QGLDQ 3HRSOH·V 7KHDWUH $VVRFLDWLRQ 8GD\ 6KDQNDU &XOWXUH &HQWUH DW $OPRUD 0DGUDV0XVLF$FDGHP\%XWLWZDVWKHPDVVPHGLDRI  UDGLRÀOPVDQGSKRQRJUDSKUHFRUGVZKLFKGUHZDUWLVWV

46

7KH*DQGKLDQIRFXVRQWKHYLOODJHDQGWKH1HKUXYLDQ focus on the international met in cultural policy; the WUDGLWLRQDO DQG WKH PRGHUQ WKH IRON DUWV DQG WKH ÀQH arts, the mass media and the non-mechanical were all LQFOXGHG7KHOLQHVEHWZHHQWKHPKDYHRIWHQVZHUYHG EOXUUHGDQGIRUVKRUWSHULRGVRFFDVLRQDOO\GLVDSSHDUHG 7KH DWWHPSW WKURXJKRXW KRZHYHU KDV EHHQ WR OLYH in multiple centuries, multiple pasts simultaneously, DVVLPLODWLQJWKHEHVWDQGUHLQYHQWLQJLW*DQGKLKLPVHOI  DUWLFXODWHG ,QGLD·V FXOWXUDO SROLF\ IDU PRUH HORTXHQWO\ ´,ZDQWWKHFXOWXUHVRI DOOODQGVWREHEORZQDERXWP\ KRXVHDVIUHHO\DVSRVVLEOH%XW,UHIXVHWREHEORZQRII  P\IHHWE\DQ\,UHIXVHWROLYHLQRWKHUSHRSOH·VKRXVHV DVDQLQWHUORSHUEHJJDURUVODYHµ

KG Subramanyan

Art in Post Independence India was characterised by two

distinct approaches: an internationalist modernism and a

search for a cultural sensitivity in art practice. K G Subramanyan, an artist of this generation, consistently attempted to regain for modern art that additional resonance traditional artists derived from shared culture and language, experience and iconography. Through involvement with weaving and textile design, toy making, writing and

What we seek today is not a repetition of the old pattern, be it Indian or colonial, but a positive contribution to strengthening the quality of current life -Kamaladevi Chattopadhyay18 &XOWXUDOSROLF\DVXQGHUVWRRGLQWKHVDWWKH3ODQQLQJ &RPPLVVLRQ WKURXJK .DPDODGHYL &KDWWRSDGK\D\ DQG 0DXODQD $]DG·V ZRUN DPRQJVW RWKHUV  ZDV HVVHQWLDOO\ a parallel to what cultural industries has become today; the only difference is that today policy makers are more open to including the more commercial, non-traditional VHFWRUVZLWKLQWKHJDPELWRI FXOWXUH+HUHWKHGLYLVLRQ WREHJLQZLWKZDVQRWEHWZHHQÀQHDUWVDQGPDVVFXOWXUH EXW EHWZHHQ ÀQH DUWV DV EDVHG RQ ZHVWHUQ DFDGHP\ PRGHOV DQGWUDGLWLRQDODUWVDVVXPHGWRKDYHDOLPLWHG PDUNHWDQGDFFRUGLQJO\JUDQWHGVWURQJVWDWHVXSSRUW 

illustrating children’s books, and creating murals integrated with architecture, he succeeded in breaking out of the narrow limits of high art and explore different modes of cultural production and communication. 7RWKLVHQGQHZFXOWXUDOLQVWLWXWLRQVZHUHHVWDEOLVKHG² WKH 6DKLW\D $NDGHPL WKH /DOLW .DOD $NDGHPL WKH 6DQJHHW 1DWDN $NDGHPL DQG WKH 1DWLRQDO 6FKRRO RI  'UDPD&XOWXUDOLQVWLWXWLRQVWKDWZHUHDOUHDG\DFWLYHLQ the preservation, fostering and dissemination of culture ZHUH IXUWKHU VWUHQJWKHQHG 7H[WERRNV ZHUH SXEOLVKHG LQ YDULRXV UHJLRQDO ODQJXDJHV +LQGL DQG (QJOLVK WR HQDEOH ,QGLDQ FLWL]HQV WR UHWDLQ WKHLU LQGLJHQRXV URRWV ZKLOHHTXLSSLQJWKHPVHOYHVZLWKWKHWRROVRI SURJUHVV 7KH JRYHUQPHQWV DOVR VDZ WR WKH H[WHQVLRQ RI  PDVV

Culture in the postmodern era: Art as economic policy )URP WKH V RQZDUGV WKH SRSXODU KDV EHHQ WKH FXOWXUDOKXELQPDQ\FRXQWULHV$ZKROHQHZVSDWHRI  theory was borne of this boom, spreading to theory on ¶KLJKDUW·DVDUHÁH[LYHDSSOLFDWLRQ1RWRQO\LVPRVWRI the world now irreversibly and undoubtedly consumerist, but the pragmatics of functioning within this system means that even the bastions of ‘tradition’ or the ‘avantgarde’ have now joined the groups already camped out  &KDWWRSDGK\D\ ,QGLD·V&UDIW7UDGLWLRQ1HZ'HOKL 3XEOLFDWLRQV'LYLVLRQ*2,

LQWKHPDUNHWSODFHRI WKHJOREDOYLOODJH ,QWKLVPLOLHXHDUOLHUQRWLRQVRI FXOWXUHEHJDQWREHUH HYDOXDWHGDQGPRUHRIWHQWKDQQRWGLVPLVVHG$GRUQR·V account of the culture industries, for instance, has been critiqued IURP D QXPEHU RI  SHUVSHFWLYHV 7KH ÀUVWRI WKHVHLVWKDWLWSUHVHQWVDQH[DJJHUDWHGYLHZRI  the cohesive character of mass culture and an overly pessimistic, condescending prognosis of the “masses” as brainless puppets attached to the strings of the powerful HOLWH ZLOIXOO\ VXEPLWWLQJ WR WKHLU RZQ VWXSHIDFWLRQ $GRUQRDQG+RUNKHLPHU·VWKHRU\DOVRHQWLUHO\QHJDWHG the overall dynamics of the industries that provided mass communication and cultural goods and services to an increasingly wide cross-section of the public, choosing instead to see these industries as the eradicator of an LGHDOL]HG¶WUXHFXOWXUH·WKDWZDV´WRRFORVHO\FRQQHFWHG with nostalgia for a cultural experience untainted by WHFKQRORJ\µ

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$OWKRXJK $GRUQR DQG +RUNKHLPHU·V FRQFHSW RI  WKH culture industry is now deemed an overly dismissive account of capitalist economies and their dynamics, LW ZDV WKH ÀUVW WR GLVFXVV WKH HURVLRQ RI  WKH KLWKHUWR rigid boundaries between high art, mass culture and WKH HFRQRP\ :KLOH DFDGHPLF ZULWLQJ RQ WKH FXOWXUDO industries has for the most part tended to focus the cultural and social implications of cultural consumption, the increasing presence of the culture industries in social and economic life motivated its development as an object of policy, moving discourses on the cultural industries out of the realm of conceptual analyses and into the framework of local, regional and national policy for the GHYHORSPHQWRI FXOWXUDOLQGXVWULHVDVDVHFWRU  %HQQHW0DWWHODUWDQG 3LHPPH7KRPSVRQ 6LQFODLU  )OHZ  0DWWHODUW DQG 3LHPPH    DV TXRWHG LQ )OHZ 

47

'ULYHQE\¶NQRZOHGJHLQWHUPHGLDULHV·RXWVLGHDFDGHPLD working with city and other arts agencies, culture now came to be repositioned within a rhetoric of the ‘value’ of culture – the assessment of which constantly shifts between aesthetic, economic and social understandings RI  YDOXH 6ZLQJLQJ EHWZHHQ FODLPV DV WR WKH H[WHUQDO EHQHÀWVRI FXOWXUHDQGHTXDOO\SDVVLRQDWHDWWDFNVRQWKH DWWHPSWHG UHGXFWLRQ RI  DUW DQG FXOWXUH WR IXQFWLRQDO HFRQRPLF YDOXH WKH VSHFLÀF ZHLJKWLQJ DQG WUDMHFWRULHV RI WKHVHGHEDWHVUHÁHFWWKHGLIIHUHQWVWUXFWXUHVSULRULWLHV and constraints faced by subsidy and arts policy systems LQWKHGLIIHUHQWQDWLRQDOUHJLRQDOIRUPDWLRQV Early forms of arts policy in many countries mirrored, to some extent, the disdain for mass media and commercial FXOWXUHIRXQGLQ$GRUQRDQG+RUKHLPHU·VLGHRORJ\LQWKDW they strictly demarcated publicly supported ‘excellence’ in the cultural realm, and popular arts and cultural forms WKDWZHUHSULPDULO\FRPPHUFLDOLQRULHQWDWLRQ$UWVSROLF\ models promoted by governments therefore supported the production and exhibition of “traditional arts” and ´ÀQH DUWVµ VXFK DV FUDIWV RSHUD RUFKHVWUDV WKHDWUH literature, the visual arts, classical dance and music on WKHEDVLVRI

48



$GLVFRXUVHRI social improvement, based on the belief that such cultural forms are of intrinsic worth to the community;

 

6\VWHPVRI public subsidy, whereby JRYHUQPHQWÀQDQFLDOVXSSRUWZDVSURYLGHG on the grounds that these forms were not otherwise commercially viable;

  

3URPRWLRQRI national culture, and the EHOLHI WKDW¶HOLWH·¶FODVVLFDO·DUWVZHUH  the ‘true’ representations of national FKDUDFWHUDQGFXOWXUDODVSLUDWLRQV



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7KLVDSSURDFKFUHDWHGDSDUDGR[LQWKDWFXOWXUDODFWLYLWLHV became the focus of arts policy only to the extent that WKH\ HLWKHU IDLOHG WR UHDFK VXIÀFLHQWO\ ODUJH DXGLHQFHV RU ZHUH QRW FRPPHUFLDOO\ YLDEOH 1DWLRQDO FXOWXUDO policies thus promoted state-funded cultural activities with limited impact, while largely ignoring and often FRQGHPQLQJWKHLUFRPPHUFLDOLVDWLRQ

– one relies on ‘the market’, the other on a bureaucratic V\VWHP RI  DWWULEXWLQJ YDOXH DQG WKXV PRQH\ %XW WKH GLIIHUHQFH LV QRW DV IXQGDPHQWDO DV KDV EHHQ FODLPHG Both deal in symbolic value whose ultimate test is within a circuit of cultural value which, whether mediated by the market or bureaucracy, relies on a wider sense of it DVPHDQLQJIXOSOHDVXUDEOHDQGEHDXWLIXO

,QFRQWUDVWWRWKH¶LGHDOLVW·WUDGLWLRQLQFXOWXUDODQDO\VLV which tended to reject the market and focused on a residual approach to public intervention in the cultural sector, Nicholas Garnham, a political economist, offered D PRUH GHVFULSWLYH GHÀQLWLRQ RI  WKH FXOWXUDO LQGXVWULHV as “those institutions in our society which employ the FKDUDFWHULVWLF PRGHV RI  SURGXFWLRQ DQG RUJDQL]DWLRQ of industrial corporations, to produce and disseminate symbols in the forms of cultural goods and services, JHQHUDOO\DOWKRXJKQRWH[FOXVLYHO\DVFRPPRGLWLHVµ

7KRVH LQYROYHG LQ FRQWHPSRUDU\ FXOWXUDO SURGXFWLRQ LQFUHDVLQJO\ PRYH EHWZHHQ WKHVH V\VWHPV :H FDQQRW therefore presume that they are two separate sectors GLYLGHGE\¶FXOWXUDOYDOXH·YHUVXV¶FRPPHUFLDOYDOXH·$V noted above, the commercial sector provides wealth and HPSOR\PHQWDVGRWKHDUWV EXWLWLVDOVRDSULPHVLWHRI  FXOWXUDOXVHIRUWKHYDVWPDMRULW\RI WKHSRSXODWLRQ

7KLVGHÀQLWLRQWKHQLQFOXGHVZKDWKDYHEHHQFDOOHGWKH ¶FODVVLFDO· FXOWXUDO LQGXVWULHV ² EURDGFDVW PHGLD ÀOP publishing, recorded music, design, architecture, new media – and the ‘traditional arts’ – visual art, crafts, theatre, music, concerts and performance, literature, museums, galleries – all those activities which have been HOLJLEOH IRU SXEOLF IXQGLQJ DV ¶DUW· 7KHUH DUH FHUWDLQO\ divisions between these two categories – but a line between ‘art’ and ‘commerce’ is ideological and not DQDO\WLFDO 7KHUH LV QR ZD\ LQ ZKLFK WKH FODVVLFDO PXVLF ZRUOG though in receipt of enormous public subsidy, cannot EHFRQVLGHUHGGHHSO\FRPPHUFLDO,WPHUHO\UHVSRQGVWR FRPPHUFHLQDSDUWLFXODUZD\6LPLODUO\WKRXJKDLPLQJWR ‘make it’ at some point, calling struggling pop musicians ¶FRPPHUFLDO·LVWRPLVXQGHUVWDQGDORWRI ZKDWWKH\GR 7KHGLVWULEXWLRQRI IXQGVLQWKHVHWZRDUHDVLVGLIIHUHQW 

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With the erosion of the cosy separations of ‘art’ and ‘mass culture’ set up by early policy systems, the role RI WKH¶DUWV·LQWKLVFRQÀJXUDWLRQEHJDQWREHUHWKRXJKW instead of merely being ‘defended’ against new forms of FXOWXUDOSURGXFWLRQFRQVXPSWLRQDQGGLVWULEXWLRQ 7KHVH DQDO\WLFDO IUDPHZRUNV ZHUH ÀUVW GUDZQ XSRQ LQ %ULWDLQE\OHIWOHDQLQJ/DERXUDGPLQLVWUDWLRQVLQWKHV who promoted a more populist orientation of cultural SROLF\7KH\PDLQWDLQHGWKDWWKHSUDFWLFHRI VXSSRUWLQJ those areas of arts and culture ‘least contaminated by commerce’ cultivated those activities with the lowest rate of growth in consumption and the strongest class biases LQWHUPVRI WKRVHZKRFRQVXPHGWKHP,QDVFHQDULR where “most people’s cultural needs and aspirations are being, for better or for worse, supplied by the market as goods and services,” they argued for an analysis of WKDWGRPLQDQWFXOWXUDOSURFHVV   

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7KH*/&·VVWXG\PDGHWZRFUXFLDOSRLQWV)LUVWO\WKDW those cultural activities which fell outside the public funding system and operated commercially were LPSRUWDQW JHQHUDWRUV RI  ZHDOWK DQG HPSOR\PHQW 6HFRQGO\DPRUHGLUHFWO\FXOWXUDOSROLWLFDOSRLQW²WKDW of a whole range of cultural goods and objects which SHRSOH FRQVXPHG WKH YDVW PDMRULW\ 79 UDGLR ÀOP music, books, adverts, concerts) had nothing at all to do ZLWKWKHSXEOLFIXQGLQJV\VWHP7KH*/&FXOWXUDOVWUDWHJ\ involved an alternative economic line, concerned with ERWK WKH SURPRWLRQ DQG GHPRFUDWL]DWLRQ RI  FXOWXUDO SURGXFWLRQDQGGLVWULEXWLRQDVZHOODVIXQGLQJ $ VLPLODU SURFHVV ZDV LQLWLDWHG LQ $XVWUDOLD ZKHUH cultural industries research was developed through WKH $XVWUDOLDQ .H\ &HQWUH IRU &XOWXUDO DQG 0HGLD 3ROLF\DQGLQIRUPHGWKH.HDWLQJ/DERU*RYHUQPHQW·V &UHDWLYH 1DWLRQ FXOWXUDO SROLF\ VWDWHPHQW UHOHDVHG LQ 'R&$  The Creative Nationn viewed cultural industries as an important contribution to national economic development, and indicated the value-adding possibilities arising from effective policy development, particularly with regard to the development of the cultural industries value chain, or ensuring that the products and outputs of artistic creativity were better GLVWULEXWHG DQG PDUNHWHG WR DXGLHQFHV DQG FRQVXPHUV ,Q OLQH ZLWK VKLIWLQJ QRWLRQV RI  FXOWXUH IURP DHVWKHWLF excellence to the whole way of life of a community, this  

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approach to cultural policy sought to reach sectors, such as popular music and media, which had typically not been well served by conventional arts policy, as well as HPHUJHQWVHFWRUVVXFKDVPXOWLPHGLD 7KHVH VHFRQG VWDJH DQDO\VHV RI  WKH FXOWXUDO LQGXVWULHV broadened and enriched debates about the role of FXOWXUDO SROLF\ TXLWH FRQVLGHUDEO\ $W WKH VDPH WLPH D QXPEHURI DELGLQJSUREOHPVHPHUJHG 7KH ÀUVW ZDV GHÀQLWLRQDO ,I  FXOWXUDO LQGXVWULHV ZHUH GHÀQHG LQ JHQHUDO WHUPV DV WKRVH VHFWRUV LQYROYHG LQ the production of symbolic goods and services, was it then possible to exclude any activity of industrial SURGXFWLRQ WKDW KDG  D V\PEROLF GLPHQVLRQ" :DV WKH GHVLJQDQGEUDQGLQJRI D&RFD&RODFDQDSDUWRI WKH cultural industries, or the use of aborigine artwork on D4$17$6MHWRUWKHGHVLJQRI PRELOHSKRQHVRUWKH use of music by artists such as Moby or Fatboy Slim to SURPRWHWKHVDOHRI WKRVHSKRQHV" 7KH GHÀQLWLRQV RI  FXOWXUH GUDZQ IURP FXOWXUDO WKHRU\ were of little help in making these distinctions, divided EHWZHHQDQDHVWKHWLFGHÀQLWLRQZKLFKWHQGHGWRHTXDWH FXOWXUHZLWKWKHVXEVLGL]HGDUWVDQGDQDQWKURSRORJLFDO GHÀQLWLRQ RI  FXOWXUH DV D ZD\ RI  OLIH WKDW ZDV VR DOO inclusive as to prevent almost any realm of human DFWLYLW\IRUPEHLQJGHÀQHGDV¶FXOWXUDO·

It may be argued that all industrial production contains a design element (and therefore creativity, intellectual property, and culture). What, then, is really the difference between the cultural industries and other manufacturing industries? It is not the output of the production that distinguishes the cultural industries   

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from other manufacturing industries, but the fact that the cultural industries as a concept offer an alternative interpretation of value generation.  $VLD3DFLÀF &UHDWLYH &RPPXQLWLHV 6\PSRVLXP Jodhpur, (February 2005)

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2QH RI  WKH PRVW VLJQLÀFDQW VXFK HQGHDYRUV D VWXG\ FRPPLVVLRQHG E\ WKH *UHDWHU /RQGRQ &RXQFLO */&  LQ WKH HDUO\ V IRXQG WKDW WKH PHGLD VHFWRUV ZHUH far more important as employers of labor, objects of consumption, and areas of public intervention, than the traditional performing and visual arts, which received VXSSRUWWKURXJKJRYHUQPHQWDUWVIXQGLQJ

7KH VHFRQG SUREOHP HVVHQWLDOO\ DQ H[WHQVLRQ RI  WKH ÀUVWZDVWKDWLQSUDFWLFHFXOWXUDOLQGXVWULHVWHQGHGWR EHODUJHO\GHÀQHGDVWKRVHDFWLYLWLHVWKDWZHUHXQGHUWKH policy purview of those areas of government that were DOUHDG\GHÀQHGDVUHVSRQVLEOHIRUWKHDGPLQLVWUDWLRQRI FXOWXUH 7KH $XVWUDOLDQ &UHDWLYH1DWLRQ VWDWHPHQWWR WDNHRQH H[DPSOHLGHQWLÀHGFXOWXUDOSROLF\DVEHLQJUHVSRQVLEOHIRU VXFKDUHDVDVSHUIRUPLQJDUWVRUFKHVWUDVFRQWHPSRUDU\ PXVLF OLWHUDWXUH GDQFH YLVXDO DUWV DQG FUDIWV ÀOPV television, radio, multimedia, built heritage, cultural property, indigenous cultural heritage, open learning and OLEUDULHV'R&$ :LWKLQWKLVOLVWWKHUHZHUHDUHDV that more obviously attracted governmental support than others – orchestras rather than contemporary music, DQGÀOPDQGWHOHYLVLRQUDWKHUWKDQUDGLR²EXWWKHSRLQW UHPDLQVWKDWWKHEDVHVRI VXSSRUWZHUHGHÀQHGSULPDULO\ by the areas that were within the policy domain of the 'HSDUWPHQW RI  &RPPXQLFDWLRQ DQG WKH $UWV ,QGHHG LQ DQ HDUOLHU SROLF\ VWDWHPHQW '$6(7   PHGLD industries such as television and radio were absent from cultural policy, on the basis that they were at that time administered by a different government department, UHVSRQVLEOHIRUWUDQVSRUWDQGFRPPXQLFDWLRQ Similarly, in Britain, the mapping document prepared in E\WKHWKHQQHZO\FUHDWHG'HSDUWPHQWRI &XOWXUH 0HGLDDQG6SRUW'&06 VHWDERXWLGHQWLI\LQJFXUUHQW activity in the cultural industries and policy measures that 

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49

FRXOGEHVWSURPRWHWKHLUIXUWKHUGHYHORSPHQW'HÀQHG as ‘those activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation an exploitation of intellectual property,’ the now titled ¶FUHDWLYHLQGXVWULHV·LQFOXGHGWKHIROORZLQJVHFWRUV             

$GYHUWLVLQJ $UFKLWHFWXUH $UWVDQGDQWLTXHPDUNHWV &UDIWV 'HVLJQ 'HVLJQHUIDVKLRQ )LOP ,QWHUDFWLYH/HLVXUH6RIWZDUH 0XVLF 7HOHYLVLRQDQGUDGLR 3HUIRUPLQJDUWV 3XEOLVKLQJ 6RIWZDUH

$OWKRXJK DSSDUHQWO\ WDUJHWHG DW GHYLVLQJ DSSURSULDWH mechanisms to support both the traditional arts and emergent cultural sectors, such listings inherently carry DSUDJPDWLFHOHPHQWWRWKHP,QWKHFDVHRI WKH8.WKH LQFOXVLRQRI VHFWRUVVXFKDVDUFKLWHFWXUHDQGDQWLTXHVLV connected to the institutional alignment of culture with the heritage sector, while the inclusion of areas such as designer fashion may have been governed by the fact WKDW %ULWDLQ LV D ZRUOG OHDGHU LQ WKLV DUHD 'HVSLWH WKH ZLGHQLQJRI WKHSROLF\DUHQDWKH'&06LQLWLDWLYHVHHPV to revert to the demarcation between areas involved ZLWKPDVVSURGXFWLRQDQGGLVWULEXWLRQDQGKHQFHPRUH directly connected to the market), and the more ‘artistcentred’ areas of culture, which can retain a focus upon ¶TXDOLW\·LQVWHDGRI HFRQRPLFV7KLVGLVWLQFWLRQKDVEHHQ attributed to the institutional divide between those areas 

50

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of the performing and visual arts whose development UHPDLQV SUHGRPLQDQWO\ DVVRFLDWHG ZLWK $UWV &RXQFLO subsidy, and those sectors that are associated with the QHZ'&06

FRQFHUQLQJ HPSOR\PHQW OHYHOV ODERXU PDUNHW SURÀOHV training needs and increasingly, contribution to local, UHJLRQDODQGQDWLRQDO*'3

7KLVDGKRFHOHPHQWLQGHÀQLQJWKHFXOWXUDOLQGXVWULHV IRU SROLF\ SXUSRVHV VKRXOG QRW EH VHHQ DV DFFLGHQWDO What has become increasingly apparent in policy debates around the cultural industries, is the extent to which they have been drawn upon by traditional elements of the subsided arts, that have been able to selectively use the economic discourses surrounding cultural industries, particularly the elements associated with market failure – such as public good, merit good and externality arguments – to accommodate more traditional arguments IRUDUWVVXEVLG\

The role of creative enterprise and cultural contribution... is a key economic issue…The value stemming from the creation of intellectual capital is becoming increasingly important as an economic component of national wealth…Industries, many of them new, that rely on creativity and imaginative intellectual property, are becoming the most rapidly growing and important part of our national economy. They are where the jobs and the wealth of the future are going to be generated.

While cultural industries discourses stressed the economic value of artistic and cultural activities, they were also widely seen as being about providing new forms of legitimation for traditional art and cultural VHFWRUV $VDUHVXOWWKH\ZHUHQRWVHHQDVZLOOLQJWRDGGUHVVWKH limitations of traditional forms of cultural policy, such DV WKH GLIÀFXOWLHV IDFHG LQ EURDGHQLQJ WKH DXGLHQFH consumption base beyond higher-income earners with WKH UHTXLVLWH OHYHOV RI  FXOWXUDO FDSLWDO and a tendency for peer assessment to encourage familiar patterns of IXQGLQJEDVHGRQSUHH[LVWLQJDIÀQLW\QHWZRUNV /DWHU MXVWLÀFDWLRQV IRU WKH FRQWLQXDWLRQ RI  H[LVWLQJ forms of arts and cultural funding while broadening WKH GHÀQLWLRQ RI  WKH FXOWXUDO LQGXVWULHV ZHUH EDVHG RQ statistical debates around the cultural industries, usually   

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- Chris Smith Minister for Culture and Heritage (1998)37 7KHQXPHURXV¶PDSSLQJGRFXPHQWV·FRPPLVVLRQHGE\ FLW\QDWLRQDODXWKRULWLHVFHUWDLQO\IXOÀODQHHGWREDFNXS argumentation with hard fact but they have riddled with WKUHHUHFXUULQJSUREOHPV )LUVWO\ WKH YDU\LQJ GHÀQLWLRQV RI  FXOWXUDO LQGXVWULHV in different countries and regions have meant that the statistics compiled for each are not necessarily based RQWKHVDPHSDUDPHWHUV:KLOHVRPHGHÀQLWLRQVRI ¶WKH cultural sector’ include the ‘traditional arts sector’ along with commercial cultural activities, others are directly concerned with ‘original production’ or ‘technological UHSURGXFWLRQ· ,Q VRPH LQVWDQFHV WKH GHÀQLWLRQ RI  WKH ¶FXOWXUDO industries sector’ has been expanded to include related PDQXIDFWXUH VXFK DV HOHFWURQLFV  UHGXFLQJ ¶RULJLQDO SURGXFWLRQ·LQFOXGLQJFODVVLFFXOWXUDOLQGXVWULHVVXFKDV 

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7KH 'HSDUWPHQW RI  &XOWXUH 0HGLD DQG 6SRUW LQ WKH 8.ZKLFKYHU\TXLFNO\UDLVHGWKHÁDJRI WKHFXOWXUDO industries, now calls them the ‘creative industries’ pointing to a more directly economic and valueladen agenda – throwing in employment, creativity, competitiveness, innovation, exports, international EUDQGLQJ HWF ,Q (XURSH WKH WHUP ¶FXOWXUDO HQWHUSULVH· is sometimes preferred, with the distinction between private sector-driven activities and those associated with culture in a more traditional sense continuing to inform FXOWXUDOSROLF\ Secondly, statistics in these areas tend to be collected differently in different countries and regions, making FRPSDULVRQVGLIÀFXOWDQGIUXVWUDWLQJ:KLOHWKLVLVWUXH of many sectors, it is particularly true in the case of the cultural industries as there is often no agreement as to whether we measure ‘artists’, or ‘heritage’ or ‘ancillary ZRUNHUV·RU¶FUHDWLYHV·RU¶SURGXFWLRQ·RU¶GLVWULEXWLRQ· Finally, employment statistics are often based on outmoded industrial and occupational categories which make collection and analysis fraught with ambiguities and omissions, especially since the whole notion of ‘employment’ has undergone radical restructuring over WKHODVWGHFDGHV7KHZD\LQZKLFKSULPDU\DQGVHFRQGDU\ employment, non-paid jobs and self-employment has restructured the cultural labour market has made statistical analysis useless without an accompanying GHWDLOHGLQYHVWLJDWLRQRI WKHVHFWRUDWDTXDOLWDWLYHOHYHO $OWKRXJK GHYLVLQJ D IUDPHZRUN IRU WKH FXOWXUDO LQGXVWULHV GRHV SUHVHQW QXPHURXV RUJDQL]DWLRQDO DQG administrative problems, many of them stemming from FRQFHSWXDO DQG GHÀQLWLRQDO EDJJDJH WKH SROLF\ VSDFH

opened up by the cultural industries across the world is essentially an expression of an imperative wrought by some deep-seated and far-reaching transformations in WKHJOREDOHFRQRP\VRFLHW\DQGFXOWXUH

At stake here is a new relationship between culture and HFRQRP\7KLVLVQRWSXUHO\FHOHEUDWRU\²WKDWÀQDOO\ economics is valuing human creativity and realizing inGLYLGXDOSRWHQWLDO²QRULVLWWKHÀQDOVXEVXPSWLRQRI  culture within the productive base of capitalism; it is partially both, but it is also a different dynamic which needs to be faced.

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‘Culture’ … ‘Industry’ Incompatible Companions? :KDWHYHUWKHGHÀQLWLRQDODQGOLQJXLVWLFGLIÀFXOWLHVWKHXVHRI ¶FXOWXUDO industries’ itself indicates that the term is currently responding to some deep-stated and far-reaching need to handle transformations which go beyond short term tactical problems and rhetoric… At stake here is a new relationship between culture and economy. 7KLVLVQRWSXUHO\FHOHEUDWRU\²WKDWÀQDOO\HFRQRPLFVLVYDOXLQJ KXPDQFUHDWLYLW\DQGUHDOLVLQJKXPDQSRWHQWLDO²QRULVLWWKHÀQDO subsumption of culture within the productive base of capitalism; it is partially both but it is also a different dynamic which needs to be faced. 999) 'HÀ HÀQLWLRQRI &XOWXUDO,QGXVWULHV·

51

LET’S GET CREATIVE INDIA’S FUTURE COULD DEPEND ON THE STRENGTH OF ITS ‘CREATIVE ECONOMY’. SO HOW DO WE STACK UP? SUNDAY TIMES INVITED THE MAN WHO COINDED THE TERM TO EVALUATE OUR NATIONAL IDEAS BANK

Richard Florida If China is the world’s factory, India’s become the world’s outsourcing center. Its software industry is the world’s second-largest, its tech outsourcing accounts for more than half of the $300 billion global industry, according to technology expert Martin Kenney. But India’s future depends crucially on its ability to compete fully in the Creative Economy – not just in tech and software, but across design and entrepreneurship; arts culture and entertainment; and the knowledge-based professions of medicine, finance and law. India is well-positioned to compete. Bollywood, which makes over 9000 films a year, is the world’s largest filmmaking centre. India’s creative talent has already made its mark on the global entertainment industry and popular culture. The music scenes of London, Toronto, and New York are infused with Bhangra beats. Elsewhere too, Indian excels. Its video game industry is million, to grow tenfold, to $300 million, by decade-end, and its animation industry from $300 million to almost a billion dollars by 2009. Its advertising, graphic design and product design industries are seeing extraordinary growth. Already, India has been a source of creative talent for the world. The skills of Indians were integral to the success of Silicon Valley. Indian expatriates started 385, or 10%, of its high-tech firms in the late 1990s. Vinod Khosla, who Forbes magazine named The “most important venture capitalist in the world”, has

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single-handedly been responsible for identifying a host of key technologies and generating billions in new wealth. In the US alone, more than 160,000 Indians work in science and engineering. India also faces substantial challenges. It ranks 41st of 45 countries on my Global Creativity Index, and aggregate measure of its strength across the 3Ts of economic development. India does well on the first T, Technology, ranking 23rd worldwide. But, despite its globally renowned IITs, it rank 44th on the second T, Talent, with only 6% of its population holding a Bachelor’s degree. It rank 39th on the third T, Tolerance – openness to self-expression and a wide range of social groups. But India’s biggest challenge goes deeper and is embedded in the very logic of the global Creative Economy. Innovation and economic growth are more concentrated than ever. India’s growth is premised on the success of a handful of regions. Virtually all significant technological innovations produced in India in 2004 (those for which US patents were granted) came from just three city-regions – Bangalore, Hyderabad and New Delhi. Outside of these and several other creative centres, large sections of India’s population live a hand-to-mouth existence Still there is a great tradition of creativity to build on; creativity, it seems, is part of India’s DNA. India has long valued the development of talent across multiple dimensions, from literature and the arts to medicine, engineering and entrepreneurship. Its internal diversity – religious, cultural, political, and geographic – along with a tolerance of dissent and openness to outside influence and trade have provided this ecosystem with a constant influx of new ideas and people.

What’s the connection?

Global Phenomenon

Pochampalli and Mobile Gaming Design: What are the Cultural & Creative Industries but industries of the imagination, content, knowledge, innovation and creativity…they are also important contributory factors to employment and economic growth. UNESCO (1999) • Each is based on intellectual property and design talent – One so far rooted in tradition and community, and the other in a modern visual culture and the individual. • Each evolves its own vocabulary – Pochampalli, from the temple motifs or new design sensibilities, and gaming from popular graphics ortraditional contexts. • Each derives its unique visual character from the process and technology that creates it –one tactile, the other virtual, but created with the warp of insight and the weft of skill. • Both are knowledge based – the technology of one is heritage legacy and that of the other, software design in digital media. • The survival of both in global markets depends on innovation and creativity– in terms of their vocabulary, design and promotion. • Both require human interface, are small scale and not machine produced. Seen together they are not dismissed or straight jacketed as traditional or modern, sunset or sunrise. • Each needs the other to gain and retain a competitive edge in the global markett 90% of the cultural industries in India are traditional, while the remaining 10% is part of a rapidly advancing sector. market.

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The Cultural and Creative Industries: Too much on the same page? Cultural diversity presupposes the existence of a process of exchanges open to renewal and innovation but also committed to tradition… If creativity is essential to generate an evolutionary leap, then memory is in turn vital to creativity. That holds true for individuals and for nations who find their heritage - natural and cutlural, tangible and intangible – the key to their identity and the source of their inspiration. UNESCO

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7KH HPHUJHQFH RI  D NQRZOHGJH EDVHG HFRQRP\ KDV EHHQLGHQWLÀHGDVDFHQWUDOWUHQGLQPRGHUQHFRQRPLHV in recognition of the increasingly important role of information, technology and learning in economic perforPDQFH 7KHULVHRI WKHFXOWXUDODQGFUHDWLYHHFRQRP\LV URRWHGLQWKLVJURZLQJVLJQLÀFDQFHRI NQRZOHGJHWRDOO aspects of economic production, distribution and consumption, a phenomenon linked to the ‘new economy’ whose ‘form is increasingly informational, global and QHWZRUNHG· 7KH UROH RI  NQRZOHGJH LQ WKH QHZ HFRQRP\ KDV EHHQ GHÀQHG LQ WKHVH WHUPV ,Q WKH QHZ HFRQRP\ PRUH RI the value of manufactured products will come from the «LQWHOOLJHQFHWKH\HPERG\DQGPRUHRI ZKDWZHFRQVXPHZLOOEHLQWKHIRUPRI VHUYLFHV$FURVVDOOVHFWRUV the knowledge content of products and processes is risLQJ«NQRZOHGJHSXVKDQGPDUNHWSXOOKDYHPDGHNQRZ how the critical source of competitive advantage in the PRGHUQHFRQRP\ 7KHFRQFHSWRI ¶NQRZOHGJHSXVK·UHIHUVWRWKHJURZWKLQ RXWSXWVLQHGXFDWLRQDQGVFLHQWLÀFUHVHDUFKDULVLQJIURP public and private investment, and the ways in which speedy production, collection and dissemination of research outcomes has enabled more rapid transformation LQWRQHZSURGXFWVVHUYLFHVDFWLYLWLHVDQGSURFHVVHV

Creativity and Content in a Knowledge-based Economy

‘Market pull’ factors that promote the rise of a knowlHGJHHFRQRP\LQFOXGHHFRQRPLFJOREDOL]DWLRQLQFUHDVHG competition, greater sophistication in consumer demand, and the growing importance of intangible assets, such as

The shift from manufacturing to services and then to knowledge

     

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A global phenomenon

Within contemporary models of production, the systematic application of knowledge and information to the production of knowledge and information itself has EHFRPHWKHFHQWUDOHOHPHQW7KLVPRGHRI SURGXFWLRQ relies on global networks made possible by information DQGFRPPXQLFDWLRQWHFKQRORJLHV $QRWKHU PDMRU WUHQG LQ DGYDQFHG FDSLWDOLVW HFRQRPLHV KDVEHHQWKHULVHRI WKHVHUYLFHLQGXVWULHV,QWHUPVRI  both employment and the share of total output, the serYLFHLQGXVWULHVKDYHJURZLQVLJQLÀFDQFHIRUPRVWRI WKH WKFHQWXU\DQGHVSHFLDOO\LQWKHSHULRGDIWHU 7KHUHKDVEHHQDVLJQLÀFDQWVKLIWLQ*JURXSRI VHYHQ OHDGLQJLQGXVWULDOHFRQRPLHV HVSHFLDOO\LQ86$DQG8. WRSUHGRPLQDQWO\VHUYLFHEDVHGHFRQRPLHV$Q\GLVFXVVLRQRI WKHVL]HDQGVLJQLÀFDQFHRI WKHVHUYLFHVVHFWRU UDLVHVDQXPEHURI FRQFHSWXDODQGDQDO\WLFDOSUREOHPV 7KHÀUVWLVWKDWDQ\DWWHPSWWRPHDVXUHWKHVL]HRI WKH VHUYLFHVVHFWRUFRPHVXSDJDLQVWWKHLQDGHTXDF\RI H[LVWLQJ GDWD 7KLV UHÁHFWV WKH WHQGHQF\ RI  WKH 6WDQGDUG ,QGXVWULDO&ODVVLÀFDWLRQV\VWHP6,& FDWHJRULHVGHYHOoped in the heyday of manufacturing industry, to make GHWDLOHGFODVVLÀFDWLRQZLWKLQLQGXVWU\EXWWRWUHDWVHUYLFes as a residual category, comprising of all those activities that are not agriculture mining, construction, utilities RUPDQXIDFWXULQJ



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dustries employment may be in part a statistical illusion, JHQHUDWHG E\ LQDGHTXDWH FODVVLÀFDWRU\ V\VWHPV ,W PD\ also not be particularly informative, since the term covers so many disparate industries and forms of employment that the implications of service industry growth PD\EHKDUGWRGHWHUPLQH &DVWHOOVDQG$R\RPD KDYHVXJJHVWHGWKHIROORZing disaggregating of the services sector

  

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The cultural industries are irretrievably more innovation intensive and more design intensive than other industries…Our claim is that ordinary manufacturing industry is becoming more and more like the production of culture. It is not that commodity manufacture provides the template, and culture follows, but that the culture industries themselves have provided the template.

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LQFUHDVLQJO\LPSRUWDQW7KLVH[WHQGVEH\RQGGHVLJQLQdustries – where traditional artisan skills and business knowledge has now to be linked to ever faster and ever PRUHYRODWLOHFLUFXLWVRI FXOWXUDOYDOXH 7KH SURJUHVVLYHO\ PRUH FXOWXUDO DQG SRVLWLRQDO QDWXUH of consumption suggests that the ‘tastes’ of the conVXPHUPDUNHWZHUHFKDQJLQJLQVLJQLÀFDQWZD\V3LHUUH %RXUGLHXLQ¶'LVWLQFWLRQ· DWWHPSWHGWRPDSWDVWH cultures directly onto class, or class fractions, with these latter representing a differential mix of economic and FXOWXUDO FDSLWDO +H LGHQWLÀHG D QHZ WDVWH JURXSFODVV fraction he called the ‘new middle class’, a new urban service class who mixed cultural and economic capital, KLJKDQG¶SRSXODU·FXOWXUHLQQHZZD\V&HQWUDOWRWKLV ZDV D PRUH VHOIFRQVFLRXV RU ¶UHÁH[LYH· DSSURDFK WR LGHQWLW\FRQVWUXFWLRQWKURXJKFRQVXPSWLRQ

terms of the capacity to creatively understand and reVSRQGWRDHVWKHWLFVLJQLÀHUVDQGWKHLUQRQLQIRUPDWLRQDO ²SULQFLSDOO\FXOWXUDO²V\PEROV +HQFHWKHRSHUDWLRQV RI FRPSDQLHVVXFKDV%HQHWWRQFKDUDFWHUL]HGE\DKLJK level of market knowledge and stock control, short proGXFWLRQUXQVDQGÁH[LEOHODERUIRUFHFRXSOHGWRDKLJKO\ VRSKLVWLFDWHGDQGPDUNHWLQJVWUDWHJ\

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PXQLFDWLRQHJWKHGHVLJQRI FDUVDQGPRELOHSKRQHV  WKHZD\LQZKLFKFORWKLQJVLJQLÀHVDQLGHQWLW\WRERWKLWV user and those who see the user, and the promotional strategies of corporations and indeed, governments in an era of electronic commerce and “promotional culWXUHµ

,Q/LYLQJRQ7KLQ$LU7KH1HZ(FRQRP\/HDGEHDWHU   /HDGEHDWHU OLQNV WKH FUHDWLYH LQGXVWULHV WR ¶QHZ economy’ dynamics by identifying the key to creative industries as being the alignment of micro-businesses and SMEs in the content creation area, where creativity ODUJHO\UHVLGHVZLWKODUJHFXOWXUDORUJDQL]DWLRQV²ERWK public and private – that can provide national and inWHUQDWLRQDO GLVWULEXWLRQ QHWZRUN WR UHDOL]H FRPPHUFLDO YDOXHIURPWKLVFUHDWLYLW\

Since Bourdieu’s research, this line of argument has become central to the sociology of consumption and to PDUNHWUHVHDUFK7KHUROHRI FRQVXPSWLRQLQWKHFRQstruction of identity has fragmented taste groups beyond any direct connection to class fractions, undermined the binary of high and low cultures, and has made the culWXUDO ÀHOG KLJKO\ XQSUHGLFWDEOH DQG G\QDPLF 0DWHULDO consumption has become increasingly cultural, central to the construction of individual and social meaning and LGHQWLW\

Creative industries, such as music, entertainment and fashion, are driven… not by trained professionals but cultural entrepreneurs who make the most of other people’s talent and creativity. In creative industries, large organizations provide access to the market, through retailing and distribution, but the creativity comes from a pool of independent content producers.16

'XHWRWKLVFRQVXPSWLRQGULYHQVKLIWFRPSDQLHVKDGWR radically restructure their operations in order to be able to detect and respond to these increasingly niche and volaWLOHPDUNHWV/DVKDQG8UU\DOVRREVHUYHWKDW¶VSHFLDOL]HG FRQVXPSWLRQDQGLQFUHDVLQJO\ÁH[LEOHSURGXFWLRQHQWDLO knowledge intensive production, GHÀQHG QRW RQO\ LQ

,W KDV EHFRPH DQ RUWKRGR[\ WR WKLQN RI  FXOWXUH DQG economy as operating together in a very general sense – as blatantly expressed in arts and business funding opportunities for cultural activity and in the ‘creative industries’, a neo-liberal cultural policy in which culture is linked to a regeneration of capital through cultural



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populism, cultural policy and management, enacted by ¶FXOWXUHSUHQHXUV· ¶7KHLPSRUWDQFHRI SHRSOHDVFUHDWRUVDQGFDUULHUVRI  NQRZOHGJHLVIRUFLQJRUJDQL]DWLRQVWRUHDOL]HWKDWNQRZOHGJH OLHV OHVV LQ LWV GDWDEDVHV WKDQ LQ LWV SHRSOH· 7KH personal dimensions of the ownership of knowledge and the need for knowledge transfer to involve a learning process, means that knowledge in the new economy LV FKDUDFWHUL]HG E\ LWV HPEHGGHGQHVV LQ SHRSOH ORFDWLRQV QHWZRUNV DQG LQVWLWXWLRQV &XOWXUDO DFWLYLW\ DQG employment is not only growing, but is becoming more tied to places, especially cities, indicating that sustained processes of technological and economic innovation need to be underpinned by social, cultural and instituWLRQDOLQQRYDWLRQ 7KHUHFRJQLWLRQRI WKLVSKHQRPHQRQKDVOHGWRDQHPphasis upon locational geography, and particularly the formation of creative cities and regions in the knowledge EDVHGHFRQRP\0LFKDHO3RUWHU DQHFRQRPLVWDW WKH+DUYDUG%XVLQHVV6FKRROGHÀQHVWKHVH¶JHRJUDSKLF concentrations of interconnected companies and instiWXWLRQVLQDSDUWLFXODUÀHOG·DVFOXVWHUV 7KHHOHPHQWVRI DFOXVWHUFDQLQFOXGHVXSSOLHUVRI VSHFLDOL]HGLQSXWVSURYLGHUVRI VSHFLDOL]HGFXVWRPHUVDQG universities and research institutions that provide specialist knowledge, training, information, education and WHFKQLFDO VXSSRUW 1HZ
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&OXVWHUVJHQHUDWHFRPSHWLWLYHDGYDQWDJHIRUWKRVHZLWKLQ WKHPLQWKUHHZD\V)LUVWWKH\LQFUHDVHWKHSURGXFWLYLW\ RI ÀUPVZLWKLQWKHFOXVWHUWKURXJKDFFHVVWRVSHFLDOLVW LQSXWVODERXUNQRZOHGJHDQGWHFKQRORJ\6HFRQGWKH\ promote innovation by making all forms aware more TXLFNO\RI QHZRSSRUWXQLWLHVDVZHOODVHQKDQFLQJWKH FDSDFLW\IRUUDSLGDQGÁH[LEOHUHVSRQVHVWRQHZRSSRUWXQLWLHV7KLUGWKH\SURPRWHQHZEXVLQHVVIRUPDWLRQV in related sectors, through distinctive access to necessary ODERUVNLOOVNQRZOHGJHWHFKQRORJ\DQGFDSLWDO

Manuel Castells has observed that the new economy is cultural, in that its dynamics are dependent upon ‘the culture of innovation, the culture of risk, the culture of expectations, and ultimately, on the culture of hope in the future.’18

7KHVLJQLÀFDQFHRI FOXVWHUVWRWKHGHYHORSPHQWRI LQformation and communication technology and creative LQGXVWULHV LV DW ÀUVW JODQFH SDUDGR[LFDO VLQFH D FKDUDFteristic of economic processes that are increasingly informational, global and networked would seem to point WRWKHGHFOLQLQJVLJQLÀFDQFHRI JHRJUDSKLFDOORFDWLRQWR HFRQRPLFDFWLYLW\ ,QFRQWUDVWWRWUDGLWLRQDOSHUIRUPLQJDUWVDQGFXOWXUDOLQGXVWULHVZKHUHFRQVXPSWLRQLQUHDOWLPHLQGHÀQHGJHRgraphical spaces is central, distribution through new media technologies points to the delivery of content to the home, workplace, educational institution or other sites that are not linked to the geographical site of producWLRQ7KHGHYHORSPHQWRI WKH,QWHUQHWDVDJOREDOFRQtent distribution network means that, subject to available bandwidth capacity, content creators can be promiscuous and footloose in where they sell or distribute their content to, just as content distributors can source mateULDOIURPPDQ\RI WKHJOREH7KLVLVLQFRQWUDVWWRWUDGLtional national cultural policies, where national cultural authorities have sought to use funding to direct cultural SURGXFWLRQWRZDUGVSDUWLFXODUQDWLRQDOFXOWXUDOJRDOV



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An Overview of Multilateral Mechanisms in Place

%HIRUH DQ LQGHSWK VWXG\ RI  WKH ,QWHUQDWLRQDO $FWLRQ LQ WKH &UHDWLYH &XOWXUDO ,QGXVWULHV LV XQGHUWDNHQ LW is important to identify the various globally active 0XOWLODWHUDO *RYHUQPHQWDO  1RQ*RYHUQPHQWDO VWDNHKROGHUVLQWKHVHFWRU:KLOHWKHUHDUHKXQGUHGVRI RUJDQL]DWLRQVDQGLQVWLWXWLRQVZRUNLQJLQWKLVÀHOGWKH following are noteworthy on account of their immense FRQWULEXWLRQ LQ PRELOL]LQJ LQWHUQDWLRQDO VXSSRUW DQG generating awareness among the various governments JOREDOO\ UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION (UNESCO) Global Alliance on Cultural Diversity1

:LWKLQ WKH IUDPHZRUN RI  WKH 8QLYHUVDO 'HFODUDWLRQ RQ &XOWXUDO 'LYHUVLW\ 81(6&2 FUHDWHG WKH *OREDO $OOLDQFHIRU&XOWXUDO'LYHUVLW\, \ as a six-year exploratory undertaking, to be implemented in collaboration with development agencies, both national and international, and representatives of the private sector and civil VRFLHW\ 7KHDLPVRI WKH$OOLDQFHDUHWR6WUHQJWKHQORFDOFXOWXUDO industries through:

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developing legislation and regulatory frameworks;  ,QFUHDVLQJ DZDUHQHVV RI  DYDLODEOH RU SRWHQWLDO local and international opportunities for business development;  (QKDQFLQJFRRSHUDWLRQDPRQJVWSXEOLFDQGSULYDWH sectors in areas relating to culture;  %URDGHQLQJ FDSDFLW\ IRU FXOWXUDO HQWHUSULVH development, entrepreneurship, long-term planning DQGLQYHVWPHQWLQ5 '  3UHYHQWLRQ RI  SLUDF\ E\ DVVLVWLQJ JRYHUQPHQWV LQ GHYHORSLQJ XSGDWLQJ DQGRU HQIRUFLQJ FRS\ULJKW OHJLVODWLRQDVZHOODVRUJDQL]LQJDQWLSLUDF\WUDLQLQJ SURJUDPV

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A global phenomenon

7KH *OREDO $OOLDQFH 6SHFLDO )XQG WR DGGUHVV WKH potential needs of participating developing countries DQG FRXQWULHV LQ WUDQVLWLRQ 7KH )XQG ZLOO ÀQDQFH WKH development of policies and regulatory frameworks QHFHVVDU\ IRU GRPHVWLF FXOWXUDO LQGXVWULHV WR EHQHÀW DQG EXLOG RQ SDUWQHUVKLS DJUHHPHQWV 6HFWRU DQDO\VHV GHVLJQRI WD[UHGXFWLRQSURJUDPVDQGÀVFDOLQFHQWLYHV development of regulatory mechanisms and copyright enforcement training for judges, lawyers and customs RIÀFHUVZLOOEHVRPHRI WKHDFWLYLWLHVVXSSRUWHGE\WKH )XQG3DUWLFXODUIRFXVZLOOEHSODFHGRQWKHUHYLVLRQDQG updating of legislation pertaining to targeted cultural LQGXVWU\VHFWRUVDVZHOODVWRFRS\ULJKW THE WORLD INTELLECTUAL PROPERTY ORGANIZATION (WIPO)2

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Global Phenomenon

NATIONAL TREATMENT

Cultural Protectionism: An Appropriate Strategy? Protectionism will back. re. Besides creating a fertile ground for corruption and political censorship, cultural protectionism will help develop mediocre, parochial and less competitive creative industries, which will have an even harder time conquering the global market. Andres Oppenheimer, The Miami Herald, Jan. 26, 2006 U.N. Convention on the Protection and Promotion of Cultural Diversity, which gives member countries the right to “take all appropriate measures to protect” their “cultural expressions.” The convention was approved in October at UNESCO by 148 states with 2 opposing - U.S.A and Israel. It will become a binding treaty once 30 countries ratify it. Canada has already ratified it, ed it, and several Latin American countries and the EU are taking it to their parliaments. “We need to do something to avoid being suffocated by the unscrupulous presence of foreign (cultural) products in our countries. Countries must find a way to sustain their industries… and if quotas, or positive discrimination, can be a helpful mechanism to improve national production, they should be used with moderation, with good judgement, but assertively.” Gilberto Gil, Brazil’s Culture Minister 65

A global phenomenon.... “The need for a coherent and robust framework for analyzing cultural industries is underpinned by an understanding of the rapidly expanding knowledge economy as the immediate context for the development of these industries. As the knowledge economy encompasses the whole of the arts and sciences, the potential for cultural industries is in fact far greater that the traditional notion of their “limited” potential that still lingers in many planning schemes”. $VLD3DFLÀF&UHDWLYH&RPPXQLWLHV DMRLQWPLVVLRQRI 81(6&281,'2:,32:RUOG%DQNDQGWKH $VLDQ'HYHORSPHQW%DQNRQ&UHDWLYH,QGXVWULHV

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7KHHPHUJHQFHRI &UHDWLYH &XOWXUDOLQGXVWULHVDVD distinct area of interest for economists, statisticians, FXOWXUDOVSHFLDOLVWVDQGSXEOLFSROLF\PDNHUVUHÁHFWV a growing awareness of their economic potential and their role in fostering cultural diversity through WKH PDUNHW 7KH FRQFHSW RI  ´&UHDWLYH ,QGXVWULHVµ for the purpose of public policy making remains very young and not all governments are convinced of the need to address this sector with targeted iniWLDWLYHV :LWK WKH DGYHQW RI  CQHZ· WHFKQRORJLHV LQ WKHODVW\HDUVVXFKDVWKHLQWHUQHWHFRPPHUFH DQGHOHFWURQLFÀOHVWKDWPDNHVKDULQJWUDGLQJDQG consuming cultural goods and services easier than HYHUEHIRUHJOREDOL]DWLRQKDVKDGDSURIRXQGLPSDFWRQWKH&XOWXUDO &UHDWLYHLQGXVWULHV *OREDO$OOLDQFHIRU&XOWXUDO'LYHUVLW\*$&' XQderlines that during the last decade a number of JRYHUQPHQWVDURXQGWKHZRUOGKDYHUHFRJQL]HGWKLV

66

IDFWDQGVWDUWHGWRGHYHORSVSHFLÀFSROLFLHVWRSURPRWHWKHVH,QGXVWULHV7KLVPDLQVWUHDPLQJRI ZKDW was once considered a sector of marginal interest, which received limited attention from researchers, has led to a growing body of analysis, statistics and mapping exercises on the relationship between culture, creative industries and economic development WRJLYHRIÀFLDOVLQWKHVHFRXQWULHVWKHUDZGDWDWKH\ QHHGWRPDNHSROLF\+RZHYHUWKHVHFWRULVVWLOOUHPDLQVSRRUO\XQGHUVWRRGE\SROLF\PDNHUV $FFRUGLQJ WR 81(6&2 DV PRPHQWXP EXLOGV WR SULRULWL]HWKLVÀHOGRI DFWLYLW\ZLWKLQHFRQRPLFGHvelopment policies, the demand for more precise and sophisticated cultural statistics at international, regional and national level is set to grow and governments should support and encourage initiatives LQWKLVÀHOG

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,QWKH·VFXOWXUDODFFRXQWLQJWKDWLVWKHFROOHFtion of statistics on a wide range of arts and cultural industries, began to be done, stimulated initially by 81(6&2DQGVXSSRUWHGLQ:HVWHUQ(XURSHE\WKH &RXQFLORI (XURSH)URPWKHGLYHUVLW\RI GDWDWKDW emerged from this process, it became obvious that one country’s ‘cultural industry’ was another’s ‘subsidised art’ sector and that any attempt to compile LQWHUQDWLRQDOO\FRPSDUDEOHVWDWLVWLFVUHTXLUHGH[SHUW knowledge of each participating country’s cultural SHUFHSWLRQVDQGSROLFLHV 'HVSLWH WKH JURZLQJ IRFXV RQ FUHDWLYH LQGXVWULHV DV D VSHFLDOL]HG ÀHOG RI  LQWHUHVW IRU ERWK RIÀFLDOV and academics many governments remain unconYLQFHG RI  WKH LPSRUWDQFH RI  SULRULWL]LQJ WKLV VHFtor and creative industries still do not rank high in the competition for public funds within their budJHWV3URJUHVVRQPDLQVWUHDPLQJFUHDWLYHLQGXVWULHV within policy-making is further hampered by an unFHUWDLQW\DVWRZKHWKHUPLQLVWULHVRI DUW FXOWXUH RUPLQLVWULHVRI FRPPHUFH HFRQRP\VKRXOGWDNH WKHOHDGLQFRRUGLQDWLQJJRYHUQPHQWDFWLRQ

$OWKRXJK PRVW RI  WKHVH HIIRUWV DUH “stand-alone” and largely un-coordinated internationally, they have nevertheless demonstrated the strength and depth of WKHVHFWRUZLWKLQWKHLUHFRQRPLHV,QWKH IROORZLQJ VHFWLRQ ZH DQDO\]H WKH 6WDWXV RI  WKH &UHDWLYH ,QGXVWULHV LQ D IHZ GHveloped and emerging economies of the :RUOG ,QWHUQDWLRQDOO\ RYHU  FRXQWULHV KDYH initiated programmes, policies and planQLQJH[HUFLVHVLQWKH&XOWXUDODQGFUHDWLYH LQGXVWULHV VHFWRU DQG ZH ZRXOG DQDO\]H some of the most prominent ones in deWDLOLQWKLVVHFWLRQ

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in economic policy circles in the UK and in the ·V LW ZDV XVHG E\ WKH *UHDWHU /RQGRQ &RXQFLO*/& DVDSROHPLFDOGHYLFHWRHPSKDVL]HWKDW some cultural activities which were outside the public funding system and operated commercially were important creators of wealth and employment in

The role of creative enterprise and cultural contribution ... is a key economic issue … The value stemming from the creation of intellectual capital is becoming increasingly important as an economic component of national wealth ... Industries, many of them new, that rely on creativity and imaginative intellectual property, are becoming the most rapidly growing and important part of our national economy. They are where the jobs and the wealth of the future are going to be generated. 6PLWK&KULV0LQLVWHUIRU&XOWXUDO+HULWDJH  $VLDQ'HYHORSPHQW%DQNRQ&UHDWLYH,QGXVWULHV

7+(81,7('.,1*'20 7KH8QLWHG.LQJGRPLVZLGHO\UHFRJQL]HGDVKDYing played a groundbreaking role in developing analytical models on “creative industries” from an ecoQRPLFSHUVSHFWLYH,WZDVLQGHHGRQHWKHÀUVWDQ DUJXDEO\WKHÀUVW WRRIÀFLDOO\GHPDUFDWHWKHVHFWRU DQG WR DVVRFLDWH FUHDWLYH DFWLYLWLHV DGHTXDWHO\ ZLWK HFRQRPLFDFWLYLW\,WUHFRJQL]HG&UHDWLYHLQGXVWULHV as all industries along the value added chain related to cultural and artistic products and services as well DVWKHSXEOLFFXOWXUDOVHFWRU7KLVVHWRI LQGXVWULHV were originally referred to as “cultural industries”

order to craft a economic policy to promote and to GHPRFUDWL]HFXOWXUDOSURGXFWLRQDQGGLVWULEXWLRQ,W was also observed by many as a device to differentiDWH ´0DVV &XOWXUHµ DQG ´+LJK1LFKH &XOWXUHµ LQ WKHLUGHPDQGIRUSXEOLFIXQGVDQGVXEVLGLHV7KLV V\VWHPZDVDGRSWHGE\PDQ\RWKHUFLWLHVLQ8.  Europe though it constantly a subject matter of ODUJHGHEDWHVDQGLPPHQVHFRQWURYHUVLHV 7KHIRUPDORULJLQVRI WKHFRQFHSWRI WKHFUHDWLYHLQdustries were found in Blair’s Labour Government’s HVWDEOLVKPHQWRI D&UHDWLYH,QGXVWULHV7DVN)RUFH 67

XSRQ LWV HOHFWLRQ LQ %ULWDLQ LQ  ZKHUH WKH QHZO\FUHDWHG 'HSDUWPHQW RI  &XOWXUH 0HGLD DQG 6SRUW '&06  set about mapping current activity in the creative industries, and identify policy measures that could promote their furWKHUGHYHORSPHQW7KH&UHDWLYH,QGXVWULHV 0DSSLQJ 'RFXPHQW SUHSDUHG E\ WKH8.'&06LQGHÀQHGFUHDWLYH industries as ‘those activities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property’

In recognition of their (cultural industries) essential role in our nation’s life, in 1993 the Commonwealth Government made the arts a full Cabinet portfolio. Early this year the Government decided to combine the Arts and Communications portfolios, because in the modern era there are natural synergies between them. These two meaVXUHVDUHLQSDUWWKHIXOÀOPHQWRI WKH*RYHUQPHQW·VSURPLVHWREULQJ cultural issues into the mainstream of our national life, and accord them their rightful place in all decision- making. This cultural policy is another major step in that direction &UHDWLYH1DWLRQ&RPPRQZHDOWK&XOWXUDO3ROLF\2FWREHU $VLDQ'HYHORSPHQW%DQNRQ&UHDWLYH,QGXVWULHV

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pated in a series of international conferences on the HFRQRP\DQGFXOWXUHGXULQJWKHV7KHSURFHVV generated a number of papers discussing conceptual issues on the economics of culture and the means to capture the sector statistically and included one of the earliest proposals for a possible satellite acFRXQW IUDPHZRUN E\ ,16((·V 1DWLRQDO ,QVWLWXWH IRU VWDWLVWLFV DQG (FRQRPLF VWXGLHV  0DU\9RQQH /HPDLUH 7KH SURSRVDO ZDV QHYHU LPSOHPHQWHG GXH WR GLYHUJHQFHV RYHU WKH GHÀQLWLRQDO FRYHUDJH IRUH[DPSOHZKHWKHURUQRWWRLQFOXGHFRPPXQLFDWLRQV  FRQFHSWXDO DQG SUDFWLFDO GLIÀFXOWLHV ZLWK GDWD DYDLODELOLW\ DQG D UHDOL]DWLRQ RI  WKH UHVRXUFHV UHTXLUHG+RZHYHU/HPDLUH·VULJRURXVDSSURDFKWR analysing the processes involved in the production of cultural goods and services served as a major FRQWULEXWLRQWRWKHLGHQWLÀFDWLRQDQGGHYHORSPHQW RI WKH WKH´FUHDWLYHFKDLQµDSSURDFKLQ)UDQFH FUHDWLYHFKDL

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7KHDSSURDFKDOVRHQDEOHGPHGLDSROLF\WREHVHHQ as a form of cultural policy, in line with shifting notions of culture from aesthetic excellence to the ZKROHZD\RI OLIHRI DFRPPXQLW\&XOWXUDOSROLF\ also sought to reach sectors, such as popular music that had typically not been well served by traditional arts policy as well as emergent sectors such as mulWLPHGLD 7KHIRFXVRQWKHDUWVDQGFXOWXUDOLQGXVWULHVDVKDYing economic importance also led to a burgeoning literature on the economic value of the arts, that LGHQWLÀHGDQHZUROHIRUDUWVDQGFXOWXUDOLQGXVWULHV DVJHQHUDWLQJÁRZRQDQGPXOWLSOLHUHIIHFWVIRURWKHULQGXVWULHVDQGDVLPSRUWDQWWRTXDOLW\RI OLIHWKH ‘image’ of cities and regions, tourism, and ancillary VHUYLFHLQGXVWULHV

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7KH86*RYHUQPHQWDOVRUHJDUGVWKH&XOWXUDOVHFWRU DV D NH\ GULYHU RI  WKH &UHDWLYH RU &RS\ULJKW (FRQRP\ DQG EURXJKW LQ OHJLVODWLRQVVXFK DV 7KH $UWV $QG 7KH +XPDQLWLHV $FW 2I   XVHG WR SURPRWH SURJUHVV  VFKRODUVKLSV 7KH 3UHVLGHQW·V &RPPLWWHH2Q7KH$UWV$QG7KH+XPDQLWLHV([HFXWLYH2UGHUZKLFKFDUULHVRXWFRPSUHKHQsive gamut of activities from research to advisory to DVVLVWDQFHLQSROLF\IRUPXODWLRQDQG7KH$UWV$QG $UWLIDFWV,QGHPQLW\$FWZKLFKLQFUHDVHGWKHJUDQWV E\DVL]HDEOHÀQDQFLDODPRXQW7KHVHVWDWXHVDORQJ

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:KHQWKHEDVLFODZZDVLPSOHPHQWHGDKHDGTXDUters for intellectual property strategy was also esWDEOLVKHGDQGLQ-XO\DSODQZDVIRUPXODWHG to promote the creation, protection and use of LQWHOOHFWXDOSURSHUW\7KHSODQFRQWDLQVSROLFLHVWR drastically expand the content business by enhancing the creative environment and protection system, DQGSURPRWLQJGLVWULEXWLRQ 125:$< 7KH0LQLVWU\RI 7UDGHDQG,QGXVWU\LVLQYROYHGLQ the drafting of a parliamentary document on this ‘new’ industry, a report that will be adopted by the 3DUOLDPHQWWKLV\HDU$ZRUNLQJJURXSKDVDOVREHHQ commissioned to do a research report on the topic, RQHRI WKHÀUVWLQLWVNLQGLQ1RUZD\7KHZRUNRQ cultural industries policies is carried out by the MinLVWU\LQFROODERUDWLRQZLWK,QQRYDWLRQ1RUZD\ EU ,Q(XURSHLWLVREVHUYHGWKDW´FUHDWLYHLQGXVWULHVµ LVQRWDWHUPWKDWLVZLGHO\XVHG2QHUHDVRQIRUWKLV could be that is seen as being associated so strong-

O\ZLWK%ULWLVKEUDQGLQJ,QWKHSROLF\OLWHUDWXUHLQ Europe we notice an emphasis on broader issues, RI  FUHDWLYLW\ DV DQ LQSXW LQWR LQQRYDWLRQ V\VWHPV 7HUPV ZKLFK DUH XVHG LQFOXGH &XOWXUDO LQGXVWULHV /HLVXUH LQGXVWULHV ¶FRQWHQW LQGXVWULHV·  GLJLWDO FXOWXUDOLQGXVWULHVDQGWKHDFURQ\P7,0(6ZKLFK stands for telecommunications, information, media, entertainment and software, which is certainly a very broad series of sectors - broader than the FUHDWLYHLQGXVWULHV

Global Phenomenon

&'V YLVXDODUWVDQGSDUWLFXODUO\FRQWHPSRUDU\DUW $Q LPSRUWDQW WUHQG LQ WKH SURPRWLRQ RI  FUHDWLYH industries is the government’s concerted efforts in HVWDEOLVKLQJ -DSDQ DV D QDWLRQ EXLOW RQ LQWHOOHFWXDO SURSHUW\$IWHUWKH6WUDWHJLF&RXQFLORQ,QWHOOHFWXDO 3URSHUW\ZDVVHWXSLQ0DUFKDFRPSUHKHQVLYHVWUDWHJ\ZDVDGRSWHGLQ-XO\DQGWKH%DVLF/DZ RQ,QWHOOHFWXDO3URSHUW\ZDVLPSOHPHQWHGLQ0DUFK 

When does India step in to stake her claim?? Post World War II – focus on transfer of technology and the establishment of industrial production in the competetive developing economies. Malaysia, Republic of Korea, China, India and Thailand secure economic growth and trade by meeting an increasing global demand for medium/high-skill and specific technology -intensive products. Today’s consumption driven lifestyle – Focuses on new products and possibility of penetrating an increasingly global and easily accessible market. Copyright based industries become the key economic driver. The emerging power of creative industries is most evident in Korea, Singapore, Taiwan, Hong Kong and China through their entry into software, publishing, design, music, video, movie making & electronics.

71

A global phenomenon....

Administrative Frameworks

INTERNATIONAL ACTION

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Major Institutions supporting the Creative/Cultural Sector: 7KH6PLWKVRQLDQ,QVWLWXWLRQ1DWLRQDO(QGRZPHQWIRU WKH$UWV1DWLRQDO(QGRZPHQWIRUWKH+XPDQLWLHV,Qstitute of Museum and Library Services; National GalOHU\RI $UW/LEUDU\RI &RQJUHVV1DWLRQDO$UFKLYHVDQG 5HFRUGV$GPLQLVWUDWLRQ1DWLRQDO+LVWRULF3XEOLFDWLRQV DQG5HFRUGV$GPLQLVWUDWLRQ*HQHUDO6HUYLFHV$GPLQLVWUDWLRQ $GYLVRU\ &RXQFLO RQ +LVWRULF 3UHVHUYDWLRQ &RUSRUDWLRQIRU3XEOLF%URDGFDVWLQJ2IÀFHRI WKH86 7UDGH5HSUHVHQWDWLYH3UHVLGHQW·V&RPPLWWHHRQWKH$UWV DQGWKH+XPDQLWLHV6PDOO%XVLQHVV$GPLQLVWUDWLRQ)HGHUDO7UDGH&RPPLVVLRQ863DWHQWDQG7UDGHPDUN2I-

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'HSDUWPHQWRI 7RXULVP'27 IRUPXODWHVSROLFLHVDQG SURPRWHVHQFRXUDJHVGHYHORSVDQGPDQDJHV3KLOLSSLQH tourism as a major tool in nation building and sustainDEOHGHYHORSPHQW7KH'27UHFRJQL]HVWRXULVP¶VFRQtributionto world pence, cultural enrichment, and socioHFRQRPLFGHYHORSPHQW 1DWLRQDO &RPPLVVLRQ RQ ,QGLJHQRXV 3HRSOHV 1&,3  formulates and implements policies, plans, and programs to promote and protect the rights and well-being of the indigenous cultural communities and indigenous SHRSOHVDQG1DWLRQDO
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:KHUH SRVVLEOH WKH 3URJUDP DOVR PDNHV XVH RI  RWKHU 6WDWLVWLFV &DQDGD VXUYH\V DQG KDV EHHQ DEOH WR KDYH FKDQJHVPDGHWRWKHVHVXUYH\VWRWKHEHQHÀWRI WKHFXOWXUHVHFWRU2QHVXUYH\LQSDUWLFXODUWKH*HQHUDO6RFLDO Survey, includes a time-budget module from time to time DQGWKH&63KDVEHHQDEOHWRLQFOXGHDFXOWXUDODFWLYLWLHV module in the same survey instrument in order to obtain a measure of participation in cultural activities that are OHVV OLNHO\ WR EH XQGHUWDNHQ RQ D GDLO\ EDVLV HJ PXVHXPDWWHQGDQFH 7KH&63KDVDOVRKDGVRPHVXFFHVV LQ DGMXVWLQJ WKH H[SHQVH FDWHJRULHV RI  WKH +RXVHKROG Expenditures Survey to gather more detail on culture H[SHQGLWXUHV The National Advisory Committee on Culture Statistics (NACCS)4

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74

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6,1*$325( Creative Industries in Singapore are primarily governed by the following ministries: 0LQLVWU\RI ,QIRUPDWLRQ&RPPXQLFDWLRQV WKH$UWV Ministry of Education, Ministry of Manpower Ministry RI 7UDGH ,QGXVWU\6LQJDSRUH%URDGFDVWLQJ$XWKRULW\7KH(FRQRPLF'HYHORSPHQW%RDUG7KH6LQJDSRUH 7RXULVP %RDUG 6WDQGDUGV 3URGXFWLYLW\  ,QQRYDWLRQ %RDUG8UEDQ5HGHYHORSPHQW$XWKRULW\ Principal autonomous bodies that co-ordinate projects and missions on cultural and Creative Industries within Singapore are: 7KH1DWLRQDO$UWV&RXQFLO7KH1DWLRQDO/LEUDU\%RDUG 7KH1DWLRQDO+HULWDJH%RDUG,QWHUQDWLRQDO(QWHUSULVH 6LQJDSRUH -$3$1 7KH$JHQF\IRU&XOWXUDO$IIDLUVFRQGXFWVRI WZRPDLQ W\SHV RI  SROLF\ SURWHFWLRQ RI  FXOWXUDO SURSHUWLHV GHvelopment and use of historical sites, promoting conservation of national treasures and important cultural properties, maintaining traditional performing arts, and development and operation of national museums), and SURPRWLQJDUWVDQGFXOWXUHWKH1HZ&HQWXU\$UWV3ODQ holding arts festivals and similar events, development of WKH1HZ1DWLRQDO7KHDWUHSURPRWLQJUHJLRQDOFXOWXUH and development and operation of national art gallerLHV )RUDORQJWLPHPRVWRI WKHDJHQF\·VEXGJHWKDG EHHQGHGLFDWHGWRWKHSURWHFWLRQRI FXOWXUDOSURSHUWLHV +RZHYHU LQ UHFHQW \HDUV WKH DJHQF\ KDV H[SDQGHG LWV programs and budget for creative activities such as conWHPSRUDU\SHUIRUPLQJDUWVPXVLFDQGYLVXDODUWV

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$8675$/,$ Statistics5 : +LVWRULFDOO\WKHIRFXVRI $XVWUDOLDQ´FXOWXUHµVWDWLVWLFV has been on those relevant to “arts” and “cultural heriWDJHµ,Q6HSWHPEHUWKH1DWLRQDO&XOWXUH/HLVXUH 6WDWLVWLFV8QLWZDVFUHDWHGE\WKH$XVWUDOLDQ%XUHDXRI  6WDWLVWLFV $%6  DQG KDV VLQFH GHYHORSHG LQWR WKH 1DWLRQDO&HQWUHIRU&XOWXUHDQG5HFUHDWLRQ6WDWLVWLFV1&&56 ,WVIRUPDWLRQZDVEDVHGRQDQXPEHURI IDFWRUV including the demand for authoritative statistics on the sector from government policy makers as well as dePDQGIURPWKHVHFWRULWVHOI7KH1&&56DOVRLQFOXGHV coverage of statistics relevant to sport and recreation, but this component of the program is not normally re 6WDWLVWLFV 'LUHFWRUDWH 2UJDQLVDWLRQ IRU (FRQRPLF &RRSHUDWLRQ DQG 'HYHORSPHQW 3DULV -RKQ & *RUGRQ DQG +HOHQ %HLOE\2UULQ ,QWHUQDWLRQDO 0HDVXUHPHQW RI  WKH (FRQRPLF DQG 6RFLDO ,PSRUWDQFH RI  &XOWXUH $YDLODEOH DW  KWWSZZZRHFGRUJGDWDRHFGSGI

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2IÀFLDO'HÀQLWLRQV Policy Frameworks & Mapping Of The Cultural & Creative Sector

7KH GHÀQLWLRQ RI  WKH FXOWXUDO LQGXVWULHV KDV EHHQ WKH subject of intense debate over the last few years, especially within the framework of local, national and EuURSHDQSROLF\GHYHORSPHQW7KRXJKWKHUHLVJUHDWDQG growing interest in this subject there are currently few UHDO WKHRUHWLFDO RU SROLF\ PRGHOV DYDLODEOH $ SROLF\ framework for the cultural industries does present real organisational and administrative problems, but many RI  WKHVH VWHP IURP FRQFHSWXDO DQG GHÀQLWLRQDO SUREOHPVUHÁHFWLQJSURIRXQGWUDQVIRUPDWLRQVLQWKHUROHRI  ¶FXOWXUH·LQFRQWHPSRUDU\HFRQRP\DQGVRFLHW\ 7KLVFDQEHHQVHHQLQWKHZD\LQZKLFKDQ\GHEDWHRQ &XOWXUH TXLFNO\ WXUQV WR WKH ¶YDOXH· RI  FXOWXUH ²  FRQstantly shifting between economic, social and aesthetic XQGHUVWDQGLQJVRI ¶YDOXH·&RXFKLQJGLVFXVVLRQDURXQG WKH¶YDOXH·RU¶EHQHÀWV·RI FXOWXUHKDVEHHQDPDMRUWKHPH in the world of publicly funded arts and culture since the JURZLQJWKUHDWRI EXGJHWDU\FXWV&ODLPVDVWRWKHH[WHUQDOEHQHÀWVRI FXOWXUHWKHFXOWXUDOLQGXVWULHVDGGLQJ ODUJHVFDOHDQGGLJQLÀHGHPSOR\PHQW KDYHEHHQPHWE\ HTXDOO\SDVVLRQDWHDWWDFNVRQWKHDWWHPSWHGUHGXFWLRQRI  DUWDQGFXOWXUHWRWKHLUIXQFWLRQDOLQWKLVFDVHHFRQRPLF YDOXH7KHVSHFLÀFZHLJKWLQJDQGWUDMHFWRU\RI WKHVH GHEDWHVXVXDOO\UHÁHFWWKHGLIIHUHQWVWUXFWXUHVSULRULWLHV and constraints faced by the subsidy systems in the difIHUHQWQDWLRQDOUHJLRQDOIRUPDWLRQV+RZHYHUKHUHWKH intent is not to deny the need of a debate on the value RI DUWFXOWXUHEXWWKHQHHGWRVWHSEDFNDQGORRNDWWKH whole issue of the cultural industries as a fundamental WUDQVIRUPDWLRQRI HFRQRP\VRFLHW\DQGFXOWXUH 5ROHRI 81(6&2LQIDFLOLWDWLQJDSROLF\HQYLURQPHQW

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0HPEHU6WDWHV 7KURXJKWKHIROORZLQJPHWKRGV81(6&2KDVEHHQWU\ing to achieve the goodwill and co-operation of member VWDWHVLQWKH&XOWXUDO,QGXVWULHVVHFWRU 'HFODUDWLRQV D SXUHO\ PRUDO RU SROLWLFDO FRPPLWPHQW OLQNLQJ6WDWHVRQWKHEDVLVRI JRRGIDLWK 5HFRPPHQGDWLRQV $GGUHVVHG WR RQH RU PRUH 6WDWHV a Recommendation is intended to encourage them to adopt a particular approach or to act in a given manner LQDVSHFLÀFFXOWXUDOVSKHUH,QSULQFLSOHD5HFRPPHQdation does not create a legally binding obligation on 0HPEHU6WDWHV &RQYHQWLRQV6\QRQ\PRXVZLWKWUHDW\WKLVWHUPUHIHUV WRDQ\DJUHHPHQWFRQFOXGHGE\WZRRUPRUH6WDWHV6XFK an accord implies the joint will of the parties upon whom WKHFRQYHQWLRQLPSRVHVELQGLQJOHJDOFRPPLWPHQWV :LWK WKH DGRSWLRQ RI  WKH &RQYHQWLRQ RQ WKH 3URWHFWLRQDQG3URPRWLRQRI WKH'LYHUVLW\RI &XOWXUDO([SUHVVLRQV81(6&2QRZSRVVHVVHVDFRPSUHKHQVLYHVHULHV RI VWDQGDUGVHWWLQJLQVWUXPHQWVFRPSULVLQJVHYHQ&RQYHQWLRQV           

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',))(5(179,(:32,176 Culture, Creative Or Copyright Industries: Many countries especially the developed ones which have also been WKHÀUVWWRRIÀFLDOLVHWKH´&UHDWLYHµRU´&XOWXUDOµSUDFWLWLRQHUV and establishments as an “industry” have done it with a view to retain their edge in a fast globalizing economy realising that “knowledge” and not mere labour or capital will drive growth. Economies in Europe, America and South East Asia and have EHHQRQDIDVWWUDFNPRGHWRTXDQWLI\SODQUHJXODWHDQGGHÀQH SROLFLHVIRUWKLVVHFWRU7KH'HÀQLWLRQVDGRSWHGE\GLIIHUHQWJRYHUQments though not free from political interventions have more or OHVVUHÁHFWHGWKHGRPHVWLFVWDWXVRI WKHVHSURIHVVLRQVDQGSUDFWLFHV within their cultures, their strengths and weaknesses and their economic potential. Three major point of view have emerged as a world order in this sector : (a) Copyright based industries: Countries that view these industries as one generating copyrights or intellectual properties a majority of which are based on cultural content presented in creative ways which are used for economic leveraging. USA which pioneered this model for still dominates the global creative industries economy. (b) Creative & Cultural Industries : An experimental term originally coined by GLC (Greater London Council 1980s) to differentiate high-end creative/cultural goods/ services from mass-produced cultural goods, later on adopted to differentiate high-end technologically improved, produced and distributed cultural content which were called creative industries from subsidized art which were categorized cultural industries. However it was soon realized that the creative industries are a set of economic manifestation of a cultural eco-system and has no individual

H[LVWHQFHWKHFODVVLÀFDWLRQZDVRIÀFLDOO\UHFRJQL]HGDVD&UHDWLYH Cultural Industries. UK which parented this approach also did noteworthy detailing of the systems and modeled an economic subsubsystem around this which was later adopted by many economies including Singapore, Hongkong, New Zealand etc.

income generation through the exploitation of cultural assets and the production of knowledge-based goods DQGVHUYLFHVERWKWUDGLWLRQDODQGFRQWHPSRUDU\ :KDW cultural industries have in common is that they all use creativity and cultural knowledge to produce products DQGVHUYLFHVZLWKVRFLDODQGFXOWXUDOPHDQLQJ·

(c) Cultural Industries : The European Council around the same time as GLC had started ZRUNLQJDURXQGWKHFXOWXUDOLQGXVWULHVDQGLGHQWLÀHGWKDW´FXO'HSHQGLQJRQWKHFRQWH[WFXOWXUDOLQGXVWULHVPD\DOVR ture” as a common thread connecting all the industries that could be referred to as “creative industries”, sunrise or “future oribe clubbed under the head of creative, leisure or heritage industries ented industries”” in the economic jargon, or content indusDQGVWXFNWRWKHGHÀQLWLRQRI &XOWXUDO,QGXVWULHV Most countries of Europe, Canada, Korea & Tai“The industries of the imagination, content, knowledge, innovation wan have adopted the term with regional variations and creativity clearly are the industries of the future….They are also and adoptions to suit their culture and economy.

Global Phenomenon



important contributory factors to employment and economic growth” However as UNESCO observes - there is still a lack of consensus and ad-hocery prevails. Most 81(6&2 countries which have recognized this class of industries as creative or copyright industries have done so with an eye on their export potential and very large, culturally rich developing countries such as China, WULHVLQWKHWHFKQRORJLFDOMDUJRQ7KHQRWLRQRI FXOWXUDO India, Brazil, Argentina, Russia, South Africa, SE European industries generally includes printing, publishing and countries, Other African and Latin American countries etc. have multimedia, audio-visual, phonographic and cinematotill now lagged behind due to their large domestic markets for these JUDSKLF SURGXFWLRQV DV ZHOO DV FUDIWV DQG GHVLJQ )RU goods and services. But with the growing globalisation every country some countries, this concept also embraces architecture, has started working towards a common platform which will envisual and performing arts, sports, manufacturing of able cross country comparison, establish industry standards, and PXVLFDOLQVWUXPHQWVDGYHUWLVLQJDQGFXOWXUDOWRXULVP to enforce regional/local exceptions which cannot be internationally exploited to preserve cultural With its cultural mandate and a dedicated statistical unit, WKH,QVWLWXWHIRU6WDWLVWLFV8,6 81(6&2LVXQLTXHO\ 81(6&2 placed to take the lead in developing effective statistical &XOWXUDO LQGXVWULHV FDQ EH GHÀQHG methodologies at an international level to provide naas ‘those industries which produce tional governments with the tools necessary to study the creative industries sector and to encourage countries to tangible or intangible artistic creative outputs, and which have the SULRULWL]HWKLVÀHOGRI UHVHDUFK potential for wealth creation and

77

81(6&2·V UROH KDV QRW EHHQ WR VHHN WR LPSRVH VWDQdards and nor can it force countries to collect these VWDWLVWLFV8OWLPDWHO\FRXQWULHVPXVWVHHWKHYDOXHLQGRing so themselves at national and sub-national level and statistical standards emerge organically through a long SURFHVV RI  GHYHORSPHQW +RZHYHU 81(6&2 FDQ DQG should be an active advocate of studying this growing ÀHOGRI UHVHDUFKZLWKLQWKHFXOWXUDOGRPDLQDQGFRXOG FRQWULEXWHVLJQLÀFDQWO\WRVHHNLQJRXWDQG disseminating best practice in the collection of data and development of indicators as well as supporting counWULHVLQWKHLUHIIRUWVWRZRUNLQWKLVDUHD Framework of Cultural Statistics (UNESCO)

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7KHÀYHDFWLYLWLHVWKDWPDNHXSWKHSURSRVHGLQWHUDJHQF\WHFKQLFDODVVLVWDQFHSURJUDPPHRXWOLQHGLQWKH-RGKSXU,QLWLDWLYHVDUHDVIROORZV 1. Coordination: Support for a regional, integrated policy development coordination mechanism to promote cultural industries as a strategy for poverty alleviation and socio-economic GHYHORSPHQW 2. Best Practices: 7KHFRPSLODWLRQRI DFRPSHQGLXPRI EHVWSUDFWLFHVLQ WKH FXOWXUDO LQGXVWULHV VHFWRU IURP WKH $VLD3DFLÀF UHJLRQ 3. Networking: 7KHSURPRWLRQRI QHWZRUNVWKDWZLOOERRVWDZDUHQHVV research and proactive policy development pertaining to cultural industries as a strategy to strengthen the cultural LQGXVWULHV VHFWRU 7KHVH QHWZRUNV ZLOO SULPDULO\ DLP DW VXSSRUWLQJWKHGHYHORSPHQWRI LQVWLWXWLRQDOL]HGWUDLQLQJ DQGUHVHDUFK 4. Creativity Matrix: 7KHHVWDEOLVKPHQWRI DQ$VLDQ&LWLHV&UHDWLYLW\0DWUL[ to track and measure the effectiveness of policy initiaWLYHVLQVXSSRUWRI FXOWXUDOLQGXVWULHV

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ZRUNDQGDORQJWHUPSODQRI DFWLRQ7KLVSODQRI DFtion is intended to facilitate recognition of the cultural industries sector and its needs, as well as to encourage the conditions conducive to the development of the cultural industries sector, through coordination and investPHQWLQNH\DUHDVVXFKDVKXPDQUHVRXUFHGHYHORSPHQW LQIRUPDWLRQ DQG FRPPXQLFDWLRQ WHFKQRORJ\ ,&7  LQfrastructure, intellectual property rights regimes, small DQGPHGLXPVL]HHQWHUSULVH60( VXSSRUWSROLFLHVDQG WDUJHWHGSURPRWLRQDODQGH[SRUWPHDVXUHV

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in the Arts Culture & Humanities: 7KHEURDG DSSHDO DQG VXEVWDQWLDOLPSDFWRI $PHULFD·V cultural capital has been built by a sustained investment in arts and humanities education and research beginning with the focus on interdisciplinary humanities in the schools system to the investments in humanities reVHDUFK DW $PHULFDQ FROOHJHV DQG XQLYHUVLWLHV $UWV DQG cultural activities are often embedded in the education LQGXVWU\ ,WLVDQHVWDEOLVKHGSUDFWLFHIRU$PHULFDQFRUSRUDWLRQV WRLQYHVWLQWKHDUWVDQGFXOWXUHIRUSUHVWLJH/DUJHFRUporations, such as the Rockefeller Foundation, Forbes, 3HSVL&RDQG6DUD/HHKDYHH[WHQVLYHSULYDWHFROOHFWLRQV RUDUHFRPPRQO\DVVRFLDWHGZLWKDUWVDQGFXOWXUDOHYHQWV Even smaller companies have active arts and sponsorship schemes as part of their community and staff welIDUHSURJUDPPH 1DWLRQDOO\ DQ HVWLPDWHG 86EQ IURP LQGLYLGXDO GRnors, foundations and corporations go towards supportLQJ DUWV DQG FXOWXUDO DFWLYLWLHV 7RJHWKHU ZLWK VWDWH  federal sponsorship, and other funding from foundaWLRQVWKLVDFFRXQWVIRURI DOOIXQGLQJIRUDUWVDQG FXOWXUH RUJDQLVDWLRQV %XVLQHVV VXSSRUW IRU WKH DUWV LQ $PHULFD UHDFKHG D UHFRUG 86EQ LQ  DPRQJ PHPEHUVRI WKH%XVLQHVV&RXQFLOIRUWKH$UWV%&$  2I WKLVDPRXQWVRPHZHUHDWWULEXWHGWRVPDOODQG PLGVL]HGFRPSDQLHVZLWKDQQXDOUHYHQXHVRI EHWZHHQ 86PQDQG86PQ7KHPRVWIUHTXHQWO\FLWHGUHDVRQV%&$PHPEHUFRPSDQLHVLQYHVWLQWKHDUWVDUHWR HQKDQFHWKHTXDOLW\RI OLIHLQRSHUDWLQJFRPPXQLWLHVWR stimulate the local economy, to attract visitors to the area and to provide entertainment experiences for employees DQGWKHFRPPXQLW\ 125:$<

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PLOOLRQWRWRXUWKH3XEOLF/HQGLQJ5LJKW6FKHPH which compensates the creators of works used in public libraries; and programs which fund companies and inGLYLGXDOVGLUHFWO\VXFKDVWKH$XVWUDOLD&RXQFLODQGWKH $XVWUDOLDQ)LOP&RPPLVVLRQ 7KH*RYHUQPHQWIXOÀOVLWVUHVSRQVLELOLWLHVWKURXJKYDULRXVPHDQVGLUHFW&RPPRQZHDOWKH[SHQGLWXUHLQGLUHFW support through the taxation system; partnerships with other levels of government, communities and the private sector; and legislative and regulatory provisions, such as protection of intellectual property through copyright, DQGORFDOFRQWHQWUHTXLUHPHQWVIRUUDGLRDQGWHOHYLVLRQ 6,1*$325( )RU  ODWHVW GDWD DYDLODEOH  WKH FUHDWLYH LQGXVWULHV FRQWULEXWHGDWRWDOYDOXHDGGHG9$ RI 6ELOOLRQRU DERXWSHUFHQWRI *'3'LVWULEXWLRQLQGXVWULHVDVVRciated with these core creative industries added a further 6 ELOOLRQ EULQJLQJ WKH WRWDO 9$ RI  WKH FRS\ULJKW LQGXVWULHVWR6ELOOLRQRUSHUFHQWRI *'3 ,Q  HPSOR\PHQW LQ WKH FUHDWLYH LQGXVWULHV ZDV SHUFHQWRI QDWLRQZLGHHPSOR\PHQW ZLWK DQ DGGLWLRQDO  SHUVRQV HPSOR\HG LQ GLVWULEXWLRQ LQGXVWULHV 7KH WRWDO QXPEHU HPSOR\HG LQ WKH FUHDWLYH FOXVWHUZDVRUSHUFHQWRI WRWDOHPSOR\PHQW LQ  7KH VHFWRU ZLWK WKH KLJKHVW 9$ DQG HPSOR\PHQWZDVWKH,7VHFWRUZKLFKDFFRXQWHGIRUSHUFHQW RI  WKH FUHDWLYH LQGXVWULHV· 9$ DQG  SHU FHQW RI  HPSOR\PHQWLQ 7KH ODERXU SURGXFWLYLW\ RI  WKH FUHDWLYH LQGXVWULHV DW 6 SHU ZRUNHU ZDV FORVH WR WKH DYHUDJH VHUYLFHV ODERXU SURGXFWLYLW\ HVWLPDWHG WR EH 6 SHU ZRUNHU LQ7KH9$SHUZRUNHURI WKHGLVWULEXWLRQ LQGXVWULHV ZDV ORZHU DW 6 7KH DYHUDJH 9$ SHU

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WRDYHUDJHDQQXDO*'3JURZWKRI SHUFHQW Growth of the creative cluster during this period ZDVSHUFHQWSHUDQQXP7KHFUHDWLYHLQGXVtries had consistently grown faster than SingaSRUH·VRYHUDOO*'3LQWKHSHULRGV*URZWKLQWKH creative industries had maintained a relatively high UDWHRI DURXQGSHUFHQWSHUDQQXPEHWZHHQ WRDVFRPSDUHGWRSHUFHQWIRUWKH RYHUDOO HFRQRP\ ,I  WKH GLVWULEXWLRQ  LQGXVWULHV which have grown more weakly in recent years, are taken into account, the growth of the creative FOXVWHUDWSHUFHQWSHUDQQXPVWLOOH[FHHGHG *'3JURZWKGXULQJWKHSHULRG²

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7KH'HVLJQSURJUDPPHVHWVWKHREMHFWLYHVIRUWKH public sector in the development of Finland’s “design system”, which is to enhance competitiveness through the development of education, training and research in WKH GHVLJQ ÀHOG DQG WKH LQWHJUDWLRQ RI  GHVLJQ LQWR WKH GHYHORSPHQWRI WKHQDWLRQDOLQQRYDWLRQV\VWHP,WDOVR seeks to develop a national design culture of international renown to strengthen the national identity and FXOWXUDO LPDJH RI  )LQODQG 'HVLJQ SROLFLHV DUH MRLQWO\ FUDIWHG E\ WKH )LQQLVK 0LQLVWU\ IRU 7UDGH  ,QGXVWU\ WKH 1DWLRQDO )XQG IRU 5HVHDUFK  'HYHORSPHQW WKH 0LQLVWU\RI (GXFDWLRQWKH0LQLVWU\RI )RUHLJQ$IIDLUV DQGWKH0LQLVWU\RI &XOWXUH

OHDVWH[FLWLQJDQGLQQRYDWLYHQHZSURGXFWVZLWKWKH aim of taking a number of prototypes to production and working with local manufacturers to create products that KHOSORFDOEXVLQHVVHVEHFRPHPRUHFRPSHWLWLYH 6,1*$325( The Opportunities and Challenges to the Creative cluster in Singapore 2SSRUWXQLWLHV  

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“A Global Cultural and Business Hub for the Design of products, content and services, where design consciousness and creativity permeates all aspects of work, home and recreation” [Design Singapore]

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“A Global Media City with a thriving media ecosystem rooted in Singapore with strong international extensions” [Media 21]

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industries corner” with an emphasis is on FUHDWLYLW\GLVWULFWFKDUDFWHUDQGORFDOFRQWH[W 7KHVXSSRUWDQGLQYROYHPHQWRI 1*2VIURP ´WKHWKLUGVHFWRUµVKRXOGDOVREHVRXJKW 3URPRWLQJFUHDWLYHLQGXVWULHVWR\RXQJVWHUV VWDUWLQJZLWKWKH´&*HQHUDWLRQµZRUNVKRS RQFUHDWLYHLQGXVWULHVRUJDQL]HGE\WKH+RPH $IIDLUV%XUHDX ([WHUQDOSURPRWLRQ7KHUHLVQRW\HWDQ\ overseas outreach programme for our FUHDWLYHLQGXVWULHV$XVHIXOÀUVWVWHSZRXOG be to arrange an informal roundtable discus VLRQZLWKWKHIROORZLQJ

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• Bibliography & References BIBLIOGRAPHY GLOBAL PHENOMENON ƒ $GRUQR7KHRGRU>@ Dialectic of EnlightenmentWUDQV-&XPPLQJ/RQGRQ9HUVR ƒ $GRUQR7KHRGRUDQG+RUNKHLPHU0D[ ¶7KH&XOWXUH,QGXVWU\(QOLJKWHQPHQWDV0DVV'HFHSWLRQ·LQMass Communication and Society, HGV -&XUUDQ0*XUHYLWFKDQG-:RROODFRWW(GZDUG$UQROG /RQGRQ ƒ $QGUHZV-XOLDPainters and Politics in the People’s Republic of China, %HUNHOH\DQG/RV$QJHOHV8QLYHUVLW\RI &DOLIRUQLD3UHVV ƒ %DEXULQD1LQD The Soviet Political Poster 1917-1980, 8665/HQLQ/LEUDU\&ROOHFWLRQ/RQGRQ3HQJXLQ%RRNV ƒ %HQQHW7RQ\ ¶7KHRULHVRI 0HGLDWKHRULHVRI 6RFLHW\·LQ0*XUHYLWFK7%HQQHWW-&XUUDQDQG-:RROODFRWWHGV Culture, Society and the Media,/RQGRQ0HWKHXQSS ƒ %HQQHWW7RQ\ Culture: A Reformer’s Science, 6\GQH\$OOHQ 8QZLQ ƒ %HUJHU-RKQ>@ Art and Revolution, /RQGRQ*UDQWD%RRNV ƒ %URZQ$GDP2·&RQQHU-XVWLQDQG&RKHQ6DUD ¶/RFDOPXVLFSROLFLHVZLWKLQDJOREDOPXVLFLQGXVWU\&XOWXUDOTXDUWHUVLQ0DQFKHVWHUDQG 6KHIÀHOG·Geoforum 31, SS ƒ ƒ ƒ ƒ

&DQQLW]HU/XLV New Art of Cuba, 8QLYHUVLW\RI 7H[DV3UHVV &DYHV5LFKDUG Creative Industries, +DUYDUG8QLYHUVLW\3UHVV&DPEULGJH0DVVDFKXVHWWV &KDWWRSDGK\D\.DPDODGHYL India’s Craft Tradition, 1HZ'HOKL3XEOLFDWLRQV'LYLVLRQ &RQRPRV-RKQ ¶$WWKHHQGRI WKH&HQWXU\&UHDWLYH1DWLRQDQG1HZ0HGLD$UWV·Continuum: The Australian Journal of Media and Culture, 9RO1RSS

ƒ &RXUW'DYLG ¶&DSWXUH7KHRU\DQG&XOWXUDO3ROLF\·LQMedia Information Australia QR1RYHPEHUSS ƒ &UDLN-HQQLIHU ¶%ORNHVWKH%XVKDQGWKH$UWV3ROLWLFVRI &XOWXUDO3ROLF\LQ$XVWUDOLD·SDSHUSUHVHQWHGWRWKH$XVWUDOLDQ3ROLWLFDO6WXGLHV $VVRFLDWLRQ&RQIHUHQFH$XVWUDOLDQQDWLRQDO8QLYHUVLW\&DQEHUUD2FWREHU ƒ &UDYHQ'DYLG Art and Revolution in Latin America 1910-1990, 1HZ+DYHQ
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 ƒ )OHZ7HUU\&KLQJ*LOOLDQ6WDIIRUG$QGUHZDQG7DFFKL-R Music Industry Development and Brisbane’s Future as a creative City, %ULVEDQH&UHDWLYH,QGXVWULHV5HVHDUFK ƒ )OHZ7HUU\ ¶%H\RQGDGKRFHU\'HÀQLQJ&UHDWLYH,QGXVWULHV·3DSHUSUHVHQWHGWRCultural Sits, Cultural Theory, Cultural Policy7KH 6HFRQG,QWHUQDWLRQDO&RQIHUHQFHRQ&XOWXUDO3ROLF\5HVHDUFK7H3DSD:HOOLQJWRQ1HZ=HDODQG-DQXDU\ ƒ )UDQFR-HDQ Critical Passions, 'XUKDPDQG/RQGRQ'XNH8QLYHUVLW\3UHVV ƒ *DUQKDP1LFKRODV ¶&RQFHSWVRI &XOWXUH3XEOLF3ROLF\DQGWKH&XOWXUDO,QGXVWULHV·Cultural Studies, 9ROQRSS ƒ *LEVRQ/LVDQH ¶7KH$UWVDV,QGXVWU\·Media International Australia, 1R)HEUXDU\SS ƒ *LUDUG$XJXVWLQ ¶&XOWXUDO,QGXVWULHV+DQGLFDSRUD1HZ2SSRUWXQLW\IRU&XOWXUDO'HYHORSPHQW"·LQCultural Industries: A Challenge for the Future of Culture, 3DULV81(6&2SS ƒ +D\HV-( Radio Nation: Communication, Popular Culture and Nationalism in Mexico, 1929- 1950, 7XVFDQ$UL]RQD$UL]RQD8QLYHUVLW\ 3UHVV ƒ +HUUHUD+D\GHQ Jose Clemente Orozco and Diego Rivera: The Murals, KWWSZZZPDPIDFRPH[KRUR]KKBDUWLFOHKWP ƒ +LUVFKRUQ/DUU\ ¶7KH3RVW,QGXVWULDO(FRQRP\/DERXU6NLOOVDQGWKH1HZ0RGHRI SURGXFWLRQ·Services Industry Journal, 9RO1R ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ ƒ

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