Politics of art.

THAT politics is the art of the possible we have all heard. That there exists such a thing as 'the politics of art' is also true. From expos such as Dubai 2020 to the arms bazaar quite disingenuously called 'IDEAS', to a literature conference here and a language symposium there, to biennales from Karachi to Venice - the themes, exhibits and crowd-pullers are all unmistakably political.

Hacks far outnumber the authors at lit fests, and 'installations' jostle for space with classical paintings and sculptures at art extravaganzas. Climate change, empowerment of the marginalised and giving a voice to the voiceless have become rallying calls at global art events.

Technology, social media, Covid-19 and the resultant economic downturn have both enabled and necessitated the path to 'soft power'. Amid the tax-free behemoths of the Gulf, Pakistan had a chance to make its presence felt - and girl, did it grab it with both hands! The public-private partnership that went into the making of the Pakistan Pavilion at the Dubai Expo helped turn it into the main draw at this mega event. That we won the best exterior, and the second-best interior design competition shows that if the government restricts its role to facilitation and allows creative space to its true ambassadors - the artists - the 'soft-power' machine gets turbo-charged.

The ongoing Venice biennale, the most celebrated event on the artsy circuit, is themed 'The Milk of Dreams' this year. According to the international media, the contrast between the 'deserted' Russian pavilion and the Nordic exhibit swarming with visitors could not have been starker. The former weighed down by the invasion of Ukraine was, despite its size and heft, no competition for the nimble-footed Nordics, who smartly shone a light, instead of sweeping under the rug, a problem brewing in their front yards - ie the Sami issue. The artistic manifestation of disaffection felt by the marginalised Sami people was in full display in the Nordic pavilion.

The real artists better be allowed to express themselves.

The so-called gypsy population across Europe known as Roma are said to have their origins in the indigenous tribes of the subcontinent. It is fascinating to read the exposition of the Sami at the Venice Biennale, because our very own Shah Abdul Latif Bhitai refers to them throughout his writings. The Sami are mentioned as much as the Jogi. The latter term is usually taken to mean snake charmers in its narrower connotation...