Corporates need to support our artistsEven the audiences who enjoy a musical evening are reluctant to support the artists or the organisers.
Last Updated IST
The 125-year-old Chicago Symphony Orchestra (CSO) enjoys an incomparable position in the world of music. It raises more funds than any other orchestra, not just in America, but across the globe. What is the secret of its success in a field where cut-throat competition dictates successes and failures for artists as well as art sponsors?
I happened to meet director Henry Fogel in 1997 when he threw light on this exceptional phenomenon. I am sure things have not changed much these last two decades in the way in which the CSO raises funds for the arts. Fogel’s words are as relevant for us in India today as they were in another country and another time.
Ours is a sad situation where even the audiences who enjoy a musical evening are reluctant to support the artists or the organisers. They feel that art should come free. Music, dance or drama must be provided gratis.
“Don’t we take the trouble to attend these performances? Are we not encouraging our musicians by listening to them?” Come festival time in Chennai, Bengaluru or Delhi, it is the same story. People who flock to an evening of dance or music, show scant courtesy to the artist and forget that it is not a three hour performance that they are enjoying, but a lifetime of sadhana and sacrifice.
Again, the institutions organising these events literally carry a begging bowl for donations. It is high time that these issues are discussed on public platforms to create greater commitment from those who benefit from someone else’s struggle. Yusuf Arakkal’s death earlier this week is a reminder of an artist’s demanding life. Considering that we have more than 25,000 artists in this country who get meagre financial support from the government, public involvement in art is all the more necessary.
Perhaps, this is where corporate funding becomes relevant. At one time, artists were supported by royalty. Palaces were places where the finest art was nurtured. While musicians like Tansen enjoyed the privileges of Akbar’s court, we have Vasudevacharya in our own time nurtured by the maharajas of Mysore. Today’s artists have lost those privileges and depend on public goodwill which, unfortunately, is scarce.
No wonder, they are reduced to a life of penury and hardship when they lose their ability to perform. The fate of indigent artists in this country reflects our callousness towards those who contributed their valuable time and effort to better other peoples’ lives at great cost to their own. Some, whose talents are outstanding, travel to foreign shores for appreciation and rewards.
What a slur on a society which drives away the very people who enrich our lives. It is now up to our corporate leaders to replace the maharajas of yesteryears and support the arts. But then, artists and art institutions also have a responsibility in this regard. They have to recognise and appreciate the donors’ needs. Respect for the donor is the key to all artistic endeavours.
“We have donors who give us just $5 but they are still our donors” says Fogel. The first step is to find the donor, and this is where the CSO has excelled. Its motto, “Each proposal for donation includes valuable outreach opportunities that aligns the donors with world class performances that enhance their visibility in the world market place,” says everything. It identifies corporate giants whose need for a good public image is essential.
Caring benefactor
Corporate funding is a very complex affair. The business house that makes a donation has to be perceived as a caring benefactor whose concern for society extends to the cultural environment of a city. This kind of mutual understanding between the giver and the receiver may go a long way to promote and support the arts and artists in India.
For example, the annual Ganjam festival of music in Bengaluru has become a household name with artists vying with each other to be invited to participate. While they feel rewarded, the corporate has built an image in the public mind as an art enthusiast. Similarly, the popular theatre festivals conducted by two leading newspapers in Karnataka speak eloquently of media promoting the arts.
The recent festival of dance by Kalakshetra in Iskcon is yet another example of a temple supporting the arts. There may be many more such efforts in other cities. But, it is not enough. Other prominent business houses need to do more in this regard.
A caring example of supporting the arts comes again from Bengaluru where a non profit organisation called “Ananya” not only identifies young and unknown artists but also supports indigent musicians by providing free medical help to them among other things.
If only more and more art lovers came forward like Dr Raghavendra, the scientist-founder of this unique institution, to recognise society’s obligation to its artists, our dancers, musicians, painters and writers need not fear the prospect of a bleak future when their creativity is no longer vibrant.
I happened to meet director Henry Fogel in 1997 when he threw light on this exceptional phenomenon. I am sure things have not changed much these last two decades in the way in which the CSO raises funds for the arts. Fogel’s words are as relevant for us in India today as they were in another country and another time.
Ours is a sad situation where even the audiences who enjoy a musical evening are reluctant to support the artists or the organisers. They feel that art should come free. Music, dance or drama must be provided gratis.
“Don’t we take the trouble to attend these performances? Are we not encouraging our musicians by listening to them?” Come festival time in Chennai, Bengaluru or Delhi, it is the same story. People who flock to an evening of dance or music, show scant courtesy to the artist and forget that it is not a three hour performance that they are enjoying, but a lifetime of sadhana and sacrifice.
Again, the institutions organising these events literally carry a begging bowl for donations. It is high time that these issues are discussed on public platforms to create greater commitment from those who benefit from someone else’s struggle. Yusuf Arakkal’s death earlier this week is a reminder of an artist’s demanding life. Considering that we have more than 25,000 artists in this country who get meagre financial support from the government, public involvement in art is all the more necessary.
Perhaps, this is where corporate funding becomes relevant. At one time, artists were supported by royalty. Palaces were places where the finest art was nurtured. While musicians like Tansen enjoyed the privileges of Akbar’s court, we have Vasudevacharya in our own time nurtured by the maharajas of Mysore. Today’s artists have lost those privileges and depend on public goodwill which, unfortunately, is scarce.
No wonder, they are reduced to a life of penury and hardship when they lose their ability to perform. The fate of indigent artists in this country reflects our callousness towards those who contributed their valuable time and effort to better other peoples’ lives at great cost to their own. Some, whose talents are outstanding, travel to foreign shores for appreciation and rewards.
What a slur on a society which drives away the very people who enrich our lives. It is now up to our corporate leaders to replace the maharajas of yesteryears and support the arts. But then, artists and art institutions also have a responsibility in this regard. They have to recognise and appreciate the donors’ needs. Respect for the donor is the key to all artistic endeavours.
“We have donors who give us just $5 but they are still our donors” says Fogel. The first step is to find the donor, and this is where the CSO has excelled. Its motto, “Each proposal for donation includes valuable outreach opportunities that aligns the donors with world class performances that enhance their visibility in the world market place,” says everything. It identifies corporate giants whose need for a good public image is essential.
Caring benefactor
Corporate funding is a very complex affair. The business house that makes a donation has to be perceived as a caring benefactor whose concern for society extends to the cultural environment of a city. This kind of mutual understanding between the giver and the receiver may go a long way to promote and support the arts and artists in India.
For example, the annual Ganjam festival of music in Bengaluru has become a household name with artists vying with each other to be invited to participate. While they feel rewarded, the corporate has built an image in the public mind as an art enthusiast. Similarly, the popular theatre festivals conducted by two leading newspapers in Karnataka speak eloquently of media promoting the arts.
The recent festival of dance by Kalakshetra in Iskcon is yet another example of a temple supporting the arts. There may be many more such efforts in other cities. But, it is not enough. Other prominent business houses need to do more in this regard.
A caring example of supporting the arts comes again from Bengaluru where a non profit organisation called “Ananya” not only identifies young and unknown artists but also supports indigent musicians by providing free medical help to them among other things.
If only more and more art lovers came forward like Dr Raghavendra, the scientist-founder of this unique institution, to recognise society’s obligation to its artists, our dancers, musicians, painters and writers need not fear the prospect of a bleak future when their creativity is no longer vibrant.