By Anjum Altaf
The relationship between art and life may not have been a puzzle to most but it was to me. And it was not resolved by the debate over whether art ought to be for its own or for life’s sake. This was a difference over the purpose or otherwise of art whereas my interest was in the nature of the relationship. At one level, art must reflect life since it cannot exist in a vacuum. But this only opens up a number of questions: To what extent does art reflect life and what might be a measure of the goodness of that reflection?
I am concerned here with the novel as a particular form of art. The novel is a story and so in some sense is life. There is, therefore, a natural correspondence between the two. Life, however, is messy, all over the place, and any novel that attempted to reflect it faithfully would be likely to be unreadable. I presume that is the reason I have not been able to read Ulysses despite my best intentions. (more…)
Posts Tagged ‘Art’
By Anjum Altaf
By Kabir Altaf
Art does not exist in a vacuum. The artist lives in a particular social context and his or her work reflects the era in which it was created. Artists have long been concerned with exploitation and injustice. Rather than have their work simply reflect the society around them, many artists wish to use their work to change conditions on the ground. For example, Bertolt Brecht (1898-1956) believed that plays should not cause spectators to identify emotionally with the characters on stage but should rather provoke rational self-reflection and a critical view of the onstage action. Thus, Brecht used techniques that would remind the audience that the play was a reflection of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate to the audience that their reality was equally constructed, and thus changeable.
Two of Brecht’s most famous plays are The Threepenny Opera and The Good Person of Szechwan. Both these works reflect Brecht’s concerns with the exploitative nature of capitalism. (more…)
By Hasan Altaf
Excerpts from an essay published in a special issue (A Country of Our Own – A Symposium on Re-Imagining South Asia) of Seminar, India, April 2012.
A nation cannot grow in entirely barren ground, however, and so in Pakistan we have attempted to replace “South Asia” with “Islam”: to substitute for culture, religion, in theory a straight one-to-one transfer. There is no space for chaos here, either, though; the Islam we choose to imagine is monolithic, straight-from-the-sands, brooking-no-argument; it ignores the vast diversity even among our Islams, let alone all our religions and cultures, and says that in the interests of simplicity, order, there will only be one, there has always been only one right way to go about this business.
Once again, it was the Met that put things in context. (more…)
By Anjum Altaf
The seeming disconnect between the aural and visual dimensions of popular Indian culture has left me in shock and struggling for an explanation. There are many things I don’t fathom but most of the time I can advance plausible hypotheses to work towards an understanding. Not so in this particular case.
I have come upon this puzzle late and in a peculiar manner. Being aurally-oriented to an extreme, I have had very limited exposure to the visual medium. I have watched some classical dance live, attended the occasional play, and consumed some sports on TV. But as far as visual expressions of popular art forms are concerned, I am largely ignorant. Movies, in particular, I haven’t watched for decades. (more…)