Presentation of R.
SUDARSAN, Programme Executive, All India Radio, Chennai at the 4th
International Radio Forum during 12th International Radio Festival
of Iran at Zibakaner on 16th
May 2012.
Salaam
Iran.....
Man
Khobam. Hale Shoma Chetour ast?
(I
am fine. How are you?)
Moto
Shakker.
(Thank
You)
Distinguished
dignitaries and my dear fellows of the same broadcast feather, I represent PRASAR BHARATI, ALL
INDIA RADIO, the largest public service broadcasting networks in the world
which meets a hugely challenging task of serving a pluralistic society. And I
am privileged with the twin pleasures of not only representing the premier
broadcaster, but also sharing some of our experiences with this international
audience of eminence. Equally important is the fact that despite market
demands, AIR has a public service broadcasting policy and it can be confidently
said that it is the only public service broadcaster that has various radio
formats including drama, which is a wonderful literary expression too. Focusing
my presentation on radio-drama and social values, I would like to draw your
attention to the countdown that has already begun. Yes, Radio Drama, born in
1920 at the studios of BBC would enter its centenary year in 8 years time from
now. For 3 years after its birth, BBC only staged Shakespearean dramas. Having
grown tired of these under the garb of radio plays, John Reith gave a form to
the radio play in 1923. Thus was born the RADIO EFFECT and Richard Hayes
satisfied the thirst of Reith by producing a humorous play titled COMEDY OF
DANGER that was broadcast on 15.1.1924. It is pertinent to note the remark of Lawrence
du Garde Peach, a renowned playwright for radio, stage and screen who said
– Nothing to see at but something to think about. A lot of
experimentation and evolution took place in the subsequent years. And quite a
few renowned names like Dylan Thomas and others contributed for radio drama. In
India too, brilliant innovative efforts of Chiranjit and Satyendra Sharath as
Chief Producers deserve mention. Similarly there have been equally brilliant
efforts all over the country, the enumeration of which would be monumental. Now
with this very brief peek into the past may we get on with the specifics of
radio, drama and social values?
RADIO,
DRAMA AND SOCIAL VALUES
Understanding
Social Values is essential if we are to put to effective use the
tools of change – Radio and Drama. Social values are what we consider to
be important in social interactions between people; they are a certain
qualities and beliefs that are shared within a specific culture or group
of people. Typically such a value has a limited shelf life – anywhere around 50
years. Having said that, there are more permanent “all time values” that
seldom change. For instance, respect to elders or issues related to honour of
women and its protection, the institution of family and related values do not
change. On the contrary, certain stereo type values, what can be called “changing
values” presenting women as home makers, child marriage, girl child
feticide and infanticide could be cited as some of the instances wherein the
change of values is taking place. However, this may not apply to extremely
rigid and compartmentalized societies, which may end up resisting changes for longer
duration of time or even endlessly. But, generally changes may occur due to –
-
Scientific
discoveries
-
Evolution
of religious beliefs
-
Changes
in moral values
-
Zeal
of the reformers
-
Intervention
of Media
-
Changes
in the economy
-
Technology
influx
-
Shift
in demography, etc.,
Radio
being the poor man’s medium is also known for its simplicity and lucidity. And
any change taking place in the society can be reflected through the medium and
vice versa. As carriers of the message, they have the immense potential to
influence the decisions of the people at large. And Drama being the Emperor
of all Formats has played monumental roles in effecting a change in the
lives of the people, for the good or bad.
Speaking of Social Values, in the Indian
context, building up a solid and substantial social capital as the basis of
civil society and ensuring harmony amidst a multi religious, multi cultural
community have been the twin aims, which All India Radio has handled with
panache. All
India Radio has been maintaining a very healthy convention in not promoting
smoking, violence, drinking alcohol or in indulging in un-parliamentary,
obscene, disrespectful and derogatory usages in all its programmes; it is
religiously committed to the maintenance of harmony and upholding of values.
Promoting a universal culture has always been the ethos of the organisation and
in the name of independence; universal values and ethics are seldom given a go
by. As a responsible public service broadcaster, AIR has always promoted
decency, refined broadcast and remained neutral at all circumstances, in the
face of fierce onslaught by fellow commercial media. Equally remarkable is the
harmony present, in all its stations across the country, against the background
of a multi cultural, multi religious, multi linguistic milieu prevalent. More
significant is its role as a national broadcaster that presents a national
perspective against the narrow, parochial and crass commercial orientation of
the private broadcasters.
Classical Thamizh
speaks of Iyal, Isai and Naatakam – Prose, Poetry and
Drama. Classical Sanskrit too speaks volumes on these formats. Bloody
revolutions to more subtle, yet radical social changes have been influenced by
Drama. The biggest potential of Radio
Drama lies in the fact that the common man who may not be able to appreciate
the nuances of poetry and prose, not only understands complex concepts with
ease but also identifies himself with the characters of the Drama, thus
imbibing the values and suggestions diffused, faithfully.
# Play skit on advaita.
Characters become icons to be eulogized, thus making way for effective influencing of public
opinion. This is more true in the case of the developing countries, wherein not
just social values, but also information on a host of other issues like public
health, sanitation, primary education, right to information, vaccination etc.,
can be disseminated most effectively by exploiting Radio Drama, probably the
most powerful societal tool.
# Play skit on
polio.
Every
society has this concept of street plays, dance dramas, folk plays or
variations of these prevailing and the reason as to how they have withstood the
test of time and yet survive is because of the fact that be it the common man
or the erudite, one identifies easily with the characters, theme, plot being
portrayed and the dialogue spoken. He travels through the character, with
the character and in the character, making the identification complete. In my
personal experience, I have realized how drama as a format is more effective as
a tool than even prose, poetry and music, in reaching out to the masses.
But
the million dollar question is - whether it is done…………? I personally opine that
nowadays radios world over are not unduly bothered about exploiting this
powerful tool crying to be used. And the reasons are far too many to be
enumerated, but one thing that can be said for sure is that drama as a format
is lacking serious patronage. If used judiciously, unobtrusively and subtly,
drama can effect very significant changes in the lives of people and the future
of societies. Any format has an element of drama in it, be it a documentary or
an interview or even a talk; drama is the one that gives colour, warmth,
affinity, the “we feeling” as sociologist Sumner would have it. It then becomes
our sole responsibility to put it to use for effective public good or not.
Taking cue from Shakespearean To be or not to be - To use or not to
use, it is for us to come to a meaningful conclusion.
Man Ashege Iranam
(I love Iran),
Moto Shakker,
Thank You.
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