It has been eight years since I began the infrastructure-building work, returning to India, convinced that within a decade I would build the greatest university for the arts, that too without creative and intellectual compromise, making the creative processes financially independent and self-generating, discarding all patronage, with unbending energy and integrity, and naturally in the process freeing oneself, dissolving away ambition with suppressed humility which along the way would surface and take my hand, saying:
“… beta, come, your duty is done, she is satiated, it is time to now create for yourself, go and philosophise, you have transformed idealism into material form, you have kept the purity of your inner voice alive, absorbed the dirt of generating and redistributing wealth with love, there has been no disunity between vision and action, failures have been outsustained, humour is still intact, take a break before breath fails you, finish your novel, start your screenplays, direct your film…be selfish once again, forget your abstracts of nation and humanity, let them go, let them be themselves, the children are learning, the space has been created, the systems are in place, you are easily irrelevant, it is now just you for yourself, return to your suspended promises, let us go and make cinema, great cinema…”
Yet, these words must still wait. We are slightly behind schedule, the university’s structure is still two divisions short of intention, and today the cinematic infrastructure is the bottomless pit requiring immediate feed. The inevitable irony of financial independence for the arts is the initial vast doses of cross-subsidisation required so as to bring each art form to stand on its own feet. Yet this is not the same kind of subsidisation of the government grant or corporate sponsorship type, but instead the support from an individual creative mind to build a creative institution, there is no leasing out of responsibilities, no expectation of others transforming idealism into material form. There is no dilution of the idealism in action. Such a process naturally becomes the idealism.
So now, to Osian’s visual and textual archives are added an eminent international journal: Cinemaya – the first on Asian Cinema, and an Asian film festival: Cinefan. Three platforms to systematically bring about changes in our cinematic sensibilities.
Infrastructure-building has always been the preserve of governments, the private individual has been considered inadequate or unwilling to take on that responsibility, especially for the arts. It is still not a clear belief that private individuals can build great public institutions, and thereafter infrastructure… yet that is the task we must take on more and more there is no alternative if we truly wish that a fully active creative life is the best way to live, and that material society needs the creative value-system throbbing at its heart if great civilisations are to be nurtured…
In a nutshell, the task and journey before us is this: it is imperative that the arts are placed at the heart of the developmental framework. Further this must be accomplished through a unique process by which the creative arts build their own infrastructure on their own terms, creating a self-generating financial system, free of patronage from any other value system. Only if this is so can the arts genuinely claim to nurture and spread the values of the creative process and its accompanying life. Only if these creative values are respected by a material society will a deeper value system than the economic, evolve, therein placing the creative community and intelligentsia at the centre of responsibility; disciplining and therein re-structuring the modes of allocating resources. All the great arts will have essentially failed in transforming society, assuming that be an objective of artistic creativity, if the way of life of the creative mind cannot be practised, cannot be lived, by every citizen. To be a creative mind, first and foremost, while simultaneously fulfilling our material obligations as a second priority, must be the overwhelming objective. This alone will bring deep love, introspection, passionate-detachment, experimentation, the ability to absorb all contradictions, revealing our intuitive-logic which allows uncertainty to freely reveal itself, on her terms, therein inducing an instinctive fearlessness into the day, in all aspects of daily life, thereby making every little act alive, worthwhile and beautiful, dissolving the sense of distance which the individual and the object cannot help but feel. Learning will become creativity at every level, each act the human being undertakes will have a deeper sense of dignity and a natural high. Soon there will be the constant shout within, saying: that herein I have been true to my inner voice, that there is still a deeper love waiting to be given, which I will share without qualification, and I have also paid my damn bills, and those of my dependents, friends and well-wishers, and more importantly have taken my idealism forward into another material form, beyond just creating my book, or painting or film or play or composition, or whatever, so striving beyond the basic material medium, taking on materialism at a deeper level, tackling the bugs of communication and dissemination, hence making the sacrifice, which clearly recognises the needs and time in which my communities, nations and civilisations, find themselves.
This shout must each day whisper sweetly to the creative mind. Soon it will be instinct to realise that it is not enough just to create the art or book or cinema, and hope that its aura and expression will filter through the system, but also take on the duty of making sure the environment in which we function respects creativity, its integrity and way of life. In this way the processes of creativity also change, taking a deeper tangible responsibility into their heart, cementing that bond of ethics and aesthetics, which we have somewhere along the way lost, suppressed, neglected,… for without the ethical dimension, aesthetics cannot face the world with that essential respect, a respectability which will compel parents and society to say: go my child, become a creative person beyond all else, we are there, always behind you, this is your need, the best way to be true to oneself and others.
Let me just clarify a few of the key ideas upon which the action of infrastructure-building is rooted.
Idealism Clarifies
The human consciousness demands to know itself. To be true to this, self-awareness confronts all of us. Absorbing this uncertainty is the underlying motivation to life. Varied are the evolutionary phases, ranging from the sheltered idealism which yearns for freedom, love and courage, to the hesitant stages where one is awakened to the material duties of idealism. In sustaining these phases to their logical limits comes freedom for the individual, freedom from all sense of obligation, and the will to give to another without reciprocity. This hard fought freedom is the bedrock of spirituality.
Sustaining each evolving phase of this self-awareness determines the individual's contribution to humanity. From unconnected ideas and concepts the individual will create an idealism, which may clarify into a vision. These phases will structure events, projects, institutions and an infrastructure, at different stages, amid a jungle of inter-relationships, across time and space. It is the duty of the material context to utilise, harness and integrate these individual contributions into an effective system. It is this process of transformation and integration of the idealistic into its material institutional forms which determine the quality of life in a nation.
A simultaneity of vision and action is the basic pre-requisite for any effective effort in India. The simultaneity implies the need to harness detachment within the creative action, along a path which cannot help but absorb contradictions with equanimity. It is this passionate-detachment which allows one to respect and integrate each specialised corner to serve the wider multi-faceted intelligence. It is through this fearless attitude that the essential compassion and humour to sustain such a journey arises, from which may emerge a new conviction and vision for non-violence.
Vision is nothing but idealism clarified, ready to take on a practical mantle, to find one's battleground, to take up arms without hesitation. Vision emerges from the struggles of one's private-public persona dissolving away, which in turn forces idealism to become accountable to a voice other than one's inner integrity. This surrender of the self occurs when a faith in humanity decides to raise its voice and stand up. It is probably the most difficult and thankless decision of introspection, and yet essential if any privately nurtured idealism is to become a public source of inspiration. Thus to know the idealism which awakens to and then confronts its materiality is the first task of infrastructure-building.
However, before idealism is able to respond to the demands of its materiality, it must be nurtured, away from material friction. This sheltered idealism, emerging from the early years of introspection, will usually harbour a set of values in their most energetic and pristine form. Stray concepts such as the need for freedom and love, the play with uncertainty, the power of fearlessness, eroticism and obsession, the relationship with wealth, the rights for justice and an ethical life, the nature of the whole, a curiosity about the power of violence, all probably flit through the mind, like isolated islands. The inter-relationships between each value and the outside world, the subtle layers separating each other and underlying each, the vast hidden value-systems embedded in each, the power of each value so as to dominate the mind, all such remain relatively untested.
Yet it is this immunity of innocence which will allow sustaining power in later years. Also, this sheltered quality of introspection eventually forces idealism to re-question itself. The process is instigated by the growing wedge between the private and public face which idealism must possess. Feeling a sense of hypocrisy is inevitable as one recognizes the inability to live up to its own public standards. It is this self-questioning, triggered by the material imperatives of an idealism, which invites pain to play its pivotal role in the evolution of idealism.
Pain can be seen as the first child of idealism trying to impregnate its materiality. With time it becomes the most potent trigger in helping to awaken an idea into action; it most fully helps the mind to see things as they are in fact. However, it also carries the heaviest burden of negative energy, creating dilemmas and hesitations at each threshold. It is a most precarious process which allows pain to be transformed into playing a positive role.
The Role of Creativity
This requestioning process is essentially the handling of uncertainty. Coming to terms with uncertainty implies there will always remain a continual sense of incompleteness. The issue lies in accepting the incompleteness, while maintaining one's motivation. The other key aspect of handling uncertainty is the need to absorb contradictions. It is here that the role of artistic creativity can be best appreciated. Through the family of values it cultivates, such as detachment and fearlessness, the creative process fosters the absorption of contradictions.
The main factor which allows creativity to fulfil this role is the ability of the artistic mind to play with uncertainty a bit longer, without imposing a preconception. The process of transforming questions into answers, intangibilities into tangibilities, formlessness into form, must include sufficient openness so as to allow each created answer to reveal its fuller question, each created form to reveal its fuller formlessness.
This ability to let uncertainty be, of waiting with it, giving it the freedom to be itself, is the root of creativity. In the act of giving, one gives oneself the space and time to mature, while simultaneously absorbing the intensity of the moment. In this tussle evolves the wisdom which realises that all activity is attracted towards non-activity. Change and permanence, detachment and motivation, energy and quiet, are all visualised afresh, their existence re-examined.
Each value now begins its transformation in this awakening.
A tussle between action and non-action, reaction and steadiness, all create a new rhythm. The ability to sustain this pendulum flow is the basis of the transformation. Just as a pendulum is to time, this oscillation needs to be sustained if the rhythm of transforming idealism is to be absorbed. The private and the public, the tangible and intangible, the self and the selfless, these all have elusive differences as idealism awakens to its materiality. Walking this abyss of wafer-thin proportions is the nature of the awakening. In sustaining the pace of the oscillation lies the nature of continual flux, the play with uncertainty... Herein lies a fundamental characteristic of an infrastructure-builder. The integrity with which this oscillation is sustained will determine the success and nature of later action. It will provide the clarity so as to help idealism institutionalise itself.
An example of this oscillation process is the tussle which exists between detachment and passion, involvement and quiet. To be the creator, the spectator and the unconcerned, all in one, simultaneously, slipping into each, is the issue. This helps one realise that each is genuine, and yet each is inadequate, for the real nature is that which allows this slipping into each, that which allows the fusion of the creator, spectator, and the unconcerned. This substance which allows the creator-spectator-unconcerned continuum to exist in us, is the reality the individual is trying to grasp. It is required for one mind to harness all perspectives, to inculcate the respective attitudes and then try to fuse each into this oscillating balance whereby all contribute towards nurturing the continuum. In sustaining this holistic attitude lies the eventual success of the infrastructure-builder.
In understanding the transformations which a creative mind cultivates within a set of values, such as detachment and fearlessness, we can understand more clearly the process by which idealism needs to evolve so as to be able to transform itself into material attitudes which in turn harness the institutionalising process of such values.
Passionate-detachment
Essentially, such a balance requires detachment within the energy of involvement.
The idea of inner detachment is misunderstood, by both east and west. One has highlighted the passive and fatalistic aspects, while the other has focused on the cynical and anti-pleasure aspects. This has led to detachment not being able to sustain a viable practicality for itself. The intangible value of detachment cannot be calculated and the fear of its anti-motivational aspect is too risky. This Catch-22 is reinforced by institutions unwilling to nurture the idea through an educational and work process.
Yet in artistic creativity, detachment is carefully cultivated. Like other human values, detachment represents different facets at different stages of maturity. At lower levels it can lead to indifference or a cool cynicism; inspired as readily as self-absorption. At somewhat higher levels, detachment can inculcate a sense of humour and playfulness which absorbs like a participating-spectator. At higher levels it inspires a calm sense of duty, rooted in absorbing all, grasping the essence of non-judgmental judgments, the idea of inaction, or some continuous effort which seeks no reward but that of being true to activity and its pleasure. At still higher levels it can inspire action in others though remaining quiet (neutral) oneself.
Thus one pivotal dilemma which confronts all individual activity is that non-activity seems wise. Thus an individual who truly wishes to know oneself, and the nature of one's creativity, must sooner or later come to terms with this spectre of non-activity. This spectre can emerge at any age, not just in the twilight, or when energy is tired. The issue is how to allow this seed a significant freedom in the mind, and still continue with a self-renewing motivation. This is the duty of detachment.
In general, however, the positive force inherent in detachment has not been emphasised in the western inner journey. For the east, the non-violent and passive aspect of detachment today lacks credibility, for it is unable to discipline the daily violence. One requires a re-education.
Our understanding regarding love and compassion, within which the greatest force for detachment exists, must be one area of focus. The knowledge that once one received unqualified love, is enough for most to selflessly devote their lives with lesser demands of reciprocity. To give not because one necessarily wants to give, but that one cannot help but give. It is a compulsion which also influences our own desires and wants. An overwhelming momentum is created which sooner or later calms want. Wants and desires are clearly recognised and yet somehow a smile can control their venting.
Yet `letting it be' requires a passionate discipline. For only the most passionate can sustain such detachment and duty. Duty becomes the act which absorbs all pleasures. Detachment is the wisdom which disciplines duty. Creativity is the most complete duty which strives to fulfil this pleasure. Action cannot innovate without coming to terms with these ideas.
Fearlessness
Fearlessness comes from being part of each corner, having let each idea lived within, having been given the opportunities to give such anarchy a freedom. It comes from the ego realising its role, rooted in the humility of its insignificance and the confidence that awareness is indestructible, ever-changing. To demand freedom is an early desire of the ego; to give freedom, is its inner compulsion.
Fearlessness comes from living a life rooted in absorbing all which comes one's way, and yet moulding this absorption with some unique aura. Aura is the appendix of clarity; it is what inspires clarity to become clearer. In clarity lies fearlessness, a clarity which never closes the eye to the surrounding flux. The intent to be fearless is thus rooted in the belief that fearlessness may never come. Yet that is irrelevant after a certain duration, for then enough discipline has been nurtured to let a vulnerability be itself, without having to hide. A frailty is allowed to be revealed without fear. Such is the nature of fearlessness – that fear is a permanent tenant, detached in its corner, with no need to evict.
Creativity has always nourished this fusion of contradictions, to emerge with fuller forms, and the openness of mind which encourages fearlessness. It manifests itself via experimentation, or a belief in randomness, or the ability to merge uncertainties without the need to resolve, or the ability to accept inspiration from any corner, from trivial notions or profound ideas, from ugly forms or beautiful images, from vulgar circumstances or serene moments. There is no sense of proportion but the limitlessness within. There is no value which burdens the creative impulse, for each act of creativity becomes a discipline to sustain the day.
To let each unknowing situation reveal itself, to just spectate and in that distance become the most active participant. It is like the lover who sometimes needs to give distance to loved ones which they may not be ready to accept. In that show of trust, one gives the other a chance to act positively. In that retreating step, one moves towards a fuller togetherness, which otherwise would have resulted in a pushing away, a demand of faithfulness which could not have been fulfiled.
Few have the courage to tell their partner you be faithful to yourself, first and foremost, and I trust that in that act our love will be sustained, our togetherness maintained. Most demand a faithfulness, which sooner or later pushes away the love, for the other is rarely given the time to know themselves, with the freedom they crave another should give them. Trust in oneself does not evolve, and so trust in another feels missing. It is only after such shows of faith that one can take another for granted. For by then it is no longer seen in the tone of `taken for granted'. It has become transformed due to love, which has been nurtured amid this mutual freedom. This is the essence which will mould the future co-existence of people.
This `giving of freedom', and `letting uncertainties be' are subtle ideas which require the reaffirmation of daily life. The present system does not allow one the space and time to practice such ideals, and so naturally their usefulness is negated, and the philosophy dismissed. Thus it becomes the duty of the artist and philosopher to also become the teacher, economist, politician, and sage. Each aspect disciplining the other, thereby giving a fuller authenticity to each specific role.
It must be stressed that the merger of different disciplines is not simply a result of synthesis. The initial separation is the illusion, which is then paradoxically denied by an attempt at synthesis. This gives the human mind the false accolade of creating a form, when all which actually happens is that the underlying unity is revealed. The artist-philosopher-teacher economist-politician-sage is already existing in the human psyche. To reveal the unity is the requirement, rather than teaching that one is creating a union. Thus an educational system which allows an inner organic search, rather than imposing a preconceived inter-disciplinary hierarchy is more likely to succeed. However, the critical faculty which structures a framework so that holism can become a living force, requires the transition of inter-disciplinarity. Further, the creation of synthesis is easier for the mind to assimilate, especially one focused on the reality of opposition.
Hence within creativity exists the genius to grasp the nature of uncertainty. It alone has the openness of intent to give the unlimited more freedom. In this process it has the ability to be fair. It is in providing this spirit of fairness that lies the ethical dimension of creativity, rooted in the instinct of giving freedom, itself dependent on the will to be self-critical with joy. It is this joyous self-criticism which is the foundation of infrastructure-building.
Most western developmental models, which dominate the world, have allowed economics to enter into all areas of life from the idealistic to the aesthetic, emotional and spiritual, areas in which economics possesses no expertise let alone right. So it is happening to more ancient and eastern cultures such as India. I have no desire to create a west-east divide, which is essentially false to a very large extent, but the key issue is about economics (which in turn has been most influenced by western preconceptions regarding the role of economics and wealth in society) and the relationship of creativity to handle economics with integrity, for creativity to sooner or later overwhelm the economic arrogance. However, this will be so only if a deeper value-system can be made into a viable living alternative, thus the need for a great self-generating, financially-independent cultural infrastructure. In building this seemingly contradictory new edifice lies the true test of a great culture and civilisation.
Thus the task before every creative mind must be to recognise that this conflict of the materiality of an economic system and the interiority of a creative value system, is the very nature of life, and today must be placed at the centre of one’s creativity if we are going to aspire to changing society and the terms upon which we all interact with each other. It is virtually that same dilemma, of living with the Highest Inner Self amid the most base material context, and this is not just a philosophical issue of later days in life but of every day in life, at every stage, every act we undertake must be fundamentally aware of this creative responsibility: from where come the funds to nurture idealism? how are they to be utilised? how do I generate wealth and simultaneously redistribute that wealth to build the infrastructure which nurtures creativity for others, and so takes forward the journey of building a material society rooted upon another value system of integrity. Herein lies the answer from which the arts will come to play the dominating role in daily life at all levels, and not only dismissed as entertainment (though essential) or for small elite cliques who only communicate with each other. Cinema’s role is paramount herein.
Cinema is one of the greatest means by which to inspire humanity, make her think and fall in love, make her change all preconceptions and ways of looking and acting, it has inherent that dynamic energy with which life finds greatest affinity, blurring that true and false distinction, where realism and idealism fuse as if it could easily be the other way. To nurture that blurring of difference is essential, to keep mind and heart constantly alert.
The structures one has tried to build have had these principles at their root, whether it was India’s first Auction House for the Arts, or the Archive for the Indian Arts and Cinema, and now Osian’s–Cinefan and Osian’s–Cinemaya. Yet this time, one has not built it from scratch. That journey – of Cinefan and Cinemaya – has been Aruna Vasudev’s, a wise and compassionate person, deeply in love with cinema, dedicated to its cause of reaching out and inspiring others. However, after decades of uncompromising energy she finds a need to rejuvenate and widen her vision and its implementation. The acquisition of intellectual capital and all which goes along with it, is never easy, especially where love of the subject dominates the process of sharing, yet I find the merging of the Cinemaya and Cinefan journey’s into the Osian’s vision, a natural path. Hopefully, we will find the stamina to sustain the vision embarked upon, absorbing the many streams and rivers along the way, with a swell of creativity emerging, so that India can say with pride that we have put into place one of the greatest learning centres for the arts… and upon that wink of realisation I truly hope to walk away and make my films which lie buried away,… Till then, the team at Osian’s, Aruna and myself are here to serve you, bringing the best writing in cinema, opening out cinematic horizons in many new ways over the coming years, fusing the aesthetics of the fine arts with the deepest passionate-detachment which India cannot help but add to the great Asian canopy of cohering contradictions, where delusion and reason fuse to ignite our energies into a new idealism.
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