Sharmeen Obaid-Chinoy rightly observed at the World Economic Forum meeting: “Art creates empathy and brings people together – it’s a crucial part of creating a more inclusive world.” It is a viewpoint that one hopes will be embraced by Pakistani film superstar Shaan Shahid.
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Shaan’s comments appear as divisive at a time when Sharmeen Obaid-Chinoy, in Davos, is talking about the responsibility and role of art and culture in societies.
Actor, writer and director Shaan Shahid - easily Pakistan’s biggest and most popular movie star for years now - usually causes dissonance with his words. Currently working on several films including a remake of the iconic Indian film, Arth, Shahid often falls on the wrong side of the cultural debate. His recent words are a case in point. Nearly 24 hours ago, Shahid took to his social media accounts and submitted a “humble request” to Prime Minister Nawaz Sharif in the following words: “Sir if you are making a committee for the Indian films so they can be shown in Pakistan. Please make a committee so that the Pakistani films can be shown in India also. As culture should not only be imported. It can (be) exported also.”
Now here’s some context. This statement has come after the announcement that PM Sharif has formed a committee, headed by Minister of State for Information and Broadcasting Maryum Aurangzeb, to look into the matter of clearance of Indian films. This move was necessary since the knee-jerk reactionary ban imposed on Indian films that went on for several weeks, has had catastrophic repercussions economically. Nadeem Mandviwalla, film distributor and owner Atrium cinemas, told Instep in an interview: “Cinemas have been suffering for the last 40 years. So far only 10% of the industry has been revived. We cannot stand on our feet yet. When 90% of our industry is revived only then will we be able to say that we don’t need Indian films.”
Meanwhile unofficial numbers show the extent of this damage. Cinema footfall had decreased by 60% affecting the viewership of Pakistani films. 1700 cinema employees were reportedly fired in November. 40% multiplex screens were closed due to lack of content.
The bottom line is that two wrongs don’t make a right. The ban imposed on Pakistani artists in India is simply wrong but that doesn’t mean we match it with equal hate. Pakistani films need time to reach cinematic identity and integrity and a place where they resonate with the public to a point that they make the effort of going to the movies, irrespective of what else is or isn’t playing. Pretending that we don’t need Indian films is therefore illogical. While Pakistani cinema was lost in gujjar mode, for years, Pakistanis watched Indian films with rampant piracy providing easy access and they remain a prominent part of our cultural vernacular, whether we like to admit it or not. Why else would dozens of people protest outside the press club in Karachi (several years ago) when Salman Khan was jailed? Indian films are also responsible for bringing back the culture of going to the movies and holding a black and white view can be dangerous. If the question is of reciprocity, the support from the other side of the border is visible as Naseeruddin Shah and the late Om Puri lent support via their words and by working in Pakistani productions. Others like Mahesh Bhatt remain vocally opposed to a ban on Pakistani artists. Pakistani dramas were running on Zee Zindagi and creating a name across India before skirmishes on the border led to pulling off of content.
Others like Shah Rukh Khan and Karan Johar, who had cast Pakistani artists prominently in specific projects like Raees and Kapoor & Sons were “bullied” into making myopic statements against working with Pakistani artists by foes who wield enough coercive power to attack the release of their films. Journalist Barkha Dutt, after watching K.Jo’s video in which he vowed to not work with artists from Pakistan, said that she was “ashamed that we as a society have bullied (Johar) into having to prove his patriotism. ‘Anti-national’ has become the label of the mob.”
Similarly, Censor chief Pahlaj Nihalani criticized the decision to ban Pakistani artists made by the Indian Motion Picture Producers’ Association (IMPPA) and the Cinema Owners and Exhibitors Association (COEA).
But even that’s not the real argument of this piece. The crux is only one: art and culture should be beyond borders and boundaries. It has the power to influence society in a way bureaucratic and political figures never can. It can create debate and dialogue, which is the only way we learn, improve and move forward.
As filmmaker Sharmeen Obaid-Chinoy, who is currently in Davos, Switzerland to co-chair the 47th edition of the annual World Economic Forum meeting, reflecting on “the role & importance of art & culture in societies” said at WEF: “Art creates empathy and brings people together – it’s a crucial part of creating a more inclusive world.” She further stated: “The language of hate often trumps the language of inclusion. This is the time to speak up, not to stay quiet & hope.”
Obaid-Chinoy was also scheduled to talk to Indian filmmaker Karan Johar in a session that would be streamed live. Should Obaid-Chinoy not talk to Karan Johar and boycott him because he made the announcement that he won’t be working with Pakistani artists? Of course not.
It is also twisted when you equate cultural activity with patriotism and how those who employ the policy of inclusion and remain open to cultural exchange, especially towards India, are painted as anti-national monsters. Time to change the argument.