When the being is the-state-of-the-art

Whosoever paints, writes, sings, dances, works in the field of science or mathematics may be a painter, writer, singer or dancer, a scientist or a mathematician but may not essentially be an artist.  On the other hand, one who doesn’t do any of the mentioned things may very well be an artist. Actually what it takes to be an artist is difficult to define. Occupation is not a determiner in this case.

Perhaps it is the attitude towards life with its tidbits, its good and bad, negatives and positives, its turn and twists, tears and joy, success and failures which distinguish an artist. Art concerns the entirety of life and also its breakups. To me, Jesus, Buddha, Sri Ramakrishna were artists followed by, say a rag-picker in a dilapidated slum who could not give any material help to his ailing neighbor but ran up to the church, temple or mosque and sat there the whole day and night praying for the sick who may have been a habitual critic of the rag-picker all his life. Isn’t the poor soul an artist?

Nothing, none is perfect in this world. It’s a misnomer. An artist is an artist for he never spends time in pursuit of perfection. Rather he only does his job but with total, truthful sincerity, absolute attention and employs his best common sense and peripheral knowledge he has acquired from life. Even if he doesn’t find the thing interesting yet he submits to the work like a hungry man submits himself to the job of eating whatever he is given to eat. The hunger for action, an action that is an add-on to the life and its continuation, is a profile of an artist.

An artist transcends himself and reaches a state of creativity in thoughts and practice, in approach and habit, in deliverance or even non-deliverance. Didn’t the rag-picker transcend? Apparently he may not have delivered anything perceptible to senses but what about the vibrations his prayer created? That is where he performed like an artist. Creating vibes for life is another profile of artist.

Someone is listening to Mozart or Michael Jackson, Pandit Bhimsen Joshi or Pandit Ravi Shankar or any other of their likes and for that moment has forgotten the world. Someone is witnessing, say a Husain or a Picasso and has forgotten to respond to the urgent call of nature. Someone is praying with tears rolling down his cheeks and never knows a snake has climbed up to his shoulder and gone down the other side. All these three are artists.

One who loses one’s own self even for a brief while to a work of art including a scientific or technological marvel is for that brief period of time an artist. He necessarily is the closet relation of the tribe of artists who have lost themselves in what they create and what were created by the predecessors. That is what is called enlivening the-state-of-art.

 

Killing of the snail

The valley had lied still beside it

Under a cover of misty veil  

Seemed waiting to be torn asunder

By the urging probe of the snail.

The snail moved up and down

Here, there and wherever it could

Entangled in the wet with sweat

Bush that grew in a perfect mood.

The snail breathed deep in the damp

Then moved upward in cautious gait

It dared reach the summits up there

Mighty but looked very simple and straight.

It knew not of the dangers ahead

The tremulous soil and the unheard solo

Unknown as it was since and for ever

Fearful yet it but has to follow.

The trenchant trail up and blazed

It moved up and up to the tip

Incredibly colored, strangely shaped

The snail had ensured no slip.

It had no way but bit it hard

Knowing not what was next

The tremor that shook the valley then

Had no record in mind or text.

The snail then ran straight down

Across the slopes and well in the mid

It jumped over the brownish cloud

Seemed hiding the cave under lid.

The snail swam across the flow

From the cave flooding the breach

Of hillocks that lay upturned

Holding huge trunks down the reach.

Snail forgot the world as it did

Thrust deep into the mystery source

Bringing the tremor bang and explode

And killing the snail down in the course.

 Arunachal’s tryst with Art

Arunachal Pradesh, in tandem with all other Northeast India states, can be called a lively vat wherein has been brewing since the most ancient of the times an intoxicating culture that molded the life of the people of this State. It has also made them unique in their life-pattern. Their thoughts and behavioral approach are in perfect synthesis with their tradition – straight and unambiguous, at times difficult for the people coming here from the plains to comprehend.

The performing art in Arunachal Pradesh -- dances, songs, lyrics essentially inhales the oxygen of the religious faith-based tradition of festivity of the people. It has so far successfully refused almost all modernity-dash and therefore is unique in its own way. It is of course true for many other tribal cultures of our country. However, the visual art here in the state, particularly drawing, painting, sculpting have not been supported by a strong history of art practice as it has been, for instance, in Bihar (Madhubani painting), Bengal (pat chitra),  Kerala (Katakali costumes) and some other states.

Nevertheless, the structural or installation-art in Malinithan in the West Siang district of the state with its magnificent granite sculptures dating back its origin to 14^th -15^th century has undoubtedly enriched the Indian history of the art of carving. Also the weaving art in the state has its distinguished place amongst its peers in the other sister states. Wood carving is also a notable thing here although this art has remained more or less static for want of more creative imagination. The onus is not on the artists but on the state that miserably lacks in handling art and the artists in a globally acceptable manner.

In the present times, however, Arunachal – not the state as such but the people on their own capacity  -- seems not very far from matching up with art in the rest of India, although right at the moment the visual art in Arunachal is not as throbbing as in Manipur, Tripura, Assam, even Mizoram. But then, a big factor behind this has to be considered.

The taste in art is almost wholly dependent on the art-exposure. The more one is exposed to the outside of one’s geographic confinement, the more one is likely to develop different other tastes over and above one’s very primary and basic own. That way it is not even a half of a century that Arunachal Pradesh has been able to tame, albeit partially the unkind, frequently hostile nature with an extremely difficult topography and make way to the world outside. It is virtually the first generation of the people of Arunachal that has now somewhat been exposed to the life out in the world. This is a practical reason for the slow art-progress in the state. Then it is also obvious that only after attending to food-shelter-cover priority and assuring themselves of the means to keep the body and soul together, any people would be in a position to look at and think about any other thing, including art. Arunachal Pradesh has not so far been able to give itself the full assurance. Yet, it has learnt to endure whatever may not be instantly cured and began looking forward to many other aspects of life including art.

The school going children of Arunachal, as defiant as their counterparts all over the globe of many constrains, natural or man-made and as akin as anything to the imaginations of all kinds, have time and again exhibited their remarkable handling of art. From the late nineties onward there were several occasions for the onlookers here to witness the children, particularly the local ones, participating in art-competitions, playing with their brushes and colors and producing startling artworks. It used to be difficult for the jurors of the competitions to determine which work should be ranked first, second and so on. Had this place been a metro or its suburb, these children may have very well been news makers.

And the incurably unfortunate part of it is that there is no organized move here in Arunachal to encourage the talents. The state government is unreasonably callous about art as such. The schools don’t have art as a subject. Some years ago, a few art enthusiasts and fewer activists had founded an art academy which, for consecutive five years from ’96 organized art training camps, competitions and exhibitions that earned accolades from the cross section of visitors. The academy for all practical purpose is now dysfunctional. The privately managed schools, in the vast sea of indifference are the only islands trying to encourage their students to go art-way at their own convenience. There is, however, a privately managed art college here but only for the name’s sake for, it has not been given a ground to flourish. The state does not have a proper place where exhibitions can be held. Last year, Lalit Kala Akademi organized its annual Northeast art workshop in the rooms of a local hotel! Can anyone beat it?

For all sane reasons, Arunachal Pradesh as a state of India can’t help turning its indifference to art towards maybe a humble start of doing its part. Constrains are there everywhere but it does not mean that one would ignore the growth, development and practice of art as a very essential emotional faculty. For, Art is the only flag bearer of the progressive march of human civilization.