Category: Arts & Culture

  • India’s National            Awards: A personal observation                     

    India’s National Awards: A personal observation                     

    There needs to be a complete overhaul of the awarding committee to start with and not just some civil servants who has no knowledge of Arts, Culture, Science and Technology…writes Dilip Roy

    Since the time of its inception, it has been marred in controversy and favoritism. One only has to look at list of awardees of Bharat Ratna India’s highest award has gone to the politicians and it is said that Nehru awarded himself the Bharat Ratna. Now in my humble opinion politicians are there to serve the country and not to receive awards. The biggest mistake was made by awarding the Ratna to a young cricketer at the age of forty for scoring the highest   number of runs in “cricket” which is not even an international sport unlike football or tennis. There are also recipients of Padma Bhushan and even Padma Vibhushan awardees in the entertainment industry. 

    There needs to be a complete overhaul of the awarding committee to start with and not just some civil servants who has no knowledge of Arts, Culture, Science and Technology. I can site many examples where justice has not been delivered. Some politicians have been awarded posthumously which in my opinion is a complete charade. Awards should be given to a living person and not when they are dead it does not make any sense or has any value. No where else in the world it is done except India, this definitely needs to change.Following are the names in Arts and Science who deserved Bharat Ratna.

    ARTS and Culture:

    Alain Danielou was a French Indologist, intellectual, musicologist who met Tagore and after seeing his interest in Interest in Indian classical music, he made him the director of Tagore’s school of music at Shantiniketan after that  he joined the Banaras Hindu University where he mastered Sanskrit language, literature and Hindu philosophy. In 1949 he was appointed as a research professor at the University and the director of college of Indian music. His work on India’s classical literature and music has been recognized by none other than UNESCO.

    BALASARASWATI who is regarded as the Doyen of Bharata Natyam on whom a documentary called BALA was made by the great Satyajit Ray speaks volumes.

    Professor Dilip K. Chakrabarti a world renowned Archeologist who has done extensive field research and is the author of many books to his credit on India’s ancient architecture and published articles on the subject in various journals, needs no introduction.

    D. K. Roy was Indian musician, musicologist, novelist and a poet besides Indian classical music he also learnt Western classical music and became proficient in French, German and Italian languages. His European admirer was the French Nobel laureate and philosopher Romain Rolland and in India his admirers included Sri Aurobindo and Rabindranath Tagore. Sangeet Natak Akademi India’s National Academy for Performing Arts awarded him its highest honour for lifetime achievement the Akademi Fellowship. Roy’s devotional songs were rendered by Bharat Ratna awardee the famous singer M.S. Subbulakshmi.

    Sitar maestro Vilayat Khan who hails from three genarations of musical family and received a praise from none other than Satyajit Ray that Vilayat Khan’s stature as a musician is far greater and higher than that of Ravi Shankar.

    Science and Technology:

    Homi Bhabha known as the “Father of Indian Nuclear programme.” He was nominated for Nobel prize in physics five times. The Atomic Research Centre in India is named after him.

    Vikram Sarabhai Indian physicist and astronomer who initiated the space research and is regarded as the “Father of Indian Space program.”

    S. N. Bose Indian mathematician and physicist he is best known for his work on quantum mechanics. Today Bose-Einstein statistics have become world famous and the class of particles that obey Bose statistics called BOSONS was named after S.N. Bose who was also nominated for Nobel prize in physics.

    Narayana Murthy is regarded as “Father of Information Technology of India”

    The above are the few names who should have received Bharat Ratna long time ago which brings me to my final concluding point as stated below.

    The two prominent Parsees of India are Industrial giant Ratan Tata and Music virtuoso maestro Zubin Mehta these two individuals have received the highest accolades in the Western countries while India is still lagging behind and both have reached their prime age so it is about time they were given the Bharat Ratna. One is reminded of the incident in April 1992 when Satyajit Ray was being honoured by the American Academy with a special OSCAR for lifetime achievement a unit was dispatched to Calcutta where Ray was in hospital bed to save the face Govt. of India immediately announced the Bharat Ratna to Ray.

    Dilip Roy is a Fellow of Royal Asiatic Society U.K. and an Arts researcher whose contributions have been acknowledged in the Biographies of Rabindranath Tagore, Satyajit Ray and Sir S.M. Tagore published in U. K. in the Nineties. Mr Roy has also exchanged letters with intellectuals such as Lindsay Anderson, Peter Brook and Satyajit Ray in the eighties.      

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  • ‘The earth stories’

    ‘The earth stories’

    We call the Earth a mother. Always giving, nurturing, and protecting. She goes through a million changes physically and emotionally… Shalu Juneja speaks with N. LOTHUNGBENI HUMTSOE

    Despite our ignorant vices, the earth continues to provide and nurture mankind in the same way that a mother does. Shalu Juneja, has been an artist for over 13 years, her works focus on figurative and the abstract, they allude to the female form and the earth as the mother. Juneja is also the director and co-founder of Uno Lona Academy.

    Her interest in these themes stems from her daily memories, experiences, and interactions, in which she questions the impact of words and actions on a mother, in the form of a female body, or on the earth as a whole.

    Shalu speaks about her most recent art series, “The Earth Stories”, an observation of the chaos she finds within nature resulting in accidents within her works, which are a direct reference to the accidental experiences of real-life – good or bad.

    What served as the impetus for your most recent art series, “The Earth Stories”?

    Shalu: My practice is largely concerned with themes of womanhood, motherhood, and the continuous changes that we experience as humans over time. My interest in these themes is motivated by my memories, experiences, and interactions in daily life – questioning the impact of words and actions on a mother, in the form of a female body or the earth as a whole. The Earth Stories is an extension of these ideas where I, for the first time, break away from figurative representation to explore abstract forms and compositions.

    Why is motherhood in particular a source of inspiration? There are so many incredible things to be inspired.

    Shalu: We call the Earth a mother. Always giving, nurturing, and protecting. She goes through a million changes physically and emotionally. The Earth gives us in abundance and we take to that point of greediness as a result, the whole ecosystem stands disturbed. I wish to address that feature – especially the change – caused due to the constant abuse and greed that humanity has brought upon the Earth.

    Could you give us a brief description of each of the four paintings in the series?

    Shalu: All these paintings speak of changing topography that we experience through documented satellite imagery. This imagery captures changes over time and my paintings are an attempt to capture those changes while addressing humanity’s role in them. Just as we humans take certain actions that often harm the earth, I take actions in my painting that don’t necessarily harm my paintings, but metaphorically suggest the same aggression and violence that we often use against the earth.

    In these works, you’ll find 2 different ways of working. One: where I attempt to directly represent the topography taking inspiration from satellite imagery and two: where I create a much more organic composition that is a result of action painting or mark making on paper or on canvas.

    With your most recent collection, what message are you conveying to people?

    Shalu: My works generally talk of changing patterns and textures around me, observed from the micro to the macro level. My process is based on such visual changes. Each time I make a mark, burn or add a layer to my canvas I speak of the transformation that occurs within nature in relation to humanity. So these works are perhaps an attempt to make us more conscious about our actions on Earth considering the grave dangers we now face because of climate change, war, waste, and more.

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  • Mind Master: Winning Lessons from a Champion’s Life

    Mind Master: Winning Lessons from a Champion’s Life

    Reminiscing about his father, who in his early years “doubled up as my manager and had to deal with a youngster who was trying to break free and discover himself”, he writes that in his last years, the elder Anand’s Sunday afternoons were spent in the company of his grandson over ice cream scoops…writes Vishnu Makhijani

    Cool as a cucumber: that’s five-times World Chess Champion Viswanathan Anand. Cooped up in Germany due to the Coronavirus pandemic, he returned home via a Vande Bharat repatriation flight, coped with the loss of his father, learnt Hindi, had the satisfaction of launching the WestBridge Anand Chess Academy (WACA) to nurture India’s chess prodigies – and is chuffed at the stimulating aspect of mentoring.

    “My approach towards the pandemic was not to fight the outlandish situation kicking and screaming, but to flow with the current without overthinking and making myself miserable. None of us could have been better or worse prepared for what we were up against,” Anand writes in the bonus chapter of his memoir, ‘Mind Master: Winning Lessons from a Champion’s Life’ with Susan Ninan (Hachette), that has been reissued as a paperback edition to mark the 44th Chess Olympiad that opened in Chennai on Thursday.

    The Olympiad will see the participation of 343 teams from 187 countries, with 30 players from India matching their skills against the best in the world under Anand’s mentorship.

    “When I look back at the worst days of the pandemic, I realise the learnings have been plenty. I’ve been forced to cope with the loss of a parent and that has drawn me closer to my family. When I peep into (son) Akhil’s room I see a child trying harder than the rest of us to accept the reality of online classes and his friends being turned into tiny picture panels on the screen…I catch the proud smile on his face when my achievements appear as questions in his school assignments,” Anand writes.

    Reminiscing about his father, who in his early years “doubled up as my manager and had to deal with a youngster who was trying to break free and discover himself”, he writes that in his last years, the elder Anand’s Sunday afternoon’s were spent in the company of his grandson over ice cream scoops.

    “Every Sunday, we would buy ice creams and take them over to my father’s house. He would enjoy Akhil greedily grab spoonfuls from all of us. They adored each other and it was special to watch that bond from a distance. My dad lived a full life and spent ten years of it watching Akhil grow up. But to me his final days will be inextricably linked with the circumstances the pandemic brought about, which didn’t allow us even one final visit before he left us. Though I rarely demonstrate it, the pain of his absence feels like a giant boulder bearing down on my chest,” Anand writes.

    The pandemic, he writes, presented two options: mope about not knowing what lies ahead “or find an opportunity in the unexpected gift of time. We had all the time in the world, with no flights to catch and no office rush to beat. I asked myself what I always wanted to learn but had put off for later”.

    “Turns out, the answer was Hindi. I had never found the time earlier to learn the language. In my years of living in Madrid, when I’d learnt Spanish by conversing with locals, I had never been embarrassed to make mistakes. With Hindi…well…it was different. My ignorance of the language meant I felt more lost in Delhi or Mumbai than I ever did perhaps even in Frankfurt (since I read, write and speak German reasonably fluently). I found it strange because I wasn’t supposed to feel this way in my own country. It formed the premise of my motivation to take up Hindi lessons. I defined it as being able to survive an Indian airport,” Anand writes.

    Enter friend Anand Subramaniam, who lives in Chicago.

    “He took the job upon himself and we began having regular classes over Skype once a week. Thereafter, it was him helping me with my Hindi and me fixing his chess,” Anand writes.

    The WACA project dates back to 2019 when Anand had been invited by the Bengaluru-based investment firm WestBridge Capital to deliver a talk for their employees and the company’s co-founder Sandeep Singhal asked him if he’d be interested in a chess collaboration of some sort.

    “One of the first thoughts that popped in my mind was the Botvinnik Chess School in Moscow,” the brainchild of a former World Champion that had helped raise a generation of players, famously Gary Kasparov, Vladimir Kramnik and Anatoly Karpov, all of whom later became world champions,” Anand writes.

    It was initially set to launch in April 2020, got pushed to December of that year due to the pandemic and was formally launched in 2021.

    “It was an idea, if not a burning dream that I had always carried in my head. I know I would do it one day but had never got around to putting it together. The association with WestBridge for the academy was unplanned, almost serendipitous. I was chuffed at the stimulating prospect – to work with young minds, see the chess board through their eyes and gain a modern perspective on the game,” Anand writes.

    Playing mentor, he states, “is slowly taking the place of a full calendar of tournaments marked for travel. The pandemic has taught us the art of substitution – being at home around family replaced spending time with friends socially, and my love for chess has taken a fresh turn. I wake up every day thinking how I can be a better teacher than I was in the previous class.”

    “It has supplanted tense games and troublesome opponents that raced in my mind in earlier years. The unannounced pause has also lent us perspective to look closely at the things we’ve been chasing all our lives. To weigh whether they matter enough to be ranked ahead of other aspects that we’ve perhaps overlooked. The blinkers are finally off.

    “The world as we know it no longer exists. The things we took for granted, thinking they’d last forever, have long disappeared. The only rule now is to be aware of changing realities, let go of rigid ideas, and find joy in the new and the unknown,” Anand concludes.

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  • Delhi ready for second edition of Art week from August 24

    Delhi ready for second edition of Art week from August 24

    DAW’s website and Instagram pages further provided resources to those interested in engaging in Delhi’s art world…reports Asian Lite News

    The second edition of Delhi Art Week (DAW) will be held from August 24 to 31 in a hybrid avatar, not only will galleries and institutions showcase their programming physically in their own spaces, but DAW 2022 will also be online on the internationally recognized platform, Artsy.

    This virtual presence of the week aims to provide the global audience with a sense of the diversity of Indian contemporary and modern art available in the Capital city. DAW exhibits will be virtually on view on Artsy till September 14.

    The first edition, held from April 3-10, 2021, brought together, for the first time ever, a variety of art programs from 37 participating galleries and four institutions, including two museums.



    DAW 2021 also organised the city into four distinct “art zones”, thereby providing easy access and navigation through the capital’s gallery and museum network.

    DAW’s website and Instagram pages further provided resources to those interested in engaging in Delhi’s art world.

    It was conceived of as a result of the dramatic changes brought about in the art world owing to the Covid-19 pandemic, one of which was the cancellation of many art fairs, and the identification by many galleries that working together rather than in isolation was the call of the times.

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  • South Asian Modern  and Contemporary Art From The Collection Of Romi Lamba

    South Asian Modern  and Contemporary Art From The Collection Of Romi Lamba

    The works in this auction celebrate a diverse range of artistic practices from the South Asian subcontinent over the last century, with a particular emphasis on narrative figuration…reports Asian Lite News

    A live auction of 85 lots carefully selected by a pioneering collector who helped to advance the field of modern and contemporary South Asian art in Asia, has been announced by Christie’s.

    Centering The Figure: South Asian Modern + Contemporary Art From The Collection Of Romi Lamba, auction will be held on September 21 at Christie’s Rockefeller Centre in New York. Highlights from the collection will travel to Christie’s Mumbai in August, followed by viewings in London before returning to New York in September for Christie’s annual Asian Art Week preview and auctions.

    Nishad Avari, Head of Sale, South Asian Modern + Contemporary Art, Christie’s, said: “This is an extraordinary opportunity for collectors and connoisseurs of modern and contemporary South Asian art to admire and acquire works chosen by one of the important early collectors in the field. Romi Lamba began collecting thirty years ago, a time when the best of the best was still available. The depth, breadth and quality of the objects in this collection are a testament to Romi Lamba’s discerning eye, and prescience in seeing the brilliance of this art before the market fully took notice.”

    The works in this auction celebrate a diverse range of artistic practices from the South Asian subcontinent over the last century, with a particular emphasis on narrative figuration.

    Important paintings by Arpita Singh, Manjit Bawa, Anjolie Ela Menon, and Jogen Chowdhury, largely unseen in public and appearing at auction for the first time, are among the highlights of the selection. An exceptional collection of contemporary photography by artists such as Dayanita Singh, Pushpamala N., and Vivan Sundaram, as well as contemporary negotiations with figuration by Anju Dodiya, Atul Dodiya, Jitish Kallat, and Ravinder Reddy, is also included in the sale.

    During a life that has taken the Indian born Romi Lamba from university in Philadelphia to his longtime home in Hong Kong, he has always been a collector. His journey started with antiques, before moving on to Japanese ceramics, South Asian textiles, and in the mid-1990s, modern and contemporary South Asian art.

    Lamba recalls, “In 1994 we moved to Hong Kong and began to collect Indian contemporary art. Certain behaviours were now ingrained. A connection to my home country: a diaspora’s magnet. Research, focus and discipline. The paintings we hung on our wall would only be Indian (…) This was a nascent market; new books on Indian art were being published every month, augmenting my collection on rugs and shawls. We found ourselves buying bigger bookshelves (…) We chose from photographs mailed by Indian galleries before the shows opened, sometimes nabbing a sought-after artist sight unseen over the phone.”

    The works in this auction were intended to be lived with, and they adorned every corner of his home, which he described as “a home masquerading as an art gallery.” As the collector begins to downsize in preparation for the next stage of his life and the latest turn in his collecting journey, a group of these works, assembled with care and brilliance, is now available to a new generation of collectors who can learn from Romi Lamba’s passion and precision.

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  • NCPA curating a cultural extravaganza in Mumbai

    NCPA curating a cultural extravaganza in Mumbai

    If you live in Mumbai you’re in for a treat. The NCPA has a variety of cultural events in the upcoming days that you can treat yourself to. INTERNATIONAL MUSIC

    An Evening of Brazilian Jazz (16 July 2022, 6:30 pm)

    Featuring

    The Adil Manuel Collective

    The Adil Manuel Collective brings to you a very special Brazilian jazz set. It will present music by Brazilian jazz musicians and composers like Hermeto Pascoal, Tom Jobim, and more. The Collective will feature Samantha Noella (vocals), Yohaan Pissurlenker (bass), Pranoy Praveen (drums), Anand Bhagat (percussions), Siddharth Shankar and Adil Manuel (guitar), and also a few guest musicians.

    Young Talent (20 July 2022, 6:30 pm)


    An NCPA & The Stop-Gaps Cultural Academy Presentation

    The Budding Brigade concert gives musically talented children between the ages of seven and fifteen the opportunity to perform on stage before a discerning audience.

    NCPA Legends (23 July 2022, 6:30 pm)

    A Tribute to Chaka Khan & Stevie Wonder by Holly Petrie

    Weaving together the tracks of Stevie Wonder and Chaka Khan, Holly Petrie takes us on a journey through popular music history telling a story of the evolution of R&B, funk and soul.

    DANCE

    Catalyst (21 July 2022, 6:30 pm)

    An evening celebrating choreographies born during lockdown

    Kuchipudi by Parvathy Menon, Odissi by Mitali Varadkar & Shreya Sabharwal and Kathak by Sanjukta Sinha & troupe.

    Reality Check (21 July 2022, 6:30 pm)

    An NCPA Presentation in collaboration with Cinema Collective

    Happiness Class

    English Film (51 mins)

    Happiness Class is a journey through the unique and fascinating world of children: their preoccupations, their worries, and most importantly, their idea of happiness.

    Movies Under the Stars (22 July 2022, 6:30 pm)

    The Cameraman (1928)

    (B&W – 69 mins)

    The Cameraman is a 1928 American silent comedy widely considered to be Buster Keaton’s last great masterpiece.

    Lucia Di Lammermoor (23 July 2022, 4:00 pm)

    Opera Screening

    An NCPA – The Metropolitan Opera (New York) Presentation

    Sung in Italian with English Subtitles

    Gaetano Donizetti (1797-1848) composed about 75 operas plus orchestral and chamber music in a career abbreviated by mental illness and premature death. Most of his works disappeared from the public eye after his death but…

    Prima Facie (27 July 2022, 6:00 pm)

    Theatre Screening

    An NCPA-National Theatre Live (London) Presentation

    Tessa is a young, brilliant barrister. She has worked her way up from working-class origins to be at the top of her game; defending, cross-examining and winning. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge.

    INDIAN MUSIC

    NCPA Promising Artistes Series (22 July 2022, 6:30 pm)


    Tanay Rege (tabla)

    Somdatta Chatterjee (khayal)

    Tanay Rege has studied the tabla for seven years under Praveen Karkare at Sharda Sangeet Vidyalaya. Currently, he is continuing the taleem of Punjab gharana under Yogesh Samsi as part of ‘Support to Guru’ initiative.

    Born in a musical family in 1994, Somdatta Chatterjee has been primarily trained under the guidance of her father Subhasish Chatterjee, uncle Snehasish Chatterjee (one of the senior disciples of Jayanta Bose) and grandmother Arati Chatterjee (disciple of the exponent of Bishnupur gharana Gopeshwar Bandopadhyay).

    Parvaaz ka Agaaz: Wings of Fire (29 July 2022, 6:30 pm)

    A musical drama on the life of Dr. APJ Abdul Kalam

    Script & soundtrack: Gulzar

    An NCPA Presentation in association with Sanskaar Valley School, Bhopal

    Over 60 students of the Sanskaar Valley School, Bhopal, through lyrical dance movements and theatrical representation, enact the various events that influenced Kalam and led him to achieve all that he did in life…

    THEATRE

    Crave Showcase (24 July 2022, 6:30 pm)

    Spoken Word/Music

    Language – English/Hindi

    Host: Roshan Abbas

    Performers: Akanksha Sethi, Yahya Bootwala, Rakesh Tiwari, Salman Elahi, Priya Malik, Harpreet, Rahul Shah and some surprise acts…

    PHOTOGRAPHY AND EXHIBITION

    Art for Concern presents “The Annual Monsoon Show” (21 – 22 July, 2022)

    Returning in a live format after 2 years, the show features artworks by established and contemporary artists. Art for Concern with its socio-economic commitment uses the funds raised to support and implement projects implemented by Concern India Foundation across the country.

    ALSO READ-‘Brokenness’ of our times and beyond immediate present

  • ‘Brokenness’ of our times and beyond immediate present

    ‘Brokenness’ of our times and beyond immediate present

    Roy, whose large scale works talk about injustice and violence, says that as an art practitioner, his task is to capture the present political times…reports Sukant Deepak

    In times which have witnessed an emergence of assertions of various types — tribal as well as environmental movements, Dalit movements, the farmers’ and anti-CAA-NRC protests, he feels that there are voices, who perhaps are not able to physically express their dissent, but are still not necessarily conforming to the system.

    “The system, which appears well-oiled from the outside, is not actually as smooth as it projects itself. The cogs in the machine are not necessarily well-aligned, not just physically or visually, but sometimes even conceptually,” says artist Anupam Roy, whose exhibition ‘Broken Cogs in the Machine’ is being presented by Swiss Arts Council Pro Helvetia in collaboration with Foundation for Indian Contemporary Art at Vadehra Art Gallery (till August 5) in the national capital.

    The artist says that the works in the exhibition attempt to capture the “brokenness” of our times and beyond our immediate present, the historical evolution of working-class subjects.

    “We can no longer represent the worker as has been represented previously, for example in Soviet posters. ‘Brokenness’ is a conceptual proposition in how the subject of political change is being envisioned today. Through this exhibition, I have tried to conceive this proposition.”

    Roy, whose large scale works talk about injustice and violence, says that as an art practitioner, his task is to capture the present political times.

    He also creates propaganda material in cooperation with protests and political movements which are used at different protest sites, both physically and virtually.

    “The scale of my work, therefore, differ depending on the medium of propaganda. Large works are made so that they are clearly visible from far away in protest sites. Within the space of an exhibition, however, the scale, medium and form of the work can vary. The mobile character of an image is important to a propagandist, and in that sense, the scale of my work is chosen from a utilitarian perspective.”

    For someone who uses black textile pigment, distemper, ink, and watercolor on paper and cloth — all materials which are cheap and easily available, and have a mobile character of their own, he stresses that the works are in black and white because it makes them readily and economically reproducible in different formats and sizes.

    “The form of my work is close to post-expressionist. This allows me to draw quickly, and helps me capture the “brokenness” in images.”

    Adding that his 90-day residency in Switzerland, supported by Pro Helvetia proved to be quite engaging as he was able to communicate with different movements in that country and in broader Europe — racial politics and the politics of immigrants.

    “My stay helped me understand the larger-scale migrant issue, and the politics of asylum and helped nurture trans-national solidarity in me. I got an opportunity to understand the new alternative art spaces within Europe, their ideas and implementations related to sustainability etc.”

    With political wall graffiti in West Bengal serving as a major inspiration in his journey as an artist, in Roy’s art practice, his core interest is the relationship between land and labour.

    “I make attempts to understand the history of every land and its contemporary politics. This constant inquiry into the relationship between land and labor creates my interest in regional landscapes,” concludes the artist.

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  • The last war with China

    The last war with China

    In such a war, traditional conventional forces will be at a huge disadvantage, nuclear weapons will have no role to play, and the valour of individual soldiers will be of no consequence…reports Asian Lite News

    If India and China were to fight a war in the near future, India faces the prospect of losing the war within ten days. China could take Arunachal Pradesh and Ladakh with a minimum loss of life, and there is very little that India could do about it, says military expert and best-selling author Pravin Sawhney.

    This is because the Indian military is preparing for the wrong war, says Sawhney in his eye-opening and disquieting book, ‘The Last War: How AI Will Shape India’s Final Showdown With China’ (Aleph), as he explains in great detail how this alarming scenario could play out.

    China’s war with India will be reminiscent of the 1991 Gulf War during which the US military’s battle networks connecting sensors to shooters and guided munitions with support from space assets had induced shock and awe in militaries worldwide. Similarly, China’s war with India will stun the world with the use of artificial intelligence, emerging technologies, multi-domain operations, imaginative war concepts, and collaboration between humans and intelligent robots, Sawhney writes.

    China has been preparing for this since the 2017 Doklam crisis after which it permanently augmented its troops across the Line of Actual Control – leading to a stand-off that has continued for two years without any tangible signs of resolution.

    The author argues that China’s superpower status will only grow and the ‘capabilities lag’ between the two countries will expand. And if there is outright war, the Indian military will be no match for China’s AI-backed war machines.

    In such a war, traditional conventional forces will be at a huge disadvantage, nuclear weapons will have no role to play, and the valour of individual soldiers will be of no consequence.

    India is honing its strengths to fight a war in the three physical domains of land, air, and the sea, whereas the PLA is working on becoming the overwhelmingly superior force in seven domains – air, land, sea (including deep-sea warfare), outer space, cyber space, the electromagnetic spectrum, and near space (aka the hypersonic domain).

    The PLA’s disruption technologies will overwhelm India within the first seventy-two hours of hostilities commencing, and will lead to the quick end of India’s resistance, the author writes, as the primary battleground will not be on land but in cyberspace and the electromagnetic spectrum.

    ‘The Last War’ explains why it’s critical that India works to prevent such a war ever taking place.

    It should avoid focusing on joint combat with the US, whose power in the region is weakening. Instead, India should seek to make peace with China and Pakistan, its main adversaries at the moment, while simultaneously working to enhance its military and technological strengths in areas that it hasn’t focused its resources on. Only then will the country’s borders be firmly secure, and the region’s future peace and prosperity be assured, the author maintains.

    Sawhney is editor of the FORCE news magazine on national security and defence since August 2003. The author of three books – “Dragon On Our Doorstep: Managing China Through Military Power” (co-authored with Ghazala Wahab), “The Defence Makeover: 10 Myths That Shape India’s Image”, and “Operation Parakram: The War Unfinished” – he has been visiting fellow at the Royal United Services Institute for Defence and Security Studies, United Kingdom and visiting scholar at the Cooperative Monitoring Center, United States.

    After thirteen years of commissioned service in the Indian Army, he worked with Times of India and Indian Express – and with the UK-based Jane’s International Defence Review.

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  • From dependence to self reliance

    From dependence to self reliance

    Progress in IT is making it increasingly possible to unbundle the production and consumption of information-intensive service activities. Outsourcing of these activities has become feasible…writes Vishnu Makhijani

    Very few developing countries are as well placed as India to take advantage of the phenomenal changes that have occurred in production technologies, international trade, capital movement and deployment of skilled manpower, former RBI Governor Bimal Jalan writes in a new book “From Dependence To Self-Reliance – Mapping India’s Rise As A Global Superpower” (Rupa) that builds on his three earlier books on the same theme.

    “In view of these advantages, India is in a position to accelerate the growth rate of the economy to 7-8 per cent per annum over the next 25 years. The higher the growth of the economy, the greater is the capacity of the government to finance expenditure for essential social services.

    “The combination of higher government expenditure on the provision of social services will provide higher growth in employment opportunities which will have a decisive impact in reducing poverty levels,” asserts Jalan, a former Chairman of the Prime Minister’s Economic Advisory Council, a nominated Member of Parliament from 2003-2009 and India’s representative on the Boards of the IMF and the World Bank.

    The conditions for this are extremely favourable for the first time in almost 40 years as with a single-party majority in Parliament the government’s political profile has undergone a major change as it can now launch political reforms without relying on the discretionary powers of members belonging to other parties.

    In recent years, Jalan writes, “an even more phenomenal change from India’s point of view is the growing role of skills-based services in determining the comparative advantage of economies. The development of certain services is now considered as one of the preconditions for economic growth, and not one of its consequences. The boundary between goods and services is also gradually disappearing, as services of various kinds are delinked from the manufacturing process and have become essential elements of the productive structure”.

    This change has been brought about by unprecedented and unforeseen advances in computer and communication technology in the last four decades, Jalan writes, adding that an important aspect of the ‘services revolution’ is that geography and levels of industrialisation are no longer the primary determinants of the location of facilities for the production of services.

    “As a result, the traditional role of developing countries is also changing – from mere recipients to important providers of long-distance services. India, too, has participated in this scenario, and exports of certain services (for example, software) are expanding faster than the overall trade. The potential for expansion of jobs and incomes in the services sector is truly immense,” Jalan maintains.

    From India’s point of view, some of the recent global developments which provide opportunities for substantial growth are:

    The fastest-growing segment of services being knowledge-based, such as professional and technical services, India has a tremendous advantage in the supply of such services because of the highly developed structure of technological and educational institutions, and lower labour costs.

    Progress in IT is making it increasingly possible to unbundle the production and consumption of information-intensive service activities. Outsourcing of these activities has become feasible.

    Unlike most other prices, world prices of transport and communication services have fallen dramatically as provided by the Internet, which now links millions of computers across the world.

    Technological innovation is expanding opportunities for services to be embedded in goods that are traded internationally. Thus, India does not necessarily have to be a low-cost producer of certain types of goods (such as computers or discs) before it can become an efficient supplier of service embodied in them (such as software or music).

    There is also a structural shift in the pattern of demand in industrial countries in favour of services. This means that in the future, the growth in exports of developing countries will depend less on natural resource endowments and more on efficiency in, providing services and service-intensive goods.

    Against this backdrop, the book is divided into 10 chapters in three sections – Economy, Governance and Politics.

    The first chapter on ‘Current Situation and Future Prospects’ notes that on any global indicator of economic well-being – be it adult literacy, infant mortality, life expectancy or gender bias – India’s actual performance remains among the bottom one-third among developing countries and that a lot remains to be done before India is able to exploit the new opportunities to realise its full potential in the future.

    The next chapter on ‘Science and Development’ notes that India has come a long way in its quest for scientific pursuit, both in the material and intellectual spheres and now has the talent, the skills and the resources to be at the forefront of the technological revolution taking place in the new growth sectors of the global economy.

    The third chapter on ‘Information Technology and Banking’ notes that while there are new opportunities for savers and investors to deal directly with each other rather than through the banking system, this poses a challenge, particularly for public sector banks.

    The last chapter in Section 1 – ‘India’s Stand in the 21st century – focuses on the prospects for India’s balance of payments and how resources for greater investment in social sectors can be generated by substantially raising literacy rates and healthcare.

    Chapter 5 in Section 2 focuses on the role of ‘The Public Sector’, noting that the government should set standards of service, monitor performance of public enterprises and ensure access to the poor. A reduction in the role of the public sector in the economy is also desirable.

    Chapter 6 is on ‘Goods and Services’ and outlines a number of issues that need to be tackled to improve agricultural growth and the income of farmers over time while the last chapter in this section is titled ‘Finance and Development: Which Way Now?’ and discusses in detail the shifting paradigm of finance and development and how it has affected the past, present and future of the nation.

    Section 3 on ‘Politics’ has three chapters: ‘The Politics of Power’ (Chapter 8), ‘Political Opportunism’ (Chapter 9) and ‘Politics and Economics’ (Chapter 10). It discusses issues like centralisation of political power and public dissavings (spending that is greater than income), the bias among elected representatives at different levels to divest resources under a government programme to their own villages, constituencies and States, and practical and pragmatic core changes to help bridge the gap between politics and economics so that India can realise its full potential for the benefit of all its people.

    It also suggests changes in parliamentary procedures to enable the two Houses more effectively discharge the functions assigned to them by the Constitution – for instance, the ad hoc and sudden suspension of rules of business, as was done on August 26, 2004 to pass the budget must be eschewed, except in an emergency.

    Also, a vital political imperative for the future is to reduce the role of small parties in Parliament and legislatures and their influence in determining the government’s economic agenda.

    “The only constraint in our country’s economic future is the lack of a strong political will to move ahead decisively to overcome the shortcomings in the policies and administrative practices of the past. It is to be hoped that such a consensus will emerge, and India can take its rightful place as one of the leading economies in the world in the twenty-first century,” Jalan writes.

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  • DAG’s historic exhibition on Tipu and Mysore wars

    DAG’s historic exhibition on Tipu and Mysore wars

    Made by a British artist for British audiences, the painting had remained in Britain since the time of its making, shortly after the event that it depicts that occurred in 1799…reports Asian Lite News

    Two hundred and twenty-two years following the siege of Srirangapatna of 1799 that culminated with the death of Tipu Sultan, DAG’s historic exhibition consisting of a large body of works—paintings, prints, maps and other objects, mostly by British artists—crafts a story of the Mysore Wars between the East India Company and Tipu Sultan and his father Haider Ali.

    The images, based on the British view of the time, are critically examined by curator Giles Tillotson to reflect changing perceptions and Indian views on this epic battle and its political and social fallouts. The reviewing of this visual material with the benefit of distance in the exhibition ‘Tipu Sultan: Image & Distance’ follows the recent acquisition of a major painting by Henry Singleton depicting ‘The Last Effort and Fall of Tippoo Sultaun’ among others, bringing this primary material permanently to India. Made by a British artist for British audiences, the painting had remained in Britain since the time of its making, shortly after the event that it depicts that occurred in 1799.

    ‘Tipu Sultan: Image & Distance’ surveys paintings and engravings illustrating key episodes and events from the Mysore Wars fought between 1767 and 1799, and places them in the context of history painting in Britain and France in the late eighteenth century. Leading artists such as Mather Brown, Henry Singleton and Robert Ker Porter produced and displayed many large canvases depicting such turning points as the surrender of two of Tipu’s sons to Lord Cornwallis as hostages in 1792, the siege of Srirangapatna and the death of Tipu Sultan in 1799 at the close of the siege, without ever having visited India. Painted based on British records and through imagination, they appealed to the voyeuristic interest the British had in stories of British triumphalism, greatly enhancing the artists’ reputations and incomes. To put these views and objects in a wider context, the exhibition includes some works by Indian artists made around the same time.

    Bucking the trend of Indian works of art being exported abroad, we decided to bring this material to India, to display to Indian audiences,’ says Ashish Anand, MD and CEO of DAG. ‘This led us to consider some further questions. What does Tipu Sultan mean to people in India today? What did he stand for? His reputation remains controversial in some parts of the country, with popular writers and even some scholars taking up extreme positions. Some people idolise him while others are fiercely dismissive of his contribution. What cannot be disputed is that he was the most formidable foe the British faced in India. Yet, he is not accorded the same respect as others who took up arms against the British in later times, such as the Rani of Jhansi or Subhash Chandra Bose. How these images are interpreted in India today is what this exhibition explores.’

    According to curator Giles Tillotson, who is Senior VP (Exhibitions and Publications), ‘As much through engraved versions as the originals, these works are well known and they have been surveyed and illustrated before—but not always, I think, in ways that are alert to details of the development of history painting in England and France in the period. I locate them between a previously established type, which aimed to illustrate episodes exemplifying heroic virtue, and a newly emerging type of war painting. More importantly, the works and the attitudes that they are shown to embody, originally directed towards a British public, are here presented for scrutiny for the first time specifically to audiences in India.’

    ‘Tipu Sultan: Image & Distance’ opens to public on 25 July 2022 at DAG, The Claridges, New Delhi, with an accompanying book edited by Dr. Tillotson that contains chapters by leading specialists Janaki Nair, Jennifer Howes and Savita Kumari, who together explore Tipu’s Sultan’s changing reputation and legacy through time, the visual and material culture of his own court, and the women of his family, who have been overlooked in earlier narratives. Together, the five chapters aim to shed new light on this much-discussed historical episode by approaching it from fresh perspectives. Tipu Sultan had an unrivalled career as a subject of British history painting. Some other military leaders, both ancient and modern—such as the Roman general Germanicus and Lord Nelson—enjoyed pretty good runs, but in the closing decade of the eighteenth century, artists fed a public appetite for images relating to Tipu Sultan on a scale that was unsurpassed by any other comparable figure.

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