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Issue 23

India’s Growth Prospects – Are They Really Deterred by Religious Majoritarianism and Polarisation?

In a recent statement, former Reserve Bank of India Governor Raghuram Rajan warned that an “anti-minority” image could harm India’s growth prospects due to reduced demand for Indian products in the global market. Rajan’s comment came a day after Bharatiya Janata Party (BJP)-controlled North Delhi Municipal Corporation abruptly demolished properties, most of them owned by Muslims, in Jahangirpuri on the pretext of illegal construction. It has, however, been widely perceived as ‘collective punishment’ against Muslims after communal clashes in the neighbourhood days ago. 

Over the past couple of years, several observers have noted increasing religious majoritarianism and polarisation in India, coinciding with the rise of the Hindu Nationalist BJP in 2014. In the last couple of weeks, the headlines have been occupied with the Hijab row and Halal row in Karnataka and communal violence across several states instigated by religious processions, bulldozing of properties owned by Muslims, and so on. It is well-documented that religious conflicts positively correlate with BJP’s electoral performance.

Several well-meaning people, like Dr Rajan, have argued that the rising religious majoritarianism will harm India’s growth prospects. There could be two kinds of motivations behind such reasoning. First, it could be the case that they firmly believe in the argument. Second, they are internally dubious about the intellectual robustness of their claim but see these arguments as doing their bit to mitigate the rising hatred. 

Assuming the case to be the former, there are no strong reasons to believe that there is any threat to overall economic growth. The current form of religious majoritarianism is insidious in that it is based on everyday humiliation and targeting of minorities, mainly Muslims, as opposed to widespread, large-scale violence. Hence, there is no significant risk for companies to operate from a safety and stability perspective as of yet. While some may engage in virtue signalling, they will continue to do business as long as it is profitable — irrespective of India’s “treatment of minorities” — just as they operate in countries like China and Saudi Arabia with the worst record on human rights. 

It was somewhat of a coincidence that the Modi government has proven incompetent in handling the economy, particularly during its first term. The consequentialist arguments about threats to growth failed to mobilise voters amid the worst economic decision-making, such as demonetisation and poorly executed Goods and Service Tax (GST). Such blunders are not necessarily a given. The government may be able to clean up its act on the economy and deliver reasonable growth; it seems to be on the right path. As economic growth picks up, these arguments become even weaker.

India recently signed a free trade deal with Australia and is eyeing one with Europe. The country almost doubled the number of unicorns in just ten months in 2021, from 37 to 71. The latest IMF projections also suggest a healthy growth of 8.2% for this fiscal year. In addition, the government has made bold progress on long-awaited issues such as the sale of Air India. Most importantly, it has not embarked on economically foolish misadventures like demonetisation.

India is also a key partner for the US to counter China. The cooperation between the two countries is set to continue becoming more robust, with positive economic prospects for India. This is also why comparisons with Western boycotts of Russian business are not reasonable. Besides, the Indian diaspora in the west — a large proportion of which are hardcore Modi supporters — will countervail such tendencies if it were to happen at all.

Is this the best India can do? Probably not. A cooperative and peaceful environment would most likely reap higher growth. That is, however, besides the point. Counterfactual thinking does not come to an average voter. So, as long as India can sustain some decent growth, voters are unlikely to make a connection between religious polarisation and lower-than-ideal economic performance. Instead, if anything, proper economic growth could further overshadow and mask the rising religious polarisation in the short-medium run.

This is precisely the flip side of the consequentialist arguments of religious tension being a threat to growth. What happens if and when the government can deliver decent economic growth? Does religious hatred become a non-issue then? 

There is no escaping the elephant in the room. The rising religious majoritarianism and polarisation need to be confronted. The opposition parties failed to mobilise voters under the government’s poor economic performance; it is unlikely they can touch on this challenging topic. Ultimately, these issues are better addressed locally through meaningful community and civil society bonds.

A group of Hindus and Muslims in Jahangirpuri took out a “tiranga yatra” to send a message of unity and peace following the violence. These are exactly the kinds of concrete bonds we need and provide a ray of hope amid grim developments. 

Fahad Hasin is an associate at IDinsight. He also writes on politics, policy and society. You can access his newsletter and writings in popular media here

Picture Credits: DW

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 23

Six Seasons and a Movie! – Community, a Cult Sitcom

Community is an American sitcom following Jeff Winger, a lawyer who goes to community college after his bachelor’s degree is revoked. There he forms a study group with a diverse and eccentric bunch of people who end up forming memories over their time at college. Over its 6 seasons, Community managed to take on nearly every genre and popular trope with a terribly funny A-list cast and script. The cast’s chemistry works beautifully and the jokes feel natural rather than dependent on a laugh track like most sitcoms. The show is full of satirical parodies and tributes to popular media that any pop culture fan will appreciate. Throughout its progression, it brings up important issues like homophobia, sexism and racism and addresses the world’s problems by making fun of them in a way that had never been done before.

Quickly becoming a fan favourite, fans rallied for a Community movie resulting in the ongoing gag “Six seasons and a movie”. The main reason for its popularity is that through its comedy, Community is not only able to thoroughly entertain but also tell the stories of real, broken people, coming together to help each other heal. It is a heartwarming watch that leaves you feeling wrapped up in a warm blanket. The next time you want to binge a show, Community should be your go-to!

Reya Daya is a third-year student studying psychology and media studies at Ashoka University. Her other interests include writing, photography and music.

Picture credits: IMDb

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 23 Issue 7

Through the Looking Glass: Gender Lens and Education Policy

In September 2020, the Delhi Commission for Protection of Child Rights (DCPCR) and the Directorate of Education initiated a joint project called the Early Warning System that utilizes school attendance records to develop interventions to curb dropouts by identified at-risk children. 

Prolonged absenteeism can lead to failing the course, especially in rural areas where students lack the financial resources to learn externally. Studies have shown that students who regularly attend school tend to perform better than those who are always absent, as frequent practising of skills helps build one’s ability to perform better than infrequent learning. It is thus essential to note absences and their reasons to ensure a balanced and consistent education for all.

DCPCR developed the policy expecting that the Covid-19 pandemic would lead to a rise in school absenteeism. The pandemic delayed the policy’s roll-out, but a pilot was initiated in October 2021, and the Commission fully implemented the policy in April 2022. DCPCR chairman Anurag Kundu explained that reduced or prolonged attendance as a metric would help gauge whether a child was facing a crisis at home that is affecting their education. The primary causes for absenteeism detected in the pilot included sickness in the family, moving back to the village, lack of parental awareness, labour, early marriage, taking care of household chores, and death. 

The system will send an automated SMS to the parent/guardian of any student who has missed more than 66% of working days in a month or missed more than seven days in a row. If there is no response, it will send an Interactive Voice Response (IVRS) call to understand the reason for absenteeism and make a note in the system if anything is detected. If there is still no response, the teacher will call the parents up and enter the details in the system. If the parents are unreachable or the child is detected to be “high-risk”, home visits will be conducted and adequate steps are taken on a case by case basis. 

Given the policy’s recent implementation, there isn’t substantial data on the interventions made in girls’ cases compared to boys. While the policy remains ungendered mainly, it is crucial to consider the differing reasons for absenteeism amongst girls and boys. Among adolescent boys, the most significant cause of missing school has been child labour which has been hard to solve since counselling and encouraging them to go to school may help, but the families still need their income. Amongst girls, on the other hand, the most prominent causes include early marriage and menstruation. Kundu said that four of their successful interventions were in cases where parents wanted to get their daughters, ages 15-17, married. The parents were counselled to push this decision until after they completed school. 

The policy could become fully functional only in April since its implementation depended on students physically attending school, which was optional until now due to the pandemic. The policy also made no arrangements for online schools or helping those facing difficulty accessing education while they were at home. In 2021, a Delhi-based NGO conducted a survey and found that 56.1% of girls had an increased responsibility to complete domestic chores during the pandemic with less time to focus on their education. Studies show a gender-based digital device, with 33.6% of girls not having access to digital devices and 64% saying that boys had more access to devices and the internet in their communities. Many girls studying before the pandemic couldn’t return to classes as their families didn’t want to spend their savings on their daughters’ education.

Unicef released an alarming report predicting that 10 million more girls would be at risk of child marriage by the end of the decade due to the pandemic. Education is a protective factor against child marriage. Still, with school closure and increased economic strain, girls are pushed into marriage as a last resort to help ease the family’s financial burden. Strict policies, ensuring access to health services and providing social support to families are vital to ensure girls stay in school. Similarly, another significant problem faced by girls attending school is menstruation. 

A 2018 Delhi based study found that 40% of girls didn’t go to school while menstruating. The fear and embarrassment that breeds from the social stigmas around menstruation and the lack of proper sanitary materials, no privacy at school, restrictions imposed on girls, and their mother’s education lead to a drop in attendance which hampers education. Not addressing these things in policy means that little will be able to be done when the issues arise. Interventions to reduce social taboos, increase awareness, provide healthcare and expand the curriculum to provide sound information are essential to combat this problem. The Early Warning System, like other policies, should find ways to implement interventions that account for these factors and include clauses that aim to address these gender-specific issues. 

The National Education Policy of 2020 faced a similar backlash. Specific provisions might promote girls’ education, such as the provision of a Gender Inclusion Fund which would be utilized towards an equitable education for girls and transgender students and an increase in public investment to bring down education spending. This policy, however, encouraged public-private partnership in education which might lead to more schools turning private and becoming inaccessible and unaffordable. Increased tuition would make it harder to convince families to spend on girls’ education and lead to them dropping out. 

While the EWS didn’t mention digital education, the NEP pressed on it without making any provisions for the infrastructure required. The policy’s consolidation of school complexes provision would increase dependence on Open School, the national distance learning program. Any emphasis on this for girls would lead to increased domesticity and curbs on their freedom where they would have a degree but not be able to do much with it. Here, not including girls’ education and other marginalized communities in the policy leads to exclusion. It is crucial to look at policy-making from a gender lens and make gender-specific policies to ensure genuinely equitable education for girls. 

The system will send an automated SMS to the parent/guardian any student who has missed more than 66% of working days in a month or missed more than 7 days in a row. If there is no response, it will send an Interactive Voice Response (IVRS) call to understand the reason for absenteeism and make a note in the system if anything is detected. If there is still no response, the teacher will call the parents up and will enter the details in the system. Home visits are conducted if the parents are unreachable or the child is detected to be “high-risk” and adequate steps are taken on a case by case basis. 

Given the policy’s recent implementation, there isn’t substantial data on the interventions made in the cases of girls as compared to boys. While the policy remains largely ungendered, it is important to consider the differing reasons for absenteeism amongst girls and boys. Among adolescent boys, the biggest cause for missing school has been child labour which has been hard to solve since councelling and encouraging them to go to school may help but the families still need their income. Amongst girls on the other hand, the biggest causes include early marriage and menstruation. Kundu said that four of their successful interventions were in cases where parents wanted to get their daughters ages between 15 and 17 married. The parents were counseled to push this decision until after they completed school. 

The policy was able to become fully functional only in April given that it can only be implemented when students are physically attending school which was optional until now due to the pandemic. The policy also made no arrangements for online school and helping those who were having a hard time accessing education while they were at home. In 2021, a Delhi-based NGO conducted a survey and found that 56.1% of girls had an increased responsibility to complete domestic chores during the pandemic with less time to focus on their education. Studies show a gender-based digital device with 33.6% of girls not having access to digital devices and 64% saying that boys had more access to devices and the internet in their communities. Many girls studying before the pandemic couldn’t return to classes as their families didn’t want to spend their savings on their daughters’ education.

The National Education Policy of 2020 faced similar backlash suggesting that while there were certain provisions that might promote girls’ education such as the provision of a Gender Inclusion Fund which would be utilized towards an equitable education for girls and transgender students and an increase in public investment to bring down education spending. This policy however might lead to schools becoming inaccessible and unaffordable and girls dropping out. It is crucial to look at policy making from a gender lens as well as make gender-specific policies to ensure truly equitable education for girls. 

Reya Daya is a third-year student studying psychology and media studies at Ashoka University. Her other interests include writing, photography and music.

Picture credits: Unicef

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 23

Not Just Like – We Love It! 

Please Like Me (on Netflix) is a warm, thoughtful comedy-drama. An Australian series revolving around Josh, a twentysomething navigating coming to terms with his sexuality, a mother on the verge of suicide, and his friends being the boon and the bane of his existence, the show has a high relatability quotient for all viewers. While the show is centered around a gay man, the learnings from the series apply to all viewers irrespective of their gender, which enhances the beauty of the show. The way in which the show draws out the brazenness of human insecurities; the candor with which the characters articulate what they’re feeling is reassuring, warm, and also, inspiring. And with its smart, understated humor, PLM combines the strengths of multiple genres. A must-watch!

Jaidev Pant is a third-year student of Psychology and Media at Ashoka University. He is interested in popular culture and its intersections with politics, gender, and behaviour.

Picture Credits: Youtube

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 23

Heartstopper

Heartstopper is a British television show that coming-of-age story about two teenagers who find themselves and each other during a tumultuous time, that is, high school. Based on a graphic novel by Alice Oseman, the show is wholesome, sweet, and heartwarming while also highlighting sensitive and important subjects in a nuanced manner. The show’s protagonist, Charlie Spring, develops a crush on Nick Nelson, and the story is centered around their romance while also navigating friendships, social structures, and emotions that surround them both.  This LGBQT+ story beautifully narrates the anxieties and rushes that arise out of first or new loves. It is a must watch for the ones who loved the graphic novels, and even those who may be unfamiliar with them. 

Heartstopper is available on Netflix. 

Shree Bhattacharyya is a student of English literature and Media Studies at Ashoka University.

Picture Credits: Radio Times

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Issue 19

The Forces Behind Amazon’s Decision to Shut-Shop on Westland

When Amazon Inc, the global e-commerce behemoth which also owns a book-publishing arm named Amazon Publishing announced on February 1, 2022, it was closing down Westland Books in India, a company it had acquired fully in 2016, there was a concerted wail of despair across the English language publishing industry in general and among many of the authors published by Westland. 

Two weeks later, author Sharanya Mannivannan, whose graphic novels have been published by Westland tweeted: ‘Exactly 2 weeks ago today, everyone at Westland found out the company was being shut down & our books would go out of print. Too soon, the date for distributors to place their last orders for most of the catalogue has come. From now, our books will begin to disappear from the market.’ 

Almost immediately, the publishers wrote to all those who have published with it, promising to return their rights—acquired over the preceding five years—on April 1, 2022, if Westland were not acquired by then. This, of course, begged the question of why Amazon had chosen to close down the company instead of selling it in the first place?

There was also the additional question of whether, for a company the size of Amazon, the losses of a small company it owned in India could really prompt such a drastic measure. According to a report in Mint, Westland ran up losses of Rs 46.3 crore, Rs 33.8 crore, and Rs 19.2 crore, respectively, in 2019, 2020, and 2021. While these figures are not small, they also showed a trajectory of narrowing losses, which is perhaps even more noteworthy, considering most of 2020 and all of 2021 were pandemic years. 

According to the same report, the Indian operations of the multinationals HarperCollins and Penguin Random House also posted losses in 2021—of Rs 36.2 crore and Rs 4.6 crore, respectively. Westland, HarperCollins and Penguin Random House—possibly following an industry-wide trend in the face of many bookshops shutting down and book distributors shrinking their operations—saw their revenues slip in 2021. Westland went from Rs 31.2 crore in 2020 to Rs 25.1 crore in 2021; HarperCollins, from Rs 139.9 crore to Rs 137.5 crore; and Penguin Random House, from Rs 260.6 crore to Rs 245.6 crore.

So, it wasn’t as though Westland was doing particularly badly while the rest of the English language trade publishing (non-textbook) industry was thriving. Moreover, for multinationals HarperCollins and Penguin Random House, the lion’s share of sales comes from imported books—from their British and American lists. In contrast, Westland’s entire list was homegrown, which would, by industry estimates, not put it very far behind the Indian lists of other companies in terms of sales.

There was also speculation that Amazon had decided to close down the firm under pressure from the Indian government, for publishing books that speak up against the current dispensation. While it is true that Westland has published books critical of the Narendra Modi administration, the BJP and the RSS, by writers like Aporvaanand, Aakar Patel, Christophe Jaffrelot, Dhirendra K Jha, Sanjay Jha, K.S. Komireddi and Saba Naqvi, among others, it has also published narratives supporting the right-wing in India, by Ram Madhav and Sanjeev Sanyal, for instance, besides Nalin Mehta’s sympathetic account of the BJP’s growth. 

But this is extremely unlikely, given that English language books barely move the needle on public opinion. They only serve to consolidate currently held views by providing evidence. Moreover, the Indian government has so far shown no inclination to catalyse such extreme steps as closing down a company because of the books it publishes.

That leaves financial performance as the key factor. And while Amazon itself is perhaps too big to be dented by Westland’s losses, its publishing arm is a much smaller business, which needs to be successful in every market it operates in. Five years ago, there were expectations of quick expansion in the publishing market in India—this has not materialised. And the decision may be on those grounds alone. However, Amazon officials familiar with the matter have not commented on the subject.

But why did Westland run into financial trouble despite having two of India’s top-selling authors—Chetan Bhagat and Amish—on its list? Back in 2018, Bhagat signed a six-book deal—not with Westland but with Amazon—for, reportedly, a combined advance of Rs 36 crore. Of course, such advances are never paid out entirely upfront, they are calibrated with the delivery of manuscripts and the publication of the books. At that time, Amazon must have bet on the success of these authors, which Westland would benefit from. Those expectations have probably not been met by the sales of works by these authors. Nor has Westland’s considerable depth in categories like spirituality and self-help—which usually rack up large numbers in terms of sales in India—helped its financial performance sufficiently. All of which points to the problems of the industry as a whole.

What lies ahead for Westland and its list of published books and authors? On the one hand, after the news broke of the closure, several companies directly or indirectly connected with publishers are believed to be considering purchasing the company. On the other hand, rival publishers have already begun making informal offers to some of the writers to acquire their titles, if rights are given back to the authors and translators. 

What will a potential purchaser be buying, though? If it is a company already in publishing and wants to expand both its list of books and its distribution and marketing network, the acquisition will offer a quick route to expansion. However, for a multinational, this would mean adding redundant capacities. All it might be interested in are the books themselves, and, perhaps, the editors. It can easily hire the latter, and pick up the former once the rights go back to the respective authors.

For the Westland list to go out of print would be a tragic outcome. But, equally—or more—important, this episode points to the structural problems in the English language trade publishing business in India. The number of readers isn’t growing, streaming platforms are a huge challenge to books, bookshops are dwindling, distributors have cash flow problems. Unless the sector is reinvented with new technology, new financial structures, and new ways to get books into the hands of a much larger number of people than at present, these problems will only get worse.

Arunava Sinha is a translator, a professor of Creative Writing at Ashoka University, Sonipat, and co-director of the Ashoka Centre for Translation.  

Picture Credits

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Issue 19

The Woman in the House Across the Street From the Girl in the Window

What made me watch Kristen Bell’s latest mini-series on Netflix was the eye-catching title itself – full of complexities and curiosity. As you watch the trailer you are left with tons of unanswered questions and a thirst to find out did Anna (Kristen Bell) really know?

As you traverse across these 8 episodes you see how each one gets more twisted than before, almost leaving you in a blur as bad as Anna’s hallucinations. As she copes with the tragedy of losing her daughter we see her often knowingly gulping wine with medication. The show vividly portrays the impact of grief and loss. Her conscious choices and ways to cope lend insight into the disturbing corners of her mind. The eerie soundtrack by Nami Melumad truly enhances the thrill and suspense. 

Through the series, a very vulnerable Anna is drawn to her next-door neighbour Neil, shortly before she witnesses his girlfriend Lisa being murdered. Anna’s emotional and psychological condition makes her a negligible witness, but she doesn’t stop there. Her faith in what she saw overpowers everything and she takes solving the murder into her own hands. 

The attitudes and reactions of the community and the police really bring to the light how easily one is labelled crazy. It depicts how crazy is often deemed equivalent to guilty and in this case murderer. Anna, although experiencing self-induced hallucinations, faces this wrath of societal impressions. A jarring contrast in behaviour is seen when Anna attends support group sessions where she candidly shares her life with them. The core of this show thus lies in the complexities of Anna’s character.

Each episode brings forth a new suspect, a new perspective but only gets you more tangled than before. This satirical thriller takes you on an outrageous journey full of twists and turns. It carefully tiptoes on the line between unsettling and funny.

Maahira Jain is a third-year student at Ashoka University studying Psychology and Media studies. She is a movie buff and is extremely passionate about writing and travelling.

Picture Credits: Netflix

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis

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Issue 19

From Strolling to Scrolling through Galleries: How Has the Art World Changed?

According to a 2021 survey, social media users form 57% of the world’s population. Over the last decade, art and culture on social media have journeyed through several aesthetics and ideals. A canvas has been replaced by a screen, a paintbrush by a smartpen and the intricacies of brushstrokes and handmade forms are waning. User-generated content has become the primary focus. Artists’ styles are fueled by the need to please the audience, as what appeals to them is what will get noticed. Appreciation is now marked by ‘likes’ and ‘shares’ versus technique and skill. 

These broadened digital platforms gave birth to new genres, like experiential art where the piece relies on its ability to be captured by a phone and deemed Instagram worthy. Success is measured by reposts, comments and the audience’s ability to repurpose a piece for their personal social media, falling prey to a consumer-oriented approach. Yayoi Kusama, pioneering Instagram art sensation, has developed several such immersive experiences, attracting global audiences. While such installations have been a huge success worldwide, with millions of trending hashtags, are they only working to fit consumer ideals and seek engagement ? Can Yayoi Kusama’s ‘Infinity Mirror’ rooms be compared to Da Vinci’s ‘The Last Supper’? Are his immersive pieces mere attempts to appease the masses?

A recent study traces through these shifts in art spaces, audiences and aesthetics, where researchers Lachlan Macdowall and Kylie Budge say: 

Instagram shifts the spaces, scale, speed, and terms of visual culture. It generates new terms (#instaframe) and forms (the selfie) and creates and organizes new audiences. Overall, Instagram affects the institutions of the art world.” 

The boons and banes of social media in the art world are a tipping scale, the unspoken impact of which remains in the nature of creating and experiencing art. The limitations of Instagram’s square grid, curated exposure through algorithms, and repetitive styles restrict accessibility and dilute creativity. Artists design pieces to fit the 1:1 dimensions of an Instagram post, using it as a basis to create, consequently limiting the scope of their ideas. In fact, consumers are only shown what an algorithm chooses to expose them to, based on their previous engagement. This limited exposure tempts artists to design within a niche aesthetic, which receives the most views, giving way to monotony.

While the media has given people an equal and accessible medium to engage with art, the digital divides remain. Boosting posts on Instagram requires significant payments, while promotion and management are now the job and expense of the artist. They are required to spend anything between a few hundred to forty thousand rupees daily to promote each post for a menial financial return, making it a luxury only some can afford. In fact, with the increasing need to create and market art digitally by using technological tools like Apple Procreate and other software, is the art industry still retaining its “elitist” roots? 

Increased accessibility also enabled the commercialisation of art, and an entrepreneurial mindset among artists who now sell and commission artwork for brands in advertising and marketing gigs, making them more of a commodity than before. Social media feeds act as portfolios, thus putting a tremendous emphasis on not merely the physical piece but its social media appearance.

Social media has been taking the art world by storm for over a decade now. NFTs  (non-fungible tokens) however, made their mark in 2021 with sales valued at approximately 25 billion.  In several instances, artists have been hesitant to upload artwork online due to a lack of protection against piracy, theft and copyrights. NFTs by providing bonds of authenticity acts as a solution but is now being wrongly equated with art. 

Everything ranging from a tweet to a selfie to a hand-painted canvas is sold for millions of dollars. Everyone is a creator, right from your next-door neighbour who posts pictures of her cat every day to a famous artist uploading their painting. The exclusivity of art has been overshadowed by the agency of online media.

Social media and NFTs together have created a clutter of content online, with no filters or screening system but much rather an abundance. This commodification has undermined the uniqueness and scarcity of creations, stealing away the very roots of purchase; demand.  

This begs the question- why will a consumer pay millions of dollars to purchase a piece of art, which can be downloaded, shared or printed for free? 

The rising hype around NFTs only increases the impending threat on physical artwork. Pushing the boundaries of artistic trade, they continue to endanger museums and galleries. While sceptics have held their ground, globally NFTs have snuck their way into auctions, art fairs and online marketplaces including social media. 

NFTs continue to sanitize and hamper the creativity and aesthetics of art. Auctions like the Gobardhan Ash collection in Prinseps Mumbai sold both physical and blockchain versions of pieces. Celebrities like Amitabh Bachchan have launched collections, businessmen have created NFT exclusive marketplaces like Wazirx all furthering the extinction of natural art forms. NFTs cater to consumers’ laziness, and the growing demand for online retail by providing an easy way to purchase assets like art, without the need for storage.
Social media and NFTs align on their agenda of agency and access of art to all. Platforms like Twitter have allowed NFTs as profile pictures, Youtube distributed them to key influencers and Reddit is in the process of doing the same. Artists have eagerly joined the NFT craze adopting a commercial lens towards art. Higher rates of return and surety of financial gains have caught artists attention. The slowly fading presence of innovation-driven artwork will accelerate once social media platforms also start selling NFTs, reducing them to mere means of monetary gain and not displays of unique talent.

Maahira Jain is a third-year student at Ashoka University studying Psychology and Media studies. She is a movie buff and is extremely passionate about writing and travelling.

Picture Credit: Unsplash

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).