|
A Tribune Special |
|
|
Making FIR mandatory
On Record
Profile
|
Making FIR mandatory
The Union Home Ministry’s circular to all States/ UTs for treatment of all complaints to the police as First Information Reports (FIRs), if implemented without adequate safeguards, would be counter-productive. If every complaint is treated as an FIR, police stations would turn into complaint recording centres. Innocent people may be booked by those with ulterior motives. The Centre has issued the circular in a hurry. Clearly, this won’t help change the colonial mindset of the policemen. The aggrieved are forced to approach top police officers and higher courts to get FIRs registered. This despite the Supreme Court’s directives for mandatory registration of FIRs by the police in respect of cognisable cases. Currently, the apex court is seized of the issue regarding non-registration of FIRs by errant policemen. Earlier, a Bench consisting of Justice B.N. Agrawal (since retired) and Justice G.S. Singhvi, not only directed all the states and UTs to take steps for ensuring mandatory registration of FIRs by the police but also issued interim directions in case the policemen still refuse to lodge FIR. It ruled that complainants or victims could approach the concerned area magistrate for prompt help. Erring policemen should be sent to jail, tried for contempt of court and face departmental action, it ruled. The interim direction brought relief for victims, but it was short-lived. The court was told that there have been conflicting decisions delivered by two Benches of the apex court in the past over whether the FIR should be registered straightaway or after conducting a preliminary inquiry. As vested interests could misuse the directive, a three-judge Bench headed by the CJI differed with it. The matter is in the process to adjudication. Many a time, the apex court held that reliability or credibility of information is not a condition precedent for FIR registration. At the same time, the apex court and various high courts ruled that in appropriate cases, the police officer has a duty to make preliminary inquiry to find the veracity of the allegations in the complaints. The Law Commission, in its 37th report (1967), examined the tendency of policemen in non-recording of FIRs for various excuses — demanding money, indulging in distorting facts to lessen the gravity of offence and introducing new facts in the complaint to implicate innocent persons. It recommended a Reporting Centre under the direct supervision of the Superintendent of Police in all districts to deal sternly with such tactics of errant policemen. The First National Police Commission (1977) too examined the issue in its Fourth Report. Expressing concern over the policemen’s tendency to refuse registration of complaints on one pretext or the other, it recommended an important amendment to Section 154 Cr PC. This, it said, would make it incumbent on a police station to register an FIR whether or not the crime has taken place in its jurisdiction and then transfer the FIR to the police station concerned. The Supreme Court also held the same view in October 1999. The Malimath Committee Report (2003) went a step further. It recommended compulsory registration of crime irrespective of whether it is a cognisable and non-cognisable offence in relation to the police power to investigate and making it obligatory on him to entertain complaints regarding commission of all offences. The police failure of compliance should attract punishment, it said. A similar view has also been taken by the N.R. Madhav Menon Committee Report (2007). It advocated greater professionalism and accountability in crime investigation along with adequate infrastructural support and functional freedom. Even if the Supreme Court issues stringent guidelines on mandatory registration of FIRs, to what extent these would be complied with? In the past, recalcitrant policemen have flouted its directions regarding arrests, handcuffing undertrials and custodial interrogation of the accused. No wonder, it took over a decade for the government to amend the Cr PC incorporating the apex court fiat in Joginder Kumar (1994) and D.K. Basu (1997) case. The guidelines to be followed while making arrests were notified recently. There should be an unambiguous provision in the Cr PC providing for mandatory registration of FIR whether the offence is cognisable or not, albeit with suitable safeguards to curb frivolous complaints and check the policemen’s reluctance to register cases. Suitable amendments to State Police Rules regulating the functioning of police methodology are also needed. There ought to be provisions in the Cr PC and/or police rules for quashing an FIR by top police officers in case it is found to be fabricated or mischievous after investigation. The existing practice of sending FIR copies to the SP and Area Magistrate should be modified – send them copies only after investigation. The complainant should be given a copy of the pre-investigation report. Online FIR registration can also be explored with suitable safeguards. The states’ reluctance to implement the apex court’s fiat on police reforms is deplorable. What happened to the directives on separation of investigation from law and order duties of the police as well as establishment of an independent two-tier Police Complaints Authority for instituting and redressal of complaints/ grievances against errant policemen? Though some states have enacted their own police statutes in tune with the apex court directives, they have succeeded in circumventing the mandatory guidelines. The Supreme Court is currently seized of the contempt proceedings regarding their half-hearted implementation. Unless efforts are stepped up for changing the working methodology of the police machinery, little will happen. To begin with, the investigation machinery in the states needs a complete overhaul with well-equipped infrastructure, trained manpower and state-of-the art technology for effective results as recommended by the Second Administrative Reforms Commission in its Fifth Report, ‘Public Order’ (2007). The writer is Advocate, Punjab and Haryana High Court, Chandigarh |
On Record
Bidding for artworks has evolved from buyers physically thronging auctioneers premises to bidding for masterpieces online. Saffronart, which calls itself the world’s largest online auction house, hit the headlines when it sold an untitled painting by Manjit Bawa for a record Rs 1.7 crore. The winter auction netted Rs 20 crore in sales, a record. CEO of Saffronart, Dinesh Vazirani speaks to The Tribune in Mumbai on the company’s future plans. Excerpts: Q: Has the ongoing recession hit online auctions of works of art? A: The recession has definitely had a major effect on the global economy. India, however, has been successful in bucking the trend of the global meltdown. Indian art was one of the sectors to have braved and withstood the onslaught of the economic recession. The Manjit Bawa painting that was sold for the record price was an exceptionally large painting with excellent provenance and so had multiple bidders bidding for it. In short, in a recession, the aptitude to buy art at high prices becomes less but works of proven provenance in excellent conditions will still find many art lovers. Q: Were the auctions restricted to buyers in India? A: A majority of buyers at Saffronart’s auctions are international buyers spread all over the world. Our Winter Art Auction attracted buyers from 30 countries with over 60 per cent buyers from outside India. This is the result of the confidence in the Indian art market and its masters. Q: The third quarter of a year is usually very weak globally. But Saffronart seems to have bucked the trend. A: Yes, we are very fortunate to have been able to buck the trend of the recession. I would say it was just the nature of time and people have become more acceptable to recession. The Indian stock markets were the first to rebound at the sight of recovery from recession. Q: What has been your experience about the Indian art mart? A: Since we started our journey in 2000, the Indian art market has undergone a lot of transformation. It has broadened its scope along with the increase in the number of people interested in art in India and, of course, the value put to art works has also risen manifold. There is clearly a shift in the understanding of Indian art as well with many investors and art lovers considering Indian Art as a valuable investment. Q: Where do you see the Indian art market in the next 10 years? A: The future looks bright and promising. The Indian art market has grown exponentially. Indian art is here to stay for years to come. People will always need paintings in their houses. Q: Do people who buy art online or through cell phones see the paintings before they buy? A: As markets mature, the need for people to indulge and invest in art becomes more profound. We had a lot of prospective buyers accessing the auction through their mobiles. This adds a new level of convenience and flexibility. Q: What about your online auction catalogue? A: All the works on offer at Saffronart’s auctions are displayed in two spaces. Physical works from India are on display at the Saffronart gallery in Mumbai and the works from abroad are on display in New York. Q: When is the next online auction? A: It is in March 2010. Featuring a mix of artworks from masters of contemporary and modern Indian art, the auction will have about 100 high quality works on offer. Some of the most prominent names from the auction will be S.H. Raza, Akbar Padamsee and F.N.Souza.n |
Profile Recipient of the Padma Vibhushan, the second highest civilian honour, Ebrahim Alkazi is 85. In his light purple shirt, immaculately ironed pants, glasses perched on the tip of his nose and a small notebook in his hands, he walks with a barely noticeable stoop. Alkazi has always been a stickler for punctuality. His age notwithstanding, he comes to his office in Delhi’s Art Heritage Gallery in Trivani Kala Sangham at 11 a.m. every day. Before driving to Kala Sanghan, he spends an hour at the Alkazi Foundation in Greater Kailash-II. Alkazi is a renowned Indian theatre director who founded the premier theatre training institute, Delhi’s National Institute of Drama. He is credited with training many well known film and theatre personalities and they include Om Shiv Puri, Naseeruddin Shan, Manohar Singh, Uttara Baokar, Om Puri, Jayadev and Rohini Hattangadi. He has also directed over 50 plays, including famous productions of Girish Karnard’s Tuglaq, Mohan Rakesh’s Ashadh Ka Ek Din and Dharamvir Bharati’s Andha Yug. As the director of the National School of Drama, Alkazi revolutionised the Hindi theatre by the magnificence of his vision and meticulousness of technical discipline. Alkazi spent his childhood in Bombay and Pune. He vividly remembers Bombay’s vibrant cultural scenes in the 1950s. It was unimpressive when he moved to Delhi in the early 1960s to help set up a National School of Drama. He was quoted as saying Delhi was an unsettling place in 1962 – “ a peculiar, retarded, feudal world; like a village when compared to Bombay”. Kailash Colony, where he set up his team’s base in a shabby building owned by tent-wallahs, was far out of the way that no cab would go there. His first experience in the National Capital was rather repulsive; two men hoisting a dead donkey onto a scooter by the side of the road. There was an open space behind the tent-wallah’s house. Alkazi and his teammates picked up stones and built a little makeshift stage there, lined with cow-dung and put a thatched roof overhead. Later, they moved to a more sophisticated venue – the Rabindra Bhavan building. The breakthrough came one fine evening at Ferozshah Kotla ground where he staged Andha Yug, a powerful drama set in the immediate aftermath of the Mahabharata War. Prime Minister Jawaharlal Nehru came to watch the play. While appreciating the play, an extremely successful performance, Nehru warned Alkazi to watch out for snakes when he staged in old monuments. Later, rehearsing at Purana Qila, Alkazi found that Nehru was right — there were indeed snakes around. Apart from theatre, another area of Alkazi’s interest has been the collection of photographs. He must be having 85,000-plus vintage pictures that make his collection. Among them is Vijayanagara: Splendour in Ruins, a book featuring the 19th century photographs of the ruins of the Vijayanagar empire. He also possesses an elegantly produced book, titled – Lucknow: The City of Illusions – from the time of the 1857 mutiny. Alkazi’s wife, Roshan Alkazi, has been actively associated with her husband’s work in Bombay and Delhi, designing costumes in more than 70 productions for the theatre group. Roshan is one of the few Indian costumers for whom the art is a serious, passionate venture. Bombay-born Roshan studied costume at the Victoria and Albert Museum, London. Alkazi’s students say, they used to rehearse at Mandi House everyday from 3 p.m. to 9 p.m. He would come at 2.45 p.m. sharp and send his driver back home with the car. Later at 9 p.m, he would hire a taxi to go home, dropping two students on his way. When someone asked him when he owned a car and paying the driver so well, why can’t the driver wait for him, Alkazi’s reply was: he would be working but what the driver would do for six hours. Let him go home and spend time with his family. Alkazi’s father was an Arab. He was an orphan and sent to India from Saudi Arabia to study trade. Alkazi received his first lesson at a little library built by his father at home. It included a 20-volume set of the Book of Knowledge which turned out to be Bible to Alkazi and many members of his
family. |
|
|
HOME PAGE | |
Punjab | Haryana | Jammu & Kashmir |
Himachal Pradesh | Regional Briefs |
Nation | Opinions | | Business | Sports | World | Letters | Chandigarh | Ludhiana | Delhi | | Calendar | Weather | Archive | Subscribe | Suggestion | E-mail | |