Saturday, December 19, 2009

Art Along the Green Valleys

Aesthetic and creative senses mostly gets stimulated in avert conditions. Assamese artists, along with their national counterparts, have been creating art works for ages. But in 1980s, the so-far calm and quite land had witnessed a series of movements and agitations splattered with blood and burnt smell of human flesh. Artists, writers and singers had suddenly woken up from their slumber in the green valley. A section of educated youth forming and joining groups like ULFA was another characteristic of this decade. The intervention in a common man’s life by the militants and the military force had become routine.

The academic systems and the environment were deteriorating significantly. Most of the teenagers and youth growing up during this time were sent out of the land (mostly to Calcutta, Pune, Delhi and later Bangalore) for better studies, most of them had never returned. With MBA, MBBS and Engineering courses, the love for the fine Art courses were also increasing. A couple of the older generation artists had already got trained from institutions including the M.S.University, Baroda, Shantiniketan and Govt. College of Art, Calcutta, like for example, Shobha Brahma, Neel Pawan Baruah etc.

There were art institutions coming up in Assam also with the initiatives of these artists. Guwahati Arts College, with a well equipped graphic studio, has been producing fantastic graphic artists as well as sculptors. Kokrajhar Arts College, Guwahati Artists’ Guild, Assam Art Society etc. are also significantly contributing towards the art awareness and creating an atmosphere for art education. The new generation artists, graduating from the art institutions, specifically the lot who decided to return, had joined the different Government and private jobs while continuing their art practices. They included Raj Kumar Majinder, Kishore Kumar Das, Simanta Jyoti Baruah, Munin Bhattacharya, Prabin Nath and Abanta Borah. Some of them, like Prafulla Kumar Mushahary and Maneshwar Brahma, had sacrificed significant years of their career in building up institutions like Kokrajhar Art College. Maneshwar Brahma, a living example of those days of blood shed had opted to learn to draw and making prints with his left hand after having more than a dozen bullets in his body and right hand. Though in his earlier works, he directly used to express his pain and helplessness of the incident, his later works now opens up ways to site his body as the new space for the violence and disturbance outside.

The next generation, the products of the 90s, had largely emerged out not as followers but leaders who had developed a diverse taste with the film societies like Assam Cine Art Society and the rich and revolutionary literatures from across the world. Samudra Kajal Saikia and Moushumi Kandali are some of the products of History of Arts who had contributed significantly towards the documentation and reading through the scenario at the length through the daily and weekly newspapers and magazines. ‘Chihna’ and ‘Sabda’ are the only two scholarly magazines which have been publishing write-ups and articles based on art practices and art discourses of the region.

Another group trained technically from the National Institute of Design (NID), Ahmedabad, Film and Television Institute of India (FTII), Pune and National School of Drama (NSD), New Delhi, had had also taken up the craft of making art with their languages of new media, multi media and metamedia etc. With this group of artists, there has been a visible shift from pure paintings and sculptures to videos, installations and performances. Mriganka Madhukaillya and Sonal Jain through their artists collaborative Desire Machine and their project ‘Periferry 1.0’ had opened a new space and ambience for experimental work inside a ferry on the river Brahmaputra. Other younger artists are also coming up with their interesting projects most of the time to Periferry knowing about a separate audience who would reciprocate to their ideas of art making. With the regular symposiums, student residencies and international residencies hosted by Periferry they are successfully balancing the art atmosphere with newness every now and then.

Internationally acclaimed printmaker Dilip Tamuly had taken up installations while in Denmark and Spain. Just after returning from abroad, he did an installation in Assam in 1990, which could be considered as the first effort of its kind in the region. Later, in 1999, the same artists had hosted a performative installation also, as an early attempt of a performance art. Though lots of experimental works have started emerging from different corners, there is no such evidence of performance art until this year, when Periferry had invited an NSD graduate Rabijita Gogoi (who was collaborator of Dilip Tamuly’s performative installation) to have a performance art session at the ferry.

The generation coming up, passing out from different institutions, had already been showing their early signs of creating ripples in the Contemporary art scene. Mahan Jyoti Dutta who passed out from NID this year has been working on videos and short films. Ajay, who came out of College of Arts, has impressed his viewers with his outdoor wooden sculptures wearing formal shirts and ties representing the tribal of his community getting modernised with Western attire. Dolendra based in Guwahati has recently been a part of Khoj Residency at Delhi and produced interesting works with his film making skill.

Lots of expectations have been laid out to the region in coming days. The central Government and the Ministry of Culture have allocated a huge sum of money towards the art and cultural activities of the region this time. The need to give ways and acknowledge the experiments is a biggest necessity now.

Rikimi Madhukaillya

This article has been published by artconcerns, an online art journal. Images to the article can be viewed through the link.


Rocket Singh



De dana dan

Wednesday, November 04, 2009

A brief on the Indian Modern and Contemporary Art(decades)

The emergence of Modernism in India in response to the vital political necessitate for independence and a concrete definition of a nation. In the early 20th century there was a transformed rise of nationalist zeal. In arts this consequence leads to a search and revitalization of Indian cultural history and spirituality, even though one that was not articulated through the pictorial vocabulary of the foreign rulers but by reviving indigenous techniques and material. Till the 1950s, Indian art scene had experienced a number of artists’ collaborative and groups. Groups like Calcutta group, Delhi Shilpi Chakra and Bombay Progressives being the pioneers. A number of art journals like Marg, Artrends etc. were also started from different centers of the country. “Formal and stylistic means are interpreted by this generation on the holy grail of unique, individual expression.” Chaitanya Sambrani, INDIAN ART: an overview, Rupa, 2003.

Southern part of country, artists were also getting charged with the call of the formal rejection of western values in art, Group 1890 lead by K.C.S Paniker, followed by J. Swaminathan in 1960s. Bhupen Khakhar, K G Subramanyan, Jyoti Bhatt and many others were projected out of another initiative from Baroda, also with a similar intention to reject western orientation and had adopted the practice of varied traditional sources. The highly simplified three dimensional images of the tantra motives and images became the soul of Neo-tantric movement with the masters like Biren De, G R Santosh etc.

“The decades of the 1970s and the early 1980s marks the gestation of diverse art practices that come into manifest form in the 1990s. Even as the structure of artist’s groups or art institutions loosened, a few individual artists chartered a fresh course that redefines notions of Indian and the modern.” Gayatri Sinha, IA: an overview, Rupa, 2003. A pursuit for alternate iconographies was like a thread between the diverse practices around the country.

Indian art began to graph a new route, by the mid 1980s. The dialogues that subjugated the art scene were gradually fading away. New generation of artists engaged themselves with new apprehensions. Artists looked forward for fresh concepts which acquired supremacy, so that the artist’s idea became relevant to the work leaving him free to use helps and technicians to complete his work. They experimented with new media, material and techniques, they rethought the scale of the work attempting site-specific three-dimensional installations and they were prepared to negotiate with both global and local stimuli. Themes involving gender, environment and urban crisis began to surface in images. The vibrancy of popular culture worked as a major trigger in image-making. Some of the younger artists, even when they were working with representational forms eschewed narrative elements even as they gave vent to whimsy.

Contemporary art slashed through the silken veils of the exclusive private gallery ambience and got into an aggressive energy with a colourful vigour. As the spotlight of the world economy reallocates towards Asia, most notably China and India, it is fascinating to experience Indian artists’ responses for position in the global scene.

Tuesday, August 04, 2009

regarding theatre activities


You all know about the group SEHAR, based in JNU. We are having theatre productions and other cultural activities through this group in and outside campus for last two years.
Currently we are working on a new theatre production called 'Dhruvaswamini' written by Jaishankar Prasad, one of the brilliant writers of Hindii literature. This play is considered as a classic text.
We are starting our production workshop from tommorow (5 August) at School of Arts & Aesthetics by 9 o'clock in the evening.
Do come and join as in the spirit of creating a vibrant cultural atmoshphere in the JNU campus.

Or do write us if you have any questions and queries regarding that on our group mail id, which is:


Mrityunjay Prabhakar

Thursday, June 11, 2009

'' आओ, देखो सत्य क्या है ''

निधन : हबीब तनवीर

हबीब तनवीर का आज लम्बी बीमारी के बाद निधन हो गया। हबीब साहब ने अपने कला-माध्यम को
सामाजिक सरोकारों से जोड़ा और इन मायनों में वे जितना कला की दुनिया के लिए ज़रूरी थे उतना
ही समाज के लिए अनिवार्य। उनका रंग-कर्म जागृति का एक अलख था, जिसे उनके बाद जगाने की
तवक्को कम दिखती है। कुछ वक़्त पहले सुलभजी ने सबद पर अपने स्तंभ रंगायन में हबीब साहब पर तफसी
ल से लिखा था, आगे वही श्रद्धांजलिस्वरुप दिया जा रहा है।

हबीब तनवीर को याद करना सिर्फ रंगकर्म से जुड़े एक व्यक्ति को याद करने की तरह नहीं है। दसों
दिशाओं से टकराते उस व्यक्ति की कल्पना कीजिए, जिसके सिर पर टूटने को आसमान आमादा हो,
धरती पाँव खींचने को तैयार बैठी हो और कुहनियाँ अन्य दिशाओं से टकराकर छिल रही हों; और
वह व्यक्ति सहज भाव से सजगता तथा बेफ़िक्री दोनों को एक साथ साधकर चला जा रहा हो। अब तक
कुछ ऐसा ही जीवन रहा है हबीब तनवीर का। भारतेन्दु के बाद भारतीय समाज के सांस्कृतिक संघर्ष
को नेतृत्व देनेवाले कुछ गिने-चुने व्यक्तित्वों में हबीब तनवीर भी शामिल हैं। भारतेन्दु का एक भी ना
टक अब तक मंचित न करने के बावजूद वे भारतेन्दु के सर्वाधिक निकट हैं। उन्होंने लोक की व्यापक
अवधारणा को अपने रंगकर्म का आधार बनाते हुए अभिव्यक्ति के नये कौशल से दर्शकों को विस्मित कि
या है।

विस्मय अक्सर हमारी चेतना को जड़ बनाता है, पर हबीब तनवीर के रंग कौशल का जादू हमें इसलिए
विस्मित करता है कि उनकी प्रस्तुतियों में सहजता के साथ वे सारे प्रपंच हमारे सामने खुलने लगते हैं,
जो सदियों से मनुष्य को गुलाम बनाए रखने के लिए मनुष्य द्वारा ही रचे जा रहे हैं। इन प्रपंचों के
तहख़ानों में निर्भय होकर उतरना और सारे गवाक्षों को खोलकर आवाज़ लगाना कि आओ, देखो सत्य
क्या है; आज सरल काम नहीं है। रचनाकर्म में इसके दोहरे ख़तरे होते हैं। एक तो कलात्मकता के ह्रास
का ख़तरा हमेशा बना रहता है और दूसरी ओर प्रपंच रचनेवालों की हिंसा का सामना भी करना पड़ता
है। हबीब तनवीर इन दोनों ख़तरों से जूझते हैं। कलात्मकता के स्तर पर वह निरंतर उन रूढ़ियों को तो
ड़ते हैं, जिन्होंने आज़ादी के बाद के हिन्दी रंगमंच का नैसर्गिक विकास नहीं होने दिया। तथाकथित
बौद्धिकता और आभिजात्यपन की लालसा में इन रूढ़ियों के आधार पर हिन्दी रंगमंच का ऐसा स्वरूप
उभरा, जो आज सामान्य जनता की सांस्कृतिक भूख मिटाने में सक्षम नहीं है।

हबीब तनवीर ने इन रूढ़ियों को तोड़ते हुए नये प्रयोग किए और प्रयोगों की सफलताओं- असफलताओं
के बीच से अपनी प्रस्तुतियों के लिए नयी रंगभाषा और नयी रंगयुक्तियों की खोज की। उन्होंने अपने ना
टकों की केन्द्रीय चेतना से कभी कोई समझौता नहीं किया। अपने हर नाटक को अपने समय और समाज
के प्रति उत्तरदायी बनाए रखा। समाज के सारे प्रपंचों और अंतर्द्वंद्वों को उजागर करते हुए वे उस
शक्ति से न कभी भयभीत हुए न ही समझौता किया, जो मनुष्यता के विरोध में संगठित होकर हिंसा
करती है।

हबीब साझा संस्कृति की वकालत करते रहे हैं। धार्मिक आडम्बरों-बाह्याचारों-कट्टरताओं के ध्वजवाहकों
की क्रूरताएँ हों या पूँजी के मद में बौरायी शक्तियों की हिंसा - सबका उन्होंने सामना किया।
पुनरुत्थानवाद और शुचितावाद को उन्होंने एक सिरे से नकारा। अपने रंगकर्म के आरम्भिक काल से ही
हबीब तनवीर इस बात बल देते रहे हैं कि रंगमंच को आलोचनात्मक होना चाहिए। रजनीतिक दलों की
नकेल पहने बिना राजनीतिक विचारों से लैस रंगमंच की उनकी कल्पना को आरम्भिक दौर में संदेह की
नज़र से देखा गया। पर जैसे-जैसे उन्होंने अपने नाटकों के लिए नयी युक्तियों की खोज की और नाटकों में
विचार के स्तर पर मनुष्य की पक्षधरता का संघर्ष तेज़ किया, फलस्वरूप रंगकर्मियों-दर्शकों का एक
बड़ा तबका उनकी तरफ आकर्षित हुआ।

जिस इप्टा आन्दोलन ने अपनी सक्रियता से देखते-देखते समग्र भारत को एक सूत्र में बाँध दिया था, रा
जनीतिक बँटवारे के बाद उसका बिखरना एक सदमे की तरह था। इस सांस्कृतिक सदमे से उबरने के लिए
अधिकांश कलाकारों ने सृजन का ही रास्ता अपनाया। इप्टा के साथ जुड़े रहने का रंगमंचीय अनुभव हबी
ब तनवीर के काम आया और साथ ही राजनीतिक अंतर्द्वंद्वों से उपजे संकटों और निराशा ने नये रास्तों
की खोज के लिए विवश किया। मानवतावादी विचारों तथा जीवन की संवेदना की अभिव्यक्ति के लिए
स्वतंत्र राहों की निर्मिति के संघर्ष ने हबीब तनवीर को इस सदमे से मुक्ति दी। रॉयल एकेडमी ऑफ़
ड्रामेटिक आट्र्स (राडा) में प्रशिक्षण के दौरान अपनी भाषा में रंगकर्म करने की उनकी आस्था ने
प्रशिक्षण के उत्तरार्द्ध के प्रति उनके मन में अनास्था जगा दी। उन्होंने राडा छोड़ने का निर्णय लि
या, जो असामान्य और जोखिम भरा था। यह जोखिम सब नहीं उठा सकते। अपनी रंग परम्परा और भा
षा के भीतर बहुत गहरे उतरकर उसकी शक्ति की पहचान किए बगैर यह जोखिम नहीं उठाया जा सकता

हबीब तनवीर को अपनी रंग परम्पराओं तथा अपनी भाषा की पहचान थी और इनकी शक्ति पर विश्वास
था। उन्होंने यह जोखिम उठाया और राडा छोड़कर ब्रिस्टल ओल्ड विक थियेटर में प्रशिक्षण लेने लगे।
यहाँ उन्हें डंकन रास मिले, जिन्हें वह आज भी अपना गुरु मानते हैं। डंकन रास ने उन्हें नाटक के पहले
पाठ के दरम्यान प्राप्त नाटक की चेतना और मूल प्रयोजन से जुड़े रहने का हुनर सिखाया। हबीब
तनवीर ने ब्रिस्टल ओल्ड विक के बाद ब्रिटिश ड्रामा लीग में प्रशिक्षण प्राप्त किया। फिर यूरोप
की यात्रा पर निकले। एक ऐसी यात्रा, जिसे संचालित कर रही थी दुनिया की विविध रंग छवियों
को देखने-समझने की बेचैनी।

इस यात्रा ने उनकी इस धारणा को ताक़तवर बनाया कि शब्द और संस्कृति की रचनात्मक दुनिया में उस
स्थान और पर्यावरण का बहुत महत्त्व होता है, जहाँ आप जनमते और पालित-पोषित होते हैं। सृजना
त्मकता के लिए तमाम उर्वरा शक्तियाँ आपकी अपनी ज़मीन में ही छिपी होती हैं। आज़ादी के बाद
रंगमंच के संदर्भ में परम्परा के उपयोग को लेकर चलनेवाली बहस को हबीब तनवीर ने अपने
रंगकर्म से तीव्र किया और धुँधलके को छाँटने के लिए सूत्र दिए। परम्परा के बीच से जीवन को गतिशील
बनानेवाली आधुनिकता के तत्त्वों को चुनकर हबीब तनवीर ने एक नये रंग परिदृश्य की रचना की।

हबीब तनवीर कला को जीवन का अंग मानते हैं। एक ओर शैली, तकनीक और प्रस्तुतिकरण के सम्पूर्णता में
देशज बने रहने पर बल देते हैं, तो साथ-साथ इस बात पर भी बल देते हैं कि इसे कथ्यात्मक रूप से
विश्वजनीन, आधुनिक तथा समसामयिक होना चाहिए। वह महानगरों में मंचित होनेवाले आँचलिक मुहावरों
वाले अपने नाटकों के पक्ष में आक्रामकता के साथ यह तर्क रखते हैं कि, '' मैं इस तथाकथित सभ्य समा
ज के बनावटी और ओढ़े हुए आवरण को उतार देना चाहता हूँ। '' हबीब तनवीर को न तो परम्परा का
दास बनना स्वीकार्य है और न ही परम्परा से मनमानी करना। वह सृजनशीलता और मानवीय मूल्यों के
मूल सरोकारों से जुड़ी परम्परा के उन जीवित अंशों के उपयोग की वकालत करते हैं, जो कलात्मकता को
भ्रष्ट न करें।

मृच्छकटिक पहला नाटक था, जिसे प्रस्तुत करते हुए हबीब तनवीर ने छत्तीसगढ़ के पारम्परिक रंगकर्म
की युक्तियों, बोली, शैली और कलाकारों का प्रयोगधर्मी उपयोग किया। हबीब तनवीर ने आगा हश्र
कश्मीरी, विशाखदत्त के अलावा मौलियर, ब्रेख्त , लोर्का, ऑस्कर वाइल्ड, शेक्सपीयर, गोल्डनी
आदि के नाटकों को मंचित किया। उन्होंने ग़ालिब के जीवन पर भी नाटक किया। इस कालावधि
में उन्हें वैसी सफलता नहीं मिली, जैसी आगरा बाज़ार के मंचन से मिली थी। पर उनकी प्रयोगधर्मिता
बहस के केन्द्र में रही।

गाँव का नाम ससुराल, मोर नाम दामाद ने उन्हें एक बार फिर सफल निर्देशक के रूप में स्थापित किया
। यहीं से उन्होंने अपने रंगकर्म के लिए एक ऐसे रास्ते को पकड़ा या ऐसी दिशा की खोज की, जिसके
कारण उन्हें बाद के दिनों में अपार सफलता और महत्त्व प्राप्त हुआ। चरनदास चोर ने उनको विश्व
स्तर पर प्रतिष्ठित किया। अपने नाटकों की प्रस्तुतियों से हबीब तनवीर बार-बार अपनी सृजना
त्मकता का अतिक्रमण करते हैं। यह एक दुस्साहस भरा काम है। अक्सर बड़े नाम इससे बचना
चाहते हैं क्योंकि अपने ही रचे को फिर से रचकर आगे निकल जाना बहुत कठिन होता है। असफलता का
भय ऐसा करने से रोकता है। पर हबीब तनवीर की प्रयोगधर्मिता असफलताओं से जूझती रही है।

(shabad se sabhar)

Sunday, June 07, 2009

What's Next in Japan: Capitalism or ?

In the context of complete downfall of The Lehman Brothers, fourth biggest investment banking giant, September last year in US, the recent bankruptcy plea filled in by General Motors in the court has seen the end of an era of about 100 years of being a leading and most powerful auto-makers in the world. As everyone knows, it is not true that General Motors was going through a period of slow-down or global recession for the first time since its establishment. Its history is filled with such time interval from time to time, from the Great Depression to many big or small slow down in recent times. With such sort of historical achievement and survival for existence, what has happened this time? That certainly makes some serious topic to think about. Still, in the midst of that, two points are simple and distinct that these downfalls are not the end, and secondly; the in-built systematic structure of capitalism or any form of Neo-liberalism is not going to lead the circumstances to anywhere but to this.

With these consequences, it is quite natural that it will trigger some serious debate about the future of global economy, which is why I have decided to focus on these debates particularly in the second largest economy of the world through the headlines of the newspapers dailies.

If we talk about the headlines in newspapers, we can find some hope of recovery as the government of Japan has declared that Japanese economy is out of the so called "falling from cliff" and the tempo of deterioration has been slowed down.(1) Though, it has been about six months and more from the Lehman- Shock and few countries including China and India has been successful to be capable enough to bring some good results and giving some hope of a steady recovery, but the global economy as a whole, chiefly lead by US economy; is still in deep trouble and certainly required some time with the boost of certain fiscal and monetary regulation in order to return back on track. Yet, theoretically, it has left a remarkable influence on the lobby of big intellectual think tanks and the economists (particularly the hard core supporters of Adam Smith) of the world as well as Japan, to think about the objective and tools needed for the economy in order to surpass this global recession and also consider upon the regulations and corrections in the policy prospects.

Since the slow down hit the global economy, the trade business in Japan has been going through some serious trouble in the midst of increasingly falling foreign demands and remarkable reduction in exports. Moreover, the value of yen is still quite high at its highest level so far in economic history in the exchange market in compare with US dollar and all the tools and tasks for bringing down the value of this yen appreciation is still not productive enough. A number of companies dealing in the business of exports have filled in already their bankruptcy application as there is no more space of further interest rate cuts as it is already at the lowest level in Japan. In other words, if interest rate cuts are not a option to tackle the yen appreciation, what are the alternatives, Japanese economy have in order to go through this problem are the summation of the headlines in newspapers recently.

Japanese government, though, has proceeded with some plan of actions in order to boost the demand at both levels; domestic and overseas.

In case of increasing foreign demands, Japanese companies have opted for the option of cost-cutting which is one of the last options they can have beside technological advancement. The sole purpose was to provide cheap and good products to the international market as well as Asian market where China is striving hard to make his space and solid sustainable influence by providing cheaper products because of the cheap labor available in their home. This severe competition from China in trade business made Japan to pull itself to its limits which has its own pros and cons.

It is true that these cost cutting strategies adopted by Japanese management has lead Japanese trade business to a more widened market space in Asian countries as well as Latin American countries. However, this has also triggered some serious problems of unemployment as the expert says. The critiques of these cost cutting strategies blame the Japanese companies and its management for letting themselves go freely in the pursuit of excessive foreign demands and increasing the dependency on foreign markets rather to explore new possibility in the home country. The reason behind these overseas investments was solely directed to the cheaper labor and higher profitability which provoked severe cost cuts in Japan leading to the raising rates of unemployment. This is not the end, as in the process, Japanese companies have to switch its management system from its traditional trait of lifelong employment to contract-based labor which is put outside the framework of social insurance which is making the situation worse. Hence, there is a debate on the form of capitalism which has freed Japanese management system to pursue for higher profitability. “What will the responsibility of government and companies to provide those fundamental facilities, which have been taken back due to this recession and excessive exploration of money in foreign markets” is also a highlighted debate recently in Japanese newspapers.

Now, If we talk about policies to tackle the slump in domestic demands, Japanese government has already announced a stimulus package of about 15 trillion yen ($150 billion) to boost the domestic consumption. This has definitely shown some good consequences as the industrial output in Japan is increasing from last two months after announcement in April. However, the concerns regarding the sustainability of this stimulus are also quite high. The expert says that this stimulus will last for maximum one year; economy will get back to its previous position if more monetary actions will not be taken by the government. In other words, the debate over the possibility of measuring some new policies to boost the flow of money in economy at domestic level is also gaining momentum recently.

At last, the domain of the recent debates in Japan is majorly concentrated upon three points.

First, whether it is suitable and applicable enough for Japanese economy to carry on with the present form of capitalism or neo-liberalism and avoid any regulatory reforms in economy in order to survive in the export market which is the key factor in GDP growth.

Second, whether the system should be reformed from very basic level of policy framework more like a revolution. This also has serious concern about what will come as the result and what is the level of sustainability of new system. Whether a socialist approach will tackle the problem which is majorly directed to the citizens need and in the process it will halt the absolute freedom of Japanese companies to go for exploring their interests at their own choices.

Third, whether Japanese economy should undergo the process of purifications in the form of just few corrections and regulatory reforms at the policy level and increasing the government role in the economy which will shift the objective of the growth to the citizens and their welfare.

These are the few highlights of the debate which is being carried out by the newspapers dailies in Japan.

Wednesday, June 03, 2009

मेरा मत : जापान के बारे में

ये पोस्ट मै सिर्फ अपने विचारों को प्रकट करने के लिए लिख रहा हूँ ... जापान आने से पहले जापान के बारे में जो भी परिकल्पना करी थी मैंने ...जापान उन सबमे बेहतर साबित हुआ है ...मै मानता हूँ की जापान ने जैसी प्रगति की है वैसी प्रगति किसी भी देश के लिए तकरीबन नामुमकिन जैसी है ...अपने गिने चुने संसाधनों का जैसा सर्वोत्तम प्रयोग जापान ने किया है वैसा किसी भी देश में दुर्लभ है ......जापान में रहते हुए अपने काम में रमे हुए जापानी लोगों को देखकर मुझे अक्सर भारतीय साहित्य के प्रणेता भारतेंदु हरिश्चंद्र जी का एक निबंध की कुछ पंकियाँ याद आती है....जिनमे उन्होंने कहा था ...."ये समय विश्व प्रतिश्पर्धा का दौर है ...सब भाग रहे हैं...विकास की ओर ..उन्नति की ओर ...अमेरिका भाग रहा है .....विश्व युद्ध में परस्त जर्मनी भाग रहा है .....और जापान ....जापानी टट्टू भी हांफते हुए भाग रहे हैं ...लेकिन हम भारतीय जापानी टट्टुओं को हांफते हुए दौड़ते हुए देखभर भी शर्म नहीं खाते...." ये बात बहुत ही आसान सी जान पड़ती है .....लेकिन इसका अर्थ बहुत ही गहरा है .....न्यूनतम प्राकृतिक संसाधनों के बावजूद उन्नति के लिए जो जोश जापान में है वो कहीं नहीं है....हम भारतीय आज भी धर्म, जाति, संप्रदाय के पीछे पागल हुए जाते हैं...धर्म के नाम पर हम पर जुल्म होते हैं तब भी हम सब सहन कर जाते हैं.....जाति के नाम पर हम पर जुल्म होते हैं हम सब सहन कर जाते हैं........मेरे विचार से तो इन सब मूल्यों और परम्पराओं का कोई अर्थ नहीं है....ये हमारे साथ न भी होती तो भी हम इसी जगह पर होते जहाँ हम आज हैं.....या ये कहें की हम किसी बेहतर जगह पर होते अगर इन सब जंजीरों ने हमें जकडा न होता ....... अब तो सिर्फ एक ही बात दिमाग में है ...........जापानी टट्टू कल भी भाग रहे थे .......और आज भी भाग रहे हैं.......... और हम भारतीय कल भी बंधे हुए थे ..........और आज भी बंधे हुए हैं............मै अपनी तरफ से पूरी कोशिश करूँगा की ये बंधन तोडा जा सके .........हम भी भाग सकें..........हांफते हुए ही सही............कम से कम भाग तो सके.........विश्व प्रतिस्पर्धा के इस दौर में ....................

Wednesday, May 27, 2009

First Sign of Growth in April 09 After Three Worst Months Reported: Japanese Economy

After three months of continuous downfall and contraction of economy from January 09 to March 09, Finance Ministry of Japan has reported some improvement in exports which is still down by 39.1% in April, but showing some growth compare to 45.5% down in March and 49.4% down in February. The ministry announced that 68.95 billion yen of trade surplus of Japan is still low about 85% to previous year. However, the rising demand in Asian countries, especially in China has contributed much to this improvement in exports.

Japan has reported third consecutive monthly trade surplus, following a record trade deficit in January when entire global demand of cars, TV and electronic goods was collapsed by the global recession originated in and triggered by American sub prime crisis. As we all know, Japanese economy is thoroughly depend upon the imports of raw materials and imports of ready made products after  processing of raw materials, imports has also shown a downfall of 35.8% in April.

However, experts say that this trade surplus is precisely induced by fiscal stimulus injected in the economy by the government and the industrial production output has shown a positive sign of growth in April following the worst three months of sharpest contraction in the economy by 4% of its GDP witnessed by Japanese economy in the Post War era.  Despite the positive sign of production output in April, there are concerns rising because of the experts’ opinion that this stimulus will not be effective for the stable growth of economy as the liquidity will fade away in a year or so injected by this fiscal stimulus which is about 15.4 trillion yen unveiled last month.

This graph of industrial output also implies some improvement in the end of this fiscal as there are some predictions also that the speed of worsening is slightly moderated in economy. However, Japanese products are facing tough competition in the international market compare to cheap Chinese products; Japanese companies have still a long way to go as they have to further reduce their costs to overpower Chinese competition.

We all know that Japan’s biggest exporting partner country America is currently deeply struck in the global crisis leading a sharp slump in the American domestic demand. Japanese companies are left with no choice but to concentrate on Asian market which is still retaining its domestic demand as China, India and Brazil in Latin America. (reference: Ministry of Finance, Japan)