Whilst looking back at 2009 as a visual artist, I consider the year as a remarkable period with a few of the landmark events that occurred. The year came in with surprises as immediate actions were taken on two of the much awaited issues that had a significant history of a continuous demand from the artistic arena. The intensity of the necessity expressed for an establishment of a Fine Arts Academy was one, and was addressed by the then government in early 2009. However, due to the greed and dissatisfactions of some individuals, the formation of the FAA was stuck in the court for some so-called political corrections.
The Tribhuvan University wholeheartedly supported the much required higher education in Fine Arts by commencing a Masters-level course. Ironically, due to the lack of problem solving attitude of the authorities concerned, all the applicants for the course were made eligible for enrolment. This is probably the first time in the history of fine arts education that more than ninety students were enrolled for the Master course in one batch.
Both events were unjustifiably dealt with by the artists’ community, and they should be ready to bear further consequences.
However, 2009 is also highlighted by some successful events like the show of four Nepali artists in Mumbai with a remarkable sales history; a series of exhibitions by very promising young graduates from Kathmandu University; the release of a postage stamp to commemorate a very important artist, the late Tej Bahadur Chitrakar; and the international art festival organized by Siddhartha Art Gallery.
All these and other similar events made the previous year a very happening one – artwise. Hence the promise of a better future is more intense than before.
However, the required state-level and collective efforts from artists to uplift Nepali art still seem debatable when we realize that most of the successful past events were either carried forward by certain determined individuals or through some private organizations. The larger section of Nepali artists is still fatalist, and looking forward to see how and when their affiliated political parties or the government may practice nepotism by creating the desired opportunities for them.
Amidst the chaos and confusion of the present situation in Nepal, with deteriorating personal, social and emotional security, these sorts of psychological yearnings could be obvious. Still, 2010 should not be the continuation of such mentality as the past year to ask of others but to show how far we can accomplish by ourselves.
At this stage of a historic political transition, as an artist, what one should seek from the state is the assurance of fundamental rights and definite art policies in the new Constitution. Sadly, the penning of the new charter itself is a septic issue. Hence, 2010 is the year for all artists to come together, and make it more eventful than ever before – with or without any support from others.
The determined few shall have the same spirit as before, and their lists of resolutions certainly are as realistic as those at the dawn of 2009, which they made happen. For those few who made mistakes with their resolutions left unattainable, 2010 could provide a better chance to correct them and to see the ground reality.
And for those who have realized their dreams with their mega projects, this year could be the perfect time to pull other likeminded enthusiasts together to focus on their collective convictions to enable art to contribute to the development of Nepal by uplifting the visual consciences of the mass, realizing again that the appreciation of beauty is a basic human necessity, and restating that art is also a collective and national identity.
At this threshold, my list of resolutions, as with many others, is playing hide and seek with yet another unsure hours of load shedding and unexpected series of bandas. However, the strength of my fellow artists and art enthusiasts will remain my sole inspiration to carry forward my spirit to the New Year to attend my personal and collective goals. So I have underlined and noted boldly that I should not be distracted by any triviality that comes my way.
Sujan Chitrakar is the Academic Program Coordinator at Kathmandu University Center for Art & Design.
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