A war with no winners
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The row between Sonal Mansingh and members of the Executive Board may be humiliating for the artistes but India is the loser. ANJANA RAJAN
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UNDER SIEGE: Sonal Mansing, Chairperson of the Sangeet Natak Akademi. PHOTO: N. SRIDHARAN
ONE IS so used to referring to the Sangeet Natak Akademi as the apex cultural body of the Government of India. The institution, whose golden jubilee celebrations are still fresh in the memory, is associated with the most august of India's nation builders, foremost among them being Maulana Abul Kalam Azad. It has seen the greatest cultural figures occupy the post of the Chairperson: Indira Gandhi, Dr. Narayana Menon, Kamala Devi Chattopadhyaya among others. Today, however, observing the spark that has turned into a conflagration, artistes and those who love the arts feel things should never have come to such a pass.
To say that opinion is mounting against the Chairperson Sonal Mansingh would be to put it mildly.
It is not just eminent Carnatic vocalist M. Balamurali Krishna, who resigned from his position on the Executive Board of SNA in protest against her "autocratic" methods and high-handed behaviour, setting off an avalanche of resignations, starting with Vice Chairman Kavalam Narayana Panikkar and Manipuri actress Sabitri Heisnam.
Not good enough
Even those no longer on the Board or who have never been aver that the choice of the celebrated Odissi and Bharatanatyam dancer for Chairperson was not a healthy one. Bharatanatyam exponent and guru V.P. Dhananjayan is a former member of the Board. Never known for mincing words, whether in or out of a committee, he says, "From the beginning I have held the opinion that we need a better person holding the post - one we can look up to. It should not have flared up like this in public. It is all because of Sonal's humiliating Balamurali Krishna. This situation is very degrading for the artiste community as a whole."
Artistes are unanimous in pointing out that the fiery Chairperson, from whom the tag arrogant has never been far, has overstepped the bounds of decency in attacking the Carnatic music maestro on personal grounds. "He is a very great treasure," says Dhananjayan.
The maestro himself only says, "I stress that she should be removed immediately. When the Government asks for suggestions to improve the Akademi I will give them." He adds, not without effect, "I am a Fellow of the Akademi, whereas the Chairperson is not. That she should stoop so low, while holding such a high position, is very sad."
Panikkar, whose resignation was triggered by Balamurali's but who had major disagreements with Sonal earlier, also feels humiliated. Consistently finding no room in the Akademi, he says, "There was no space for me. Then they gave me a room where there was no board for the Vice Chairman. I was an unwanted person. When the minutes of the Publications Committee meeting would come to me, I would approve them. After that some members would make changes. When I would get a copy I would see the tampered minutes. I objected strongly. All this culminated in my having no confidence in the office."
Adds the veteran theatre personality, "She was spreading the story that I have chaired a meeting and sanctioned a grant for my institution, Sopanam. Sopanam has been getting a grant for nearly 30 years from the Akademi. If that pittance of a grant is rejected, I am not interested in being a member. My association with the Akademi started with Kamala Devi Chattopadhyaya. I am not interested in replying to whatever charges she (Sonal) may bring. Mudslinging is not my cup of tea."
Artistes at the helm
He also raises the issue of performing artistes being appointed to such influential positions in SNA. "Ravi Shankar had once suggested that performing artistes should not be at the helm of affairs," he recalls. Dhananjayan echoes the sentiment when he says, "No performing artiste should adorn the chair while active. It was very obvious when she became the Chairperson, her presence was noticeable at all the festivals."
STIRRED UP: M. Balamurali Krishna in New Delhi. PHOTO: V.Ganesan
This question arises in almost every aspect of SNA's work, since performing artistes are what make it distinct from, say, the Indian Council for Cultural Relations, which is often under fire for the opposite: having administrators, not artistes, at the top. Balamurali says he has suggested constitutional amendments to I&B Minister Jaipal Reddy to improve the award selection process.
Meanwhile, Delhi-based Kuchipudi dancer Swapnasundari, who supported the Chairperson when she made her representation to the minister, says, "I have no comments." And as the controversy grows, the Chairperson is conveniently unavailable for comments.
In the ruckus, allegations of corruption in funds disbursement and grants have been pushed nearly into oblivion.
"The officers of the Akademi who were being investigated must be happiest today," says an artiste. The sad thing, she points out, is that Sonal Mansingh due to her incapacity to function in a democratic set-up, has failed in carrying the Board members with her, and any good that may have come from her close scrutiny of SNA activities will come to nought.
"When you have a responsibility towards the entire cultural policy of the country, you can't have your personal agenda," says the artiste, not wishing to be identified, since, "Sonal is very powerful. She will survive this and then get me thrown somewhere."
Who is the final loser? India, a country rich in culture that continues without a coordinated cultural policy because attempts to stand on principle usually degenerate into slandering matches.
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