During the past week, large advertisements appeared in the media, asking artistes to get themselves registered with the authorities. This probably is the follow up to the approval of the new Culture Policy by the Punjab chief minister.

There is a measure of cynicism around because in the past many policies have been announced, noble intentions flaunted, but the end result has not been satisfactory. The policies have been only partially implemented. Most ran out of steam due to lack of will or a sudden change of government.

Artistes have always been in need of help, particularly in our society where the economic safety net has been nearly nonexistent. The situation has become almost desperate in the last year. No concerts and shows have been held and stage plays have been on the hold. There was optimism in the beginning that the storm would blow over and things would soon return to normal. However, the situation only worsened and everything came to an absolute standstill. Most of the economic sectors suffered immensely due to this, but probably the worst hit was tourism, hospitality and performing arts. Even the most established of artistes all over the world were, so to say laid off, and had nothing to do except twiddle their thumbs in frustration.

The artistes have always been vulnerable financially in this part of the world. Many have been near starvation, waiting for better news to arrive. Thus the passing of the policy, though late, is a flash of good news across a darkening horizon. Care needs to be taken however that the artiste’s self-respect and dignity are protected. The support should be not reduced to dole.

In the past, measures or initiatives taken by various departments of the government have required that the artistes submit an application for help, particularly financial help. This appeared to be contrary to the respect we claim to have for the artistes.

It is good that the artistes have been asked to register and they can be then approached and their whereabouts and circumstances monitored by the authorities. Care still needs to be exercised and some mechanism evolved to ensure that the artistes are not reduced to a treatment meted out to beggars.

The best way the government can help the artistes probably is to create opportunities for them to perform. Few of the artistes are incapacitated by age, physical disability or some medical condition. Most are laid off due to the lack of opportunities and the rampant and ruthless selection of the most popular by the market. Many have been left behind so to say because they specialised in a skill or an art that has few takers in the fast changing cultural environment. Before our own eyes, we have seen many instruments go out of circulation because the musical tastes have undergone a tremendous change. These musicians who spent most of their working hours honing a craft in the end found themselves in the queue for the unemployed, unwanted and redundant.

Even in the theatre world, tastes have changed and outlandish and exaggerated expression has taken over both in actions and words. The dances, which now make up the greater part of a theatrical performance as there is little gumption for staging exclusively dance performance for a large audience, too, are too loud. They no longer allow subtlety and the nuanced expression of the classical arts to flourish.

The greatest fear today is that the expression and artistes will become more exposed to scrutiny and censorship. Since the purse strings too are controlled by the same authorities that exercise censorship, the fear has become even more tangible. One has seen this happening in other societies that touted state funding but could not free themselves from the temptation of intervention. As it is, the space for freedoms is shrinking in many societies, including ours and the desire to intervene the least will be greatly challenged. There are a number of no go areas, growing bigger, and it is felt by some that these need to be reviewed and debated. One has seen growing repression and even vendettas resulting from this.

The writer is a culture critic based in Lahore