The Tribune, Chandigarh, India

RBI turns pro-growth
Inflation still remains a worry

FOR the first time since April 2012 the RBI has cut the repo rate, the rate at which the apex bank lends money to banks, by a quarter of a percentage point and also lowered the CRR (cash reserve ratio), the minimum cash banks are required to keep with the central bank. The repo rate cut signifies the RBI has changed its hitherto pro-inflation stance to pro-growth. The CRR cut will release Rs 18,000 crore more in the system. The RBI change in approach has been guided by three factors: (a) inflation has started moderating (7.18 per cent in December); (b) growth has touched a decade low (it is expected to be 5.5 per cent this fiscal); and (c) the widening current account deficit and fiscal deficit.

The repo rate and CRR cuts are meant to supplement the government’s efforts to push growth and boost investor sentiment. But the RBI action was not greeted with the usual enthusiasm in the stock markets. After an initial surge, the BSE Sensex closed with a loss of 112 points on Tuesday. There are skeptics who believe a small lending rate cut is not enough to perk up economic growth. The government will have to improve the over-all investment climate and rein in its own profligacy. Banks are forced to use public savings to buy government bonds. Coal shortage has crippled electricity generation which, in turn, has hit industry. Highway projects have been held up by delays in environment clearances. The ban on mining has raised the cost of construction material in some states.

All eyes are now on the coming Union budget. Though Finance Minister P. Chidambaram is pro-growth and pro-reform, he is under pressure to mop up resources for pre-election giveaways. If the Union fiscal health worsens and inflation reverses its downward trend, the RBI may not be able to carry forward its rate cut spree. Given the less-than-cheerful global scenario, the future for the Indian economy remains uncertain.

Domestic violence
As usual, tardy justice and no relief

IT creates a dangerous concoction. The perception of a role model of a man is to be domineering and violent in our patriarchy. Then, an Act passed against domestic violence is viewed as anti-man rather than anti-violence and, to top it, the same tardy progress in cases registered under the Domestic Violence Act (DVA). Most well-meaning laws are rendered meaningless by a chain of adjournments, leading to agonising delays in the justice delivery system. And cases filed under the DVA are no exception. In the first ever analysis of 10,000 court cases where women sought relief under the Protection of Women from the DVA, it was found that about 50 per cent of the cases are related to Hindu women who suffer violence mostly due to dowry demand or for failure of producing a male heir. And, of the 42,148 cases filed for protection under the law, 33,965 still await orders.

These are signs of social backwardness, where women continue to bear the brunt of illogical demands from their husband’s family, but what causes more worry is an observance of a tendency that exists among judges who doubt the existence of dowry demand in such cases. Compared to Section 498 (a) of the Indian Penal Code (IPC), the DVA is a civil law that gives aggrieved women their rights and practical remedies in terms of protection order, a home, monetary relief, temporary custody and compensation, among other benefits. While Section 498 (a) was meant for the same purpose but it used to criminalise the family as an institution, and the DVA is supposed to safeguard the family and also provide relief to female victims of domestic abuse. But, as usual, it is felt the implementers of laws need to interpret the Act with rationality and open-mindedness.

The relevance of this Act needs to be explained to protection officers and counsellors. At the same time it is expected that the court’s reasoning in dealing with cases under the Act should not be governed by patriarchal considerations. There is need to look at domestic violence as a form of abuse.

Thought for the Day

Psychology helps to measure the probability that an aim is attainable.

— Edward Thorndike

ARTICLE

Plural values in India
Shinde needs to come out with White Paper
by Kuldip Nayar

JANUARY 30 is the day when Mahatma Gandhi was shot dead by a Hindu fanatic for partition of India. Nathu Ram Godse, who killed him, remained unrepentant and said in his defence in the Punjab High Court, where the case was heard: “Gandhi was a hypocrite. Even after the massacre of the Hindus by the Muslims, he was happy. The more the massacres of Hindus, the taller (he raised) his flag of secularism.”

India paid a heavy price to uphold the values of pluralism. Yet a similar kind of incipient group has crept up, with the same ideas of eliminating those who are of different religion or who have stuck to the ideal of secularism. This group is attacking India’s polity relentlessly and adding to its followers in the name of religion.

Union Home Minister Sushilkumar Shinde has said that “reports have come during the NIA (National Investigation Agency) probe that the BJP and the RSS conduct terror training camps to spread terrorism.” He further said: “Bombs were planted in Samjhauta Express, Mecca Masjid and also a blast was carried out in Malegaon. We will have to think about it seriously...”

The statement may be a bit sensational, and I wish Shinde had not made it at this time when there is a fallout in India on what is happening at the border. And the facts he used at the Congress conclave at Jaipur raise doubts about his intent. He looked as if he was out to defame the BJP and the RSS. I have no quarrel with him because both bodies are out of step with the principles of secularism we pursue.

What Shinde should have done is to produce evidence on which he has based his disclosures. A White Paper before the next session of Parliament in February is an appropriate measure. At a time when Islamist terrorism has already become a nightmare for the authorities, Hindu terrorism can be a greater threat because it will contaminate the majority community. Communalism by the minority community can be tackled. But when it embraces the majority community, it can become fascism.

Prime Minister Manmohan Singh has alleged again at the same conclave that Hindu nationalist terrorism is the answer to Muslim one that comes reportedly from Pakistan. This may be correct, but it does not help the situation developing in the country.

A Muslim intellectual from Pakistan has emailed his comment: “While there is no denial that there is a Pakistani connection in some of the terrorist attacks in India such as 26 November, there should be also no doubt about the equally true fact that Indian Muslims themselves have many reasons to fight back on the Indian state that is treating them unfairly for now more than 60 years in India, just keeping in view the Babri Masjid attack and murder of Muslims in Gujarat.”

He further says, “In an increasingly violent world where the West is waging war for colonization of natural resources and political influence everywhere, one should not be surprised to find out that violence creates new violence. Every action has a reaction as we have seen on French misadventure in Mali and Algiers.”

The response of the BJP is understandably hostile. It has demanded an apology from the Prime Minister and has threatened a bandh throughout the country. Yet after readmitting Kalyan Singh, who was the Chief Minister when the Babri Masjid was demolished to the last brick, the BJP’s anger has lost sting. It should be defensive in its approach.

Nonetheless, Shinde’s disclosures have lessened the sheen of Rahul Gandhi’s anointment as number two in the Congress. But this has not mattered with the party men who have suddenly begun calling Rahul, not “Mr” but “Ji”, the nomenclature the party uses for respect and acceptability.

By elevating Rahul from the position of secretary-general to that of vice-president of the party does not declare as if he is its nominee for the prime ministership in the 2014 general elections. He says he will build up the party. It looks rather odd that his mother, Sonia Gandhi, the president and he the vice-president, should be together building the party. But then the Congress, engripped by dynastic politics, cannot help. It has to carry out Sonia Gandhi’s wishes, even though Manmohan Singh has lost importance and become a lame duck Prime Minister.

True, Rahul made a good, emotional speech at Jaipur. But what did it say, even if it is assumed that he wrote it himself? The observations like overhauling the system or fighting against corruption are empty words. How can he be taken seriously when he knows that his brother-in-law Robert Vadra has dishonestly acquired land in Haryana?

People in India and abroad want to know Rahul’s views on the burning problems facing the country, not a goody-goody speech. He has never uttered a word on the international scene. Ordinarily, it may not be necessary to comment on such subjects. But since he is a candidate for prime ministership he has to allow a peep into his mind on these topics.

My hunch is that Rahul may not be the Congress candidate for the prime ministerial position in the next election. Sonia Gandhi, who reportedly wept on his elevation fearing that power was like poison, may carry on with Manmohan Singh as long as he lasts, if the Congress heads the post-election government. Rahul may step in after Manmohan Singh goes.

Some other person may also be a possibility. Already Finance Minister P. Chidambaram has engaged a tutor to learn Hindi. Sonia Gandhi is herself giving prominence to Parliamentary Minister Kamal Nath and has nominated him to lead the delegation at Davos. Commerce Ministrer Anand Sharma is only a delegate, although in the past the Commerce Minister headed such delegations.

The 2014 election may turn out to be a contest between secular and non-secular forces. However, the BJP will think twice before nominating Gujarat Chief Minister Narendra Modi. One, he will polarise the country and, two, the BJP will find it difficult to organise allies if he is projected as prime minister. The party should recall how Atal Bihari Vajpayee’s first government had to resign after 13 days in office because no other party was willing to join hands with it. Those who do not learn from history are doomed to repeat it.

MIDDLE

Speed-breakers
by Naveen Kapoor

THE ride to my ancestral home is quite smooth”, said Jatin to the car driver.

“Yes, sir”, said the driver and asked if he was coming after a long gap.

“Probably after 15 years” said Jatin. “When I was a child the condition of the roads was pathetic and I was expecting them to be the same today also”, he pointed out.

“So, you have come here to meet your relatives”, enquired the driver.

“Yes, my nephew’s marriage is there the following week”, said Jatin.

“Then I must explain you the reason for such a smooth ride, particularly in this locality”, said the driver.

Approximately nine years ago, it rained heavily and as usual the pot-holes and the broken roads were full of water, and it was not showing any signs of getting drained. The locality people went to the local councillor and requested him to re-carpet the roads when the rainy season is over, as this condition is leading to a number of accidents to which he sarcastically replied, “Why you are worried about the road condition. The broken roads act as speed-breakers so that people automatically get slowed down and chances of accidents are reduced. Further to this, the unnecessary spending of money is also avoided, which we can use for other purposes.”

“Oh God, then how come the roads are now in excellent shape”, enquired Jatin.

The driver said one fine morning after the rainy season was over, the sweet 16-year-old daughter of the councillor was on her newly purchased two-wheeler, going to attend the coaching classes and, on finding the broken road ahead, suddenly applied brakes, unmindful of a speeding bus coming from behind. The bus hit her so strongly that she became history. The speed-breaker (as per her father) became heart-breaker for the whole family with the loss of the only child the family had. The father of the girl himself was so shocked that for a few months he was not seen around.

One day the councillor was seen addressing the people of the locality that he would take the responsibility of maintaining the roads for the rest of his life. The roads were re-carpeted, speed-breakers were made at appropriate places, the local residents avoided the washing of cars on the roads, marriages and other ceremonies were now made in community halls and the roads were saved from being dug with the deep holes used to fix the tents. The ramps outside the houses were re-constructed after making provisions for the water to get drained. The councillor himself contributed a major share of funds required and was supported by the residents too.

According to the councillor, this was a penalty on him for saying “life-breakers” as “speed-breakers” and then he breaks down every time when he feels that his daughter, if alive, would now have got married and probably settled in her life.

“Let’s hope many localities and people learn a lesson from the incident narrated by you, dear.”

“My name is Raman, sir”, said the driver.

“God bless the locality and its people”, said Jatin.

OPED — THE ARTS

Do biennales & fairs promote art market?
Two art biennales and several art fairs have triggered a critical cultural discourse and have pushed the limits of aesthetics and perception. In the absence of buyers and collectors worth mentioning, is this activity futile or has a long-term significance?
Johny ML

IN India it is showering biennales, it seems. The much awaited Kochi Muziris Biennale in Kerala started in December last year only to be followed by the Pune Biennale in the city of Pune, Maharashtra in January 2013. Preparations for the Bihar Biennale are already on though the details are not yet divulged by the organizers who assure a controversy free quality biennale towards the end of this year. National Lalit Kala Akademi's Triennale was expected to happen a year back but thanks to bureaucratic hurdles it is shelved for the time being. In down south where there are two art fairs namely the Chennai Art Fair and the Bangaluru Art Fair, the north has all the reasons to flaunt its already acclaimed India Art Fair and the United Art Fair. Mumbai gives competition to the rest of the country with the India Art Festival which has gone into its second edition and a not so publicized Art Fair which is scheduled to take place by the end of this month. Many more biennales and art fairs are in the offing in India.

PUBLIC ART: This kind of site specific art promoted at Biennales fail to infuse growth in art infrastructure and art market Hossein Vilimanesh's creation in Kochi Muziris Biennale

PUBLIC ART: This kind of site specific art promoted at Biennales fail to infuse growth in art infrastructure and art market Hossein Vilimanesh's creation in Kochi Muziris Biennale

A dark tunnel and fingers crossed

Curious it is as we think of the art market realities of the day and the raining of biennales and art fairs. Do the numbers show a positive sign or a pathological symptom of desperation? While the gallerists, art dealers and artists themselves fall on the shoulders of each other and weep on the woes of these hard times, they themselves do not shy away from scouting these biennales and art fairs. Most of the art market players expect a radical turn in the market that would once again facilitate a boom. Though it is an absolutely optimistic approach, the insiders prefer to keep their fingers crossed. They feel that at least for the coming two years the art market in India is going to pass through a dark tunnel. The biennales and art fairs are just a build-up activity, just to keep the momentum on and the optimists say that when the rest of the art world took the hit of economic recession badly, it was India in 2009 and 2010 that put the bravest face and worked through the difficulties. Today, pundits observe that there will be a positive change in the market once hundred plus national and international galleries come together in the India Art Fair in Delhi and infuse the much needed fuel to the market.

However, we are supposed to think realistically. After putting up a good fight against recession in 2009 and 2010, most of the galleries decided to hang their gloves unceremoniously by calling off solos and group shows lined up in their respective calendars. Metro based galleries put their egos behind during the last two years and set up collaborative shows mainly in Mumbai and Delhi only to draw a blank. Art District joint openings and art evenings became a fad as most of the separate openings failed to gather enough crowd and enthusiasm. Each time the negativity ruled the minds of art fraternity, they all thought that large scale exhibitions would bring around some changes. Avoiding self-deception is very pertinent at this juncture. We should accept the fact that none of these large scale exhibitions including art fairs and biennales could facilitate the much needed change in the art market.

Failing buyers and collectors

Mired by controversies and lack of funds Kochi Muziris Biennale (KMB) could not boost up the morale of the market as most of the works exhibited there were site specific or the works placed by those galleries who supported the cause of the KMB. The United Art Fair, where this writer was the project director of the first edition, though boasted of having the best and affordable art commodities of our times, also could not bring in enough collectors and buyers to the market or showcase an impending shift in the art styles. Pune Biennale was a small affair, mooted and organized by the Bharatiya VidyaPeeth and the local authorities of the city of Pune, was not looking for marketing the works at all. India Art Festival burnt the fingers of the organizers thanks to the rocketing service charges. The other art fairs elsewhere in India also could not show a trend, therefore a possible revolution in art.

Against this backdrop, it is high time that we all think about the future of the Indian contemporary art and its market. During the boom years that lasted roughly between 2005 and 2008, the major trend in our art was mediatic or photo realism. The trend had already been there since late 1990s but the consolidation of it happened during the boom years. Homogenizing aesthetics was the result and in due course any artist who could copy a photograph with certain formal and structural effects on to the canvases, without heeding much to the history of those photographs or the images that became important at that time, became successful. The horrendous nature of this trend of mediatic realism became evident when a large scale show of Indian artists was showcased as a part of the Commonwealth Games at the Lalit Kala Akademi galleries in Delhi. The three levels of the gallery became almost a grave yard of the dead and half- dead mediatic realistic works, mostly done by the artists who became instant successes during the boom years.

Changing scale and style in art

Boom years brought international collaborations both in art dealing and art promotion. Many Indian artists got the opportunity to exhibit in the international galleries and most of them found patrons from across the national borders. International curators and museums wanted Indian artists to participate in their shows besides engaging Indian curators to produce shows of the Indian artists for the perusal of the international audience. This trend resulted into the change of scale and style in Indian contemporary art. Works of art became large in scale, ambitious in nature and most of the artists started transcending their Indian ethos to address larger issues as well as to cater to the International audience. This was a sort of give and take that fundamentally changed the nature of the Indian art production. Soon we found a kind of art, primarily hailed in museums and international art fairs, getting produced in India and the galleries scrambling around to promote such works and artists without creating a solid client/patron base in India itself.

Art residencies funded by international autonomous and government bodies with the camouflaged aim of proliferating certain ideologies and art styles started promoting site specific and installation art in the Indian mainland. This change had affected not only the artists but also the galleries. Art Fairs are the places where general art trends are featured in a big way and also these trends determine the direction that the art market takes in the coming years. When the international galleries and those Indian galleries that could collaborate with these international galleries started presenting works that negated the conventional mediums and ways of production in the art fairs in India and elsewhere, even the academically trained artists started harking on those vibes and decided to change their ways of art production. Art creation, instead of it being and becoming a very engaged zone of subjectivity and understanding became more of a zone where peer group pressures were played out. Most of the artists failed to arrive at their due maturity during the boom years and the years of confusion that ensued.

Treating art as an event

Whether it is KMB or Pune Biennale, the Indian art scene today is heading in the direction of installations and site specific art. Such kind of art production can happen only when the whole production cost is subsidized and the artist is remunerated. In Pune Biennale, this writer found that the volunteering of the Indian artists to produce site specific art is taken by most artists as a part of their general experiment than serious art production. Our galleries do not support site specific art production nor do the patrons heavily commission the artists to create site specific art. Installations are accommodated only when they are many miles away from critical engagement and radical thoughts. Cosmopolitan collectors are a rare phenomenon in our country. Seen against this reality, the biennales blindly promoting site specific art and installations would only help to further confuse the situation.

Having said that I do not say that such art activities are to be denied or kept out of critical discourse. They are very important for the critical cultural discourse as they push the limits of aesthetics and perception. But the real issue is that they are not done today in the home grown biennales with a sense to engage with the current realities. They are all done for the proliferations of the ideas of the west where the successful biennales have set a different economic mode which is extraneous to the aesthetics. These biennales are produced as events where aesthetics is regarded as a hub of attraction. That's why we do not come to know a lot about the artists who participate in the biennales. They happen as events and end as events. In the case of India, we need to create more and more public museums and funding agencies in order to shift the focus of our art production. Unless and until we create such an egalitarian situation, site specific art and installation art would remain as experiments and the artists would remain 'struggling poor'.

The pivotal question here we need to address is this: who decides the future of art? Is it decided by a handful of power mongers who function as the retailers of hegemonic ideologies? Is it decided by certain funding agencies and museum strategists? Or is it decided by the artists who are intellectually strong and aesthetically innovative? I feel what biennales and art fairs fail to facilitate could be achieved by a joint effort of the right thinking artists, critics, curators, private-public galleries who really care for an inclusive approach than running behind the 'successful' but rootless trends promoted in Art Fairs and Biennales.

The writer is the editor of popular art journals and a well- known curator