"Modernity" concepts within a mural
EXECUTIVE SUMMARY
There are 6 main points within the essay:
· Graffiti & Street arts are related to Modernity via Globalization process & their benefits towards Indian tourism
· From the mural’s context: Industrialization process of India & its advantages upon both Indian economic growth & national tourism
· From the mural’s context: Consumerism in India & how it fits well with the domestic Tourism context
· Buddhism: Indian religious culture & national identity => Use Nation Branding & Nationalism to stimulate Pride & Patriotism from the natives & expatriates
· To solve the Environmental issue by developing Ecotourism: a modern way of operating the campaign instead of Mass tourism
· Compare with previous tourism campaigns using Tradition theme: Failure
THE CORRELATION BETWEEN STREET ARTS AND MODERNITY IN INDIA
INTRODUCTION
In terms of advising the Ministry of Tourism in India to open a brand new tourism campaign for this year, “Modernity” should be the key concept of this national-scale campaign. Last year, the campaign was focused on “Tradition”, that is why it wasn't successful as expected. Throughout recent years, Asia has generally witnessed an inevitable surge under the process of modernization (Schmidt 2009). Undoubtedly, due to the region's economic growth, the term “modernity” is now being used to describe South Asia (Andaya 1997). In a religious country like India, the concept of Modernity also consists of various aspects from Indian culture: cuisine, arts (music & architecture); especially the rapid economic development’s effects onto many of the Indian subcultures. This essay will scrutinize the given image under the lens of Modernity theories and discuss the importance of adopting modern values in order to develop a sustainable tourism industry by evaluating how Street Arts can be a promising key element for a successful tourism campaign since it has captivated many domestic and foreign tourists to come to India.
Figure 1: Artist Yantr's mural of a Buddha-like face covered in a gas mask with sprouting leaves around
Reproduced from: Art Asia Pacific 2012, viewed 19 March 2021,
<http://artasiapacific.com/Blog/ExtensionKhirkee?fbclid=IwAR0o8Xd7RXEOICDDTVJQ2ymccfI3iLR9EkmuwWuqmZhnXG0bOcwyWz7JnOg >
There are multiple notions from various theorists when it comes to the term of “Modernity” and none of them can be proven to be absolutely true or false.
Firstly, the art form of this mural itself is also indicating Modernity-a civilized Indian society nowadays via Globalization progress because Graffiti & Street arts; which both originated from Western culture, have considerably embedded into Indian subculture. The “Extension Khirkee” street art festival was organized in 2012 and had many participants as talented muralists & graffiti artists like Yantr. Thanks to their hard work & dedication in the flourished land of creativity, the outcome was incredible with various unique murals & graffiti walls located in Delhi. Khirki village's planning regulations and political structures have made it become “a Delhi's gated communities" - a neighborhood for experimental creative projects, such as alternative spaces & hip-hop dance studios...The mural has beautifully represented emerging subcultures in flux within its context. Bhambra (2007) stated that cultural codes and institutional frameworks are crucial elements of multiple modernities. The cultural code being discussed here is the Indian subculture and how it has helped to form multiple modernities in India’s society. “Subculture” refers to a community of people's way of life, customs, and ideas that are distinct from those of the rest of the society (Dhoest & Malliet & Haers & Segaert 2015). Simultaneously, with the maintenance of traditional arts, Street arts (originated from Hip-hop culture) is a new subculture in modern India, it plays a vital role in reflecting the direct impacts of the economic development towards Indian society. Since Modernity is the process of a traditional, rural, agricultural-based society transforming into a material, urban, industrial society; ‘modernity’ is understood as the development that is westernized and can degrade traditional cultures (Arbor 1986). Wagner (2012, p. 3) defined that ‘Thinking about modernity thus meant thinking about globalization’. Terminologically, “Graffiti” & “Street arts” can be interchangeably utilized under diverse national or linguistic contexts. It’s widely claimed that Graffiti derives from Street art culture. Moreover, Graffiti and Street art can also be used in conjunction with other words referring to specific spaces, such as subway/urban art or public art; even related to particular materials like: spray can art, stencil art, or murals (MacDowall 2019). Historically, Graffiti-a representative model of cave murals, first appeared on street walls and trains, was one of the earliest examples of street art. Gangsters in New York, USA in the 1920s and 1930s were responsible for its blooming. It had evolved into a kind of genuine artistic expression by literally occurring all across the US. Throughout the 1970s and 1980s, the influence of this revolutionary culture was palpable globally. Gradually, the “modern” world began to notice and appreciate this subcultural phenomenon (WIDEWALLS n.d.). Graffiti conveys social messages and expresses the artist’s values and personalities. According to Steger (2009), Globalisation is the process by which individuals, ideas, and goods spread around the globe. Thus, this graffiti is related to Modernity because it illustrates the Globalisation process in India. Ideally, Street art can cultivate Sustainable tourism in many different ways, namely: transforming “dead zones” in big cities into eye-catching spaces, becoming a communication tool between the residents & tourists, invigorating tourism activities, creating jobs for artists to make a living and revitalizing identities for a tourist attraction, etc. ‘In terms of urban aesthetics, graffiti is now seen as valuable rather than negative’ (Seok 2020, para. 5). In short, exploring cities through Street arts is a new travel trend that Indian authorities should follow to successfully organize a tourism campaign.
Secondly, applying Modernity concept reflects the swift Industrialization process of India. Attached to the mural’s context, this mural is an artwork which belonged to the collection of a Street art festival called "Extension Khirkee." This is the first well-organized street art festival to take place in New Delhi, in the capital's Khirki Village district. The most noticeable sign of Industrialization within Khirki is the combination of dwellers’ different social status and backgrounds due to the launching of many business places. With former villagers families, recent migrants to the region, low-income workers and middle-class students; living harmonically alongside a massive shopping mall, Khirki village is undoubtedly a symbol of cultural, economic and demographic joint among the old and new India. The location of this mural is what makes it special; the picture has successfully symbolized its setting along with various innovative ideas about Modernity. Simultaneously, this artwork has not only become the cultural legacy of the project but also deeply rooted within the everyday life of an indigenous community. According to Giddens & Pierson (1998), a modern society or Modernity, is a term for industrial civilization. Giddens (1991) also stated that Modernity is associated with a market economy and a complex set of economic institutions, especially industrial production. It’s a fact that many of Indian serious social issues such as inequal living standards and access to education, employment, women's repression and poverty has not been completely resolved; in spite of its remarkable economic development in recent decades (Jacobsen 2016). Consequently, as an essential part of Modernity, Industrialization will benefit both Indian economic growth in general and national tourism in particular via numerous ways. In terms of economic development, Industrialization process will create employment for the inhabitants by providing more specialized job opportunities based on each industry’s characteristics (Ballbé 2011). Moreover, the tourism itself is a promising industry which can broaden the cultural understandings of both tourists & the natives thanks to cross-cultural environment as well as generate available jobs for the unemployed dwellers when new utilities like restaurants, hotels & transportation are opened to serve the tourists. Evidently, this mural should be used as an effective visual approach towards tourists whenever they visit the intersection between the old Khirki village and the new nearby shopping central since it fully captures the industrialization progress of the surroundings.
Thirdly, as mentioned above, the mural is placed in Khirki village-an intersection facing a major shopping center; this shopping mall represents the context of Indian Materialism & Consumerism. While Modernity is a set of ideas, Materiality is one of Modernisation’s key factors (Gardner & Osella 2003). Along with Industrialization (Capitalism, industrial land & plants…) is the initiation of Consumerism, demonstrated via the presence of various new-built shopping malls, entertainment complexes, amusement parks and recreation centers, etc. Such intriguing places will certainly draw travelers’ attention since they satisfy the visitors’ demanding expectations of exploring local culture, relaxing and shopping. Khan & Khan (2011) stated that Consumption in Asia is linked to the extent of national economic growth and Consumerism is inextricably related to Asia's regionalization, this is obvious in leisure activities and popular culture consumption (Otmazgin 2005). Therefore, the Industrialization & Consumerism concepts are not only well-displayed through the mural’s setting; but also proved that Modernity can significantly improve the quality of national tourism campaign by meeting the needs & wants of potential tourists.
Additionally, the use of Modernity concept can be more efficient for tourism when combined with Nationalism. Nationalism is the desire of people who believe that they share a common heritage and destiny to live under their own government on land sacred to their history; as the "spirit of the people," Nationalism will come to dominate all other forms of consciousness (Wiebe 2002). Specifically, the national spirit of India was presented on the mural through a Buddha-like face depiction-an exclusive cultural & religious trait that would be wise to utilize for a nationwide tourism campaign. India is the origin of one of the most important religions globally: BUDDHISM and all of the Buddhistic customs & practices are still maintained and widespread on a global scale (Suthren & Zavos 2011). Theoretically, Hudson & Barendregt (2018) identified the "new Asian modernity" as the interactional relationship between global and indigenous features. Séraphin & Yallop (2020) noted that to completely exploit national identity is an effective way of executing a tourism campaign; plus, to widely promote all the fascinating cultural sides of one country can remarkably contribute to the general development of the Tourism industry (Seraphin & Gowreesunkar 2021). Explicitly, to combine Modernity as an international concept with Buddhism-an Indian signature for a tourism campaign is a wise strategy since it well expressed either the "new Asian modernity" or the “new India”; as well as evoking Indians’ Nationalism. Moreover, there are 4 main fields that characterize modern societies: Politics, Economy, Society and Culture; particularly, Modernity is identified by cultural practices-including ‘imagined community’ (Hall & Gieben 1992). Anderson’s groundbreaking analysis (1991) defined that imagined community is created when even strangers within a community can feel the intimacy and connection based on the sameness towards intangible things (belief, personal backgrounds, religions, etc). Noticeably, the artist’s vision represents the Indians’ pride when it comes to Buddhism-an Indian distinctive religious culture & worldwide popular. This masterpiece conveys the feeling of belonging to an imagined community of those having the same religious belief in buddhism & widespread the message of embracing patriotism towards their homecountry, especially for indian expatriates whenever they approach this illustration via the tourism campaign. Accordingly, not only can this artwork visually approach foreigners by introducing Indian signatures but also increase & attract more domestic tourists by emphasizing their sovereignty and love towards home country.
Furthermore, dissecting this mural, it’s undeniable that environmental issue strongly reflects the dark side of Modernity in India, yet there is still room for improvement as long as the authorities & the insiders comprehend the appropriate ways of operating tourism. Originally, this work is an extension of Yantr's and India's most well-known street art, it was placed in a heavily congested and polluted intersection of Khirki village. The spot is used as a thoroughfare to get to a big shopping center near the village; in other words, it’s a connector between the urban and semi-rural of Delhi. This mural was dedicated to “Operation Smiling Buddha”- the codename given to India's first nuclear weapon blast, which occurred on May 18, 1974. This masterpiece is a powerful statement regarding pollution, both mentally and physically (Cargo Collective n.d.). The Buddha’s face was wearing a gas mask with sprouting leaves on both sides of the mask; it’s so unique & unexpected that Yantr associated a religious culture like Buddhism with a striking trait of Modernisation: a gas mask-a tool used to protect the wearer from inhaling poisonous gases and contaminants from the environment. It somewhat represents Indian pollution situation, as a consequence of the Modernization process. Undoubtedly, the level of economic growth (e.g: the degree of Industrialization), the availability-ability of natural resources and the population, as well as their lifestyle, all influence a nation's environmental problems. Although Indians are becoming more environmentally conscious, its Industrialization process has damaged the natural world to certain extents along with benefiting the economy & raising the general living standards. The rapid Modernization process in India has resulted in numerous environmental issues: water, air & noise pollution, deforestation, health and sanitation, radioactive waste due to nuclear power reactors… (Parikh 2008). On the contrary, the green sprouts signify LIFE and related to Buddhism’s conception about ‘the Tree of Life’-a symbol of Rebirth; which stands for personal growth, strength & beauty (Ishka n.d.). With the drawing of sprouting leaves, the author implies the message of protecting the environment and the urge to execute environmentally-friendly solutions as well as effective tourism activities to improve the overall Indian Tourism context. Relevant to Modernity concept, this idea leads to the key solution of developing Ecotourism in India due to the fact that it’s ecologically sustainable, nature-based, non-extractive and non-consumptive in nature. By definition, Ecotourism or Sustainable tourism, is a form of sustainable traveling that focuses on supporting and enhancing the environment rather than depleting its resources and placing pressure on it (Banerjea 2020). Ecotourism is beneficial for both the environment (via wildlife conservation) & local communities; from a socio-cultural perspective, it aids in raising awareness about political and social problems in developing nations. It also provides employment & skills training for the citizens and helps fostering domestic economic development (Greenloons n.d.). Generally, the importance of Sustainable tourism has been clearly proved above; for recommendations, Indian authorities should make use of this mural for the tourism campaign to show their potential tourists that they truly care about an alarming modern world’s problem: environmental issue & has been working on innovative solutions to cope with it by offering ecotourism as an alternative of mass tourism.
Last but not least, since there are distinct differences among Asian and Western countries in terms of traditional values. While Westerners tend to focus more on their civilization within the context of the rapidly changing modern world; Asians always take pride in their rich & diverse, long-standing history and cultural customs even though they were severely invaded and Colonised (Roe & Cochrane 1989). Unexpectedly, their use of traditional elements has resulted in the failure of many poor-quality tourism campaigns. For example, “Incredible India”- a state-owned tourism agency has maintained its International tourism campaign since 2002. After nearly 20 years of executing, “Incredible India” has tackled with crisis due to the lack of innovation & creativity in tourism products and services; even India's tourism commodity has become uninspiring. While India’s competitors have advanced miles ahead by improving their tourist attractions, India still stuck to the same old Heritage, Golden Triangle and Spirituality themes (HospitalityBiz India 2019).
Figure 2: Incredible India-theme.
Reproduced from: Campaign Asia, viewed 19 March 2021,
In conclusion, we believe that the picture above can be a promising visual approach for next year’s Indian tourism campaign since it includes multiple concepts and theories of Modernity. Besides, the features depicted in the mural can be fully utilized to not only pique the tourists’ interest in Indian civilized society; but also to shift their general perceptions towards Modernity and to covey the messages about Globalization & Industrialization, Consumerism & Nationalism from India. Learning from the previous campaign’s failure, it’s obvious that Modernity will be the best solution for this campaign, rather than Tradition, in associating with modern societies all over the world, as well as enhancing new images of India to visitors.
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