It’s one of those rare occasions in the cultural world that gets many of us talking about the issues at hand, primarily because performing artistes are hardly the one hogging the headlines. However, over the last one week, the news of Bharatnatyam dancer Leela Samson stepping down as the director of Kalakshetra has created a furore not just in the dance circles, but also among various cultural bodies across the country.

It all started with a PIL filed by an ex-Kalakshetra teacher who questioned the continuance of Samson as the director of Kalakshetra. According to the Kalakshetra Act, appointments to the post of director are governed by the Ministry of Tourism and Culture, Department of Culture of the Kalakshetra Foundation, Chennai and (Director) Recruitment Rules, 2002. Although the rules specify 55 as the upper age limit for a person to assume the post of director, they do not mention a retirement age. So, some of the larger questions that this particular incident has raised is if it is necessary to have a retirement age for heads of cultural institutions like this and do such positions of power face their own share of brickbats?
Noted poet and writer Arundhati Subramaniam says that most of the positions of cultural office are plagued with issues like self-interest to partisanship “It’s very seldom that you have the right person in the right place, particularly if it’s a place of power in the art world,” she says, adding, “Self interest, partisanship, factionalism, rampant self promotion or plain inertia — these are just a few of the problems that positions like this face on a regular basis. These issues go down to endemic levels of corruption, which are far more disturbing than any lapses in efficiency.”
Leela, says Subramaniam, is a rare mix of integrity, vision and commitment — an almost impossible combination to find today. “She’s a person to value; she’d be an asset to any art institution. If age limit rules are applied consistently, it’s another matter. But if this is a mere quibble to conceal other motivations, it’s very unfortunate. It is possible to find bureaucrats who understand the working systems underlying government institutions like this. But what’s more significant than an efficient understanding of a system is, a refined, informed and ethical understanding of art. Leela is a person of merit, dedication and principle — and that kind of person is absolutely vital at the helm of our cultural institution,” she explains.
Powerplay and politics at any cultural organisation is given, and top positions as this have always had their share of woes. Many say that Samson also had the backing of the Centre and that she is very close to 10, Janpath, which is being linked to the fact that she holds such important positions of various cultural bodies. Of course, no one’s undermining talent or capability, but simply looking at being well-placed with political connections too.
Some of the other issues that are highlighted by this particular incident are one’s ability to multi-task without mixing roles, while juggling between various jobs and positions. Samson is also the chairperson of Sangeet Natak Academy and the chief of Censor Board of Film Certification. Legendary Odissi danseuse Sonal Mansingh says that juggling between different positions is completely a dancer’s prerogative. “Firstly, the position of a director of Kalakshetra is an executive one and her position as the chief of Sangeet Natak Academy is an honorary one. In an executive position, there are a lot more responsibilities and duties that are directly linked to the day-to-day affairs of an institution. I’m sure Leela knew what she was getting into,” she says.
“When I was the chairperson of the Sangeet Natak Academy, I wasn’t interfering with the day-to-day functioning. I was basically giving guidance to the certain systems in place. It totally depends on how every person handles the task at hand,” says Mansingh.
Pratibha Prahlad, eminent Bharatnatyam dancer holds a different viewpoint. “Leela is one of those few artistes who had the unique capability of handling the creative and administrative responsibilities very well. As far as the retirement issue goes, if one serves a government job, one has to abide by the government rules, be it an artiste, a film star or any other person. Personally, I manage and multitask efficiently, so I believe that various jobs and positions can be handled at the same time. However, none of this comes without any powerplay involved in it. There are various kinds of pressures and organisational problems one has to face on a regular basis. It’s not a smooth ride being the head of an institution. It’s never been,” she says.