SPIC-MACAY forges ahead
By MOHAN NADKARNI
The Economic Times, November 22, 1987
SPIC-MACAY, which had dedicated itself to the task of creating and fostering the much-needed awareness of traditional Indian culture among the youth of this country in various ways, completes 10 years of its useful work this year.
From an inaugural but poorly attended concert in New Delhi in 1977, it has now grown as an organisation with a countrywide network, with efficiently-run branches, styled “chapters,” in major cities and towns all over the country, including the culture-conscious metropolis of Bombay as well.
SPIC-MACAY, which is the acronym for “Society for The Promotion of Indian Classical Musica and Culture conducts its activities on a non-commercial basis. Admission to its programmes, which range from music and dance concerts to exhibition of films based on Indian culture and presentation of regional folk forms to holding of regular classes, is completely free.
It raises its financial resources from generous donations from the central and state governments as also leading charitable organizations.
As the very name and style of the organisation indicates, SPIC-MACAY’s target audience is of course the younger generation – school and college students. As the sponsors rightly put it, the average young Indian knows very little about his cultural heritage – thanks to the decadence of cultural traditions in their true forms as much as the lack of emphasis on heritage in academic curricula.
Little wonder, then, that the average student remains virtually unexposed, or worse, rejects it even before he cares to know anything about it.
Indeed, for most of those who are young and in the process of growing, youth is by far the most crucial phase of their life. It is beset with a wide variety of doubts and confusions. It also calls for directions in the onward journey. To some, it is simply a phase that must somehow be passed through to attain adulthood.
And who will deny that there has been a growing deculturisation of young minds? SPIC-MACAY’s aim is precisely to reverse this process which has been insidiously creeping into almost every facet of the developing Indian mind. It entertains the hope that the beauty, grace and wisdom, embodied in our traditional culture, will become as integral part of the life of the citizens of tomorrow, whatever their individual aspirations may be.
SPIC-MACAY has a central core-group based in Delhi. The branches function in liaison with the central group and have their office bearers to run them according to the constitution of the organisation. Schools and colleges have, in turn, formed sub-chapters which interact with the local chapter of the concerned city or town. Formal membership is not mandatory.
If it has been introduced by some chapters on a very normal fee, it is only to promote a sense of responsibility and belonging. It is significant that more than 90 per cent of its members are students.
It will be of interest to know, in some detail, about the sphere of its activity. Pride of place naturally goes to organising music and dance concerts. It casts its net wide enough to enlist the willing cooperation of the country’s top talent in Hindustani and Carnatic music and dance for its periodical programmes. Representation is also duly given to younger artistes of conspicuous talent who, in time to come, will be found deserving of the mantle of ageing masters. These programmes are hold in the premises of schools and colleges.
In this interface with the impressionable youngsters, the latter are given the opportunity to acquaint themselves not only with the beauty, grace and wisdom that had embodied in our performing arts but also motivated to participate in the activity in larger and still larger numbers.
Since SPIC-MACAY’s accent is on education, lecture-demonstration forms an integral part of its activity. The aim is obviously to create an audience that can understand and appreciate our classical heritage. It is the artistes who are engaged in these programmes.
They demonstrate their art form with the aid of explanations, so that an in-depth understanding is gradually achieved. The format of these programmes is more informal than that of the concerts.
Side by side, what are known as “baithaks” are held in the Indian style periodically by various chapters. The object is to recreate the age-old “upasak rasik” relationship – the kind of rapport between the artiste and the audience so necessary for the common sharing of true creative joy.
In between also comes the series of mini-sammelans, in which are featured established veterans and gifted youngsters in the common platform.
The Bombay Chapter, started three years ago, has been able to rope in eight leading colleges and a score of leading schools to participate in its programmes. Earlier this month, it featured a young Delhi vocalist, Madhup Mudgal, at a 90-minute concert at Parle college at Vile Parle, in the northern suburbs of Bombay. This was a rate appearance of an upcountry artiste on the city platform.
To many hard-boiled connoisseurs, 31-year-old Mudgal came as a revelation. Although he is groomed in scholastic education, he has shaped himself into a truly perceptive musician with an open mind. He has absorbed all that is best in the several contemporary singing styles, and evolved an idiom basically his own. This shows that there is plenty of young talent in the country waiting in the wings for a break. SPIC-MACAY deserves all praise for its endeavours in the right direction.
Come to think of it, SPIC-MACAY can no longer be considered as an institution or organisation. It is a movement of the youth, by the youth. And is progress is truly reflective of the growing response and interest of culture-loving sections of society from all over the country.
