Indian Classical Dance and Music Essay Example

failed to attract viewership.

A few months ago, when DD Bharti's transmission became mandatory, most cable operators were unaware of it. A cable operator says, "What can we do? There is no demand for it at all." Doordarshan initially started as a channel for intellectual viewers, with special and interesting shows on various cultural arts. However, since the entrance of private television, DD Bharti's approach has become confused and random due to tough competition from private channels. In 2007, the Ministry of Culture received a mere initial grant of Rs. 5 crore out of an annual budget estimate of Rs. 54,041 crore for their cross-cultural projects. Despite being one of the most populous countries in the world, only 0.5 percent of the budget was allocated to culture and arts by the Planning Commission. In 2003, out of Prasar Bharati's annual budget of Rs. 2,000 crore, DD Bharati received a meager Rs. 14 crore. This highlights the hypocrisy of those who boast about their cultural superiority while doing nothing to support it. Sadly, artists lack support from the government. "Only if you have contacts at high-level places can you hope for a stable career," says an anonymous dancer. When talking to any official from Doordarshan, they emphasize their role as public service providers and their inability to show shows that people cannot relate to.

According to an anonymous senior official, Classical Dance and music are expected to maintain a high level of elegance and the performance should align with the overall theme of the program.

However, the quality and packaging of the products are subpar. In India, consumerism is prevalent and well-presented items are more likely

to be chosen over other options, such as reality TV shows. In recent times, the content of these programs has drastically declined. Sneha Chakradhar, a Professional Dancer and student of Geeta Chandran's Natya Vriksha, emphasizes the importance of well-packaged shows in a consumer market. She points out that poorly executed shows lack refinement and fail to attract a substantial audience. While there is a significant amount of in-house programming and content from Doordarshan Kendras across the country, many of these programs are not aired due to the extensive processes involved in programming and administration. Classical arts have been given minimal significance by various forms of media, which has resulted in them being of little interest to the general population. Simultaneously, the media highlights the strong influence of Western culture and society on Indian children.

According to Kathak veteran Shovana Narayan, while efforts are not being made to bring classical arts back to their roots, the media has largely ignored these issues. However, the number of performances and students participating in these arts has been consistently increasing, indicating that the arts are still thriving in our country. One of the challenges faced is finding sponsors, as the art is not very lucrative and sponsorships tend to be small. Some Gurus rely on affluent students for support.

Mukesh Garg, the founder of Sangeet Sankalp Institute, expresses his frustration with the government's lack of action. He also criticizes the prevalence of the same names in different fields, including Bollywood, emphasizing how names sell and make it difficult for newcomers to succeed. He questions if there is a genuine audience in the country that can truly appreciate art and

wonders about the demographics of people who watch such shows, mentioning members of IIC, IHC, students, and the older generation.

If given the choice between a Bollywood concert and a Classical Indian performance, the preferences of people have changed. They now prefer Reshammiya Concerts over Classical Music Nights. However, it is important to remember that Indian classical arts hold traditional values that we take pride in when discussing our Indian culture. Yet, it is the ignored artists who are keeping this literature alive. In fact, there has been an increase in the number of performances, showing a renewed interest in classical traditional art.

There is a pervasive Western influence in lifestyle and art, whether it is driven by the media, people, or the audience. Despite efforts made by institutions to create awareness, it is disheartening to see the audience's response when opportunities arise. However, Shovana Narayan has a different perspective. She shares her experience of performing in front of a crowd at Surajkund, where she least expected a Haryanvi man to approach her and express his enjoyment of the performance. This reminds us not to judge the intellect of the common man too quickly.

If provided with the opportunity to witness high-quality arts, individuals will also develop an appreciation for it. According to Rashi Khanna, an Odissi dancer, every profession has its own associated hazards. She describes her profession as non-glamorous and appealing to a limited audience. Our country is filled with abundant artistic expressions, each with its own group of followers. The classical arts have always had fewer followers due to the intellectual complexity of their performances. Therefore, similar to engineers and doctors, the

common person finds it challenging to comprehend and interpret our work.

Instead of complaining, we should focus on improving the quality of current art. Manipuri Artist Guru Singerjeet Singh believes that cultural arts are not meant for everyone to understand, so he doesn't understand why people make such a big deal about it. He also believes that popular art is not necessarily excellent. Regardless of the field, popularity does not equate to the best. People who pursue art as a profession are passionate and do not prioritize money like others do. They do it for themselves. However, there are still unexplored aspects to this story. Neha Malhotra BOX:

One can utilize research-oriented programming to explore different cultural aspects and incorporate playful formats in order to create magazine shows. However, when these ideas are used separately, they fail to be engaging viewing material. To attract audiences, it is necessary to find innovative ways of presentation rather than relying solely on talking heads. According to media analyst Sevanti Ninan, the programming needs to acquire the energy and imagination of MTV while still remaining serious, as it is ultimately public service broadcasting and can venture into areas that private channels cannot.

The importance of scheduling is evident for a channel that relies on a connected audience. Asha Rani Mathur, who has experience with DD3, explains how she actively seeks shows on DD Bharati, such as Gyan Seth's series on classical music. However, the lack of consistency and poor advertising make it difficult to find quality programs. To truly engage viewers and create valuable artistic content, the channel should allocate at least 10% of its budget to experimental material,

according to Kak.

During the golden era of public arts broadcasting in England, various television programs were able to fully explore the potential of the medium without being solely focused on achieving high ratings. One notable example is John Berger's 'Ways of Seeing', which not only pushed boundaries in terms of programming but also revolutionized the way women in art were perceived. Other shows, such as Susan Sontag discussing Pina Bausch or Bryan Magee's series on philosophy, were widely recognized as significant because they captivated a different caliber of attention and involvement. This kind of engagement is ultimately more valuable than solely prioritizing audience size.

The fact that cultural programming cannot be profitable is widely accepted worldwide. Currently, arts television focuses on developing innovative formats that can attract viewers in the fast-paced world of global market-driven networks. Channel 4's 'Operatunity' succeeded in appealing to both opera experts and novices by adopting a reality TV approach, resulting in over 1,600 newcomers attending the final opera. "DD has an impressive collection of early recordings featuring Indrani Rahman and Ravi Shankar showcasing their incredible talent.

According to Chandiram, this material has the potential to intrigue and stimulate new audiences if it is placed in context. In fact, Chandiram mentions that there was a wide and rich audience for regional films on Doordarshan during Sunday afternoons, which indicates the public's desire for captivating content. Chandiram believes that if there was a space for intellectuals like Arundhati Roy or Jhumpha Lahiri to discuss books seriously, it would undoubtedly be well-received. Similarly, like DD's new science channel, DD Bharati also needs to create engaging programming in order to compete with the

other 70-odd channels. Kak explains that the main difference between BBC and DD lies in their funding and objectives. While the BBC is funded by license fees and driven by its broad public service purpose, DD is still regulated and follows previous paths of least resistance due to its ties with the Information and Broadcasting Ministry.