What is the secret of world domination by the English-speaking nations like the United States and Great Britain over the last two or three centuries? Is it their leading role during the industrial revolution? Is it their embrace of democracy and capitalism? Is it their wealth? or military power? or technology? It is probably all of the above. But, more than anything else, it seems that this phenomenon is rooted in the cultural domination of the world by the English-speaking nations. Taking a leaf from this playbook, the Indians are aiming at similar cultural domination of the world through media and entertainment. The size of India's domestic market, its new found wealth and the current wave of globalization sweeping the world clearly favor India in its quest.
Anil Ambani, the Indian billionaire, is putting up between $500 million and $600 million to back famous Hollywood director Steven Spielberg and his team at DreamWorks as they leave Viacom Inc.'s Paramount Pictures later this year, according to the Wall Street Journal.
While Anil Ambani, married to a former Bollywood actress Tina Munim, has clearly shown great interest in the Indian film world for a while, his global ambition to build a major international media and entertainment empire is just beginning to emerge.
Ambani's company, Reliance Big Entertainment, said last month that it would finance movies by production houses connected to George Clooney, Jim Carrey, Tom Hanks, Brad Pitt and others. It also said it plans to spend more than $1 billion in the next 18 months to expand its entertainment empire. Reliance is not the only Indian company pursuing deals in Hollywood. Similar deals are being made by UTV Motion Pictures, which co-financed current U.S. box-office hit "The Happening" directed by Oscar-winning Indian-American Manoj Night Shyamalan. And a similar joint effort is underway between Disney and Yash Raj Films in producing an animated film "Roadside Romeo" for the Indian audience. Disney is also an investor in UTV.
The history of outside investors, including foreign companies, trying to profit from Hollywood is long, with few notable successes. The 1980s saw a flood of Japanese investors, followed in the 1990s by Germans. The Indians, however, are different. Bollywood film revenues totaled $2.5 billion last year, less than one-tenth the total made by Hollywood films, according to PricewaterhouseCoopers. But film revenue in India has been growing at about 17% a year for the past three years, while growth in the U.S. has been less than 3%. Emerging markets in general have outpaced the U.S. and most other developed markets: Annual movie revenues have climbed more than 6% in the Asia-Pacific region and Latin America in the same period, according to the Wall Street Journal.
Besides the Hollywood deals, Ambani is launching 20 TV channels and owns FM stations in India. Anil Ambani's plans appear to be highly ambitious and may partly be driven by the sibling rivalry between Anil and Mukesh. Currently, Mukesh is ranked a notch higher on the Forbes billionaires list.
The opportunities for growth in Bollywood are attracting successful, Silicon Valley based Indian-American entrepreneurs such as Raj Singh and Kanwal Rekhi to invest in Indian movies with broad, international appeal.
Beyond the big Indian investors, other Indian cultural organizations such as the Indian Council of Cultural Relations (ICCR) has established 20 cultural centers (and two sub-centers) worldwide. Of these, Southeast Asia has only two centers (Jakarta and Kuala Lumpur) and one sub-centre (Bali), according to India Post.
According to a recent piece written by Pranav Kumar of Jawahar Lal University, the Indian Council of Cultural Relations (ICCR), founded by Maulana Abul Kalam Azad, has established 20 cultural centers (and two sub-centers) worldwide. Of these, Southeast Asia has only two centers (Jakarta and Kuala Lumpur) and one sub-centre (Bali).
These centers organize performances of dance, drama, and music, essay competitions, lectures, photo exhibitions, and so on. They also conduct classes for yoga, Indian music and Hindi language. However, with the increasing importance of Southeast Asia in India's foreign policy, there are plans to open more centers in the region. Educational assistance forms another important element in India's cultural diplomacy, offering Southeast Asians opportunities to visit India, acquire education and learn about Indian culture.
There are several important schemes, under which India provides scholarships for Southeast Asian students to study in India. Under the General Cultural Scholarship Scheme (GCSS) of the (ICCR), 55 scholarships are provided to Southeast Asian countries (Brunei-1, Thailand-10, Malaysia-1, Philippines-1, Vietnam-6, Combodia-2, Indonesia-20, Laos-4 and Myanmar-10). Thirty scholarships are provided to BIMSTEC countries. Myanmar and Thailand from Southeast Asia come under the BIMSTEC umbrella. The Indian Council of Cultural Relations (ICCR) has established 20 cultural centers (and two sub-centers) worldwide. Of these, Southeast Asia has only two centers (Jakarta and Kuala Lumpur) and one sub-center (Bali).
These centers organize performances of dance, drama, and music, essay competitions, lectures, photo exhibitions, and so on. They also conduct classes for yoga, Indian music and Hindi language. However, with the increasing importance of Southeast Asia in India's foreign policy, there is an immediate need to open more centers in the region. Educational assistance forms another important element in India's cultural diplomacy, offering Southeast Asians opportunities to visit India, acquire education and learn about Indian culture.
There are several important schemes, under which India provides scholarships for Southeast Asian students to study in India. Under the General Cultural Scholarship Scheme (GCSS) of the (ICCR), 55 scholarships are provided to Southeast Asian countries (Brunei-1, Thailand-10, Malaysia-1, Philippines-1, Vietnam-6, Combodia-2, Indonesia-20, Laos-4 and Myanmar-10). Thirty scholarships are provided to BIMSTEC countries. Myanmar and Thailand from Southeast Asia come under the BIMSTEC umbrella. These centers organize performances of dance, drama, and music, essay competitions, lectures, photo exhibitions, and so on. They also conduct classes for yoga, Indian music and Hindi language. However, with the increasing importance of Southeast Asia in India's foreign policy, there is an immediate need to open more centers in the region. Educational assistance forms another important element in India's cultural diplomacy, offering Southeast Asians opportunities to visit India, acquire education and learn about Indian culture.
There are several important schemes, under which India provides scholarships for Southeast Asian students to study in India. Under the General Cultural Scholarship Scheme (GCSS) of the (ICCR), 55 scholarships are provided to Southeast Asian countries (Brunei-1, Thailand-10, Malaysia-1, Philippines-1, Vietnam-6, Combodia-2, Indonesia-20, Laos-4 and Myanmar-10). Thirty scholarships are provided to BIMSTEC countries. Myanmar and Thailand from Southeast Asia come under the BIMSTEC umbrella.
In Silicon Valley, there is a very active Indian Cultural Center that promotes Indian culture by organizing events and offering classes. Several wealthy Indians have established Indian Studies departments at major universities in the United States to project a positive image of India.
Indians have achieved the kind of domination of their region that could not be achieved by the force of arms. Rather than its huge military and its nuclear arsenal, India's soft power based in Bollywood has been its weapon of choice. Almost every child, every newspaper and every TV channel in Pakistan follows the day to day activities of Bollywood stars like Amitab Bachan and Aishwariya Rai. Having established its cultural dominance over its neighbors including Pakistan, India is now setting its sights on Hollywood and US media to become a major media and entertainment powerhouse extending its influence and spreading its culture well beyond South Asia. The Indians are coming! Rupert Murdoch, Sumner Redstone and Walt Disney and Sony bosses had better watch out!
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2 comments:
Interesting post. It illustrates well the influence achieved by film and music industries vis-a-vis expensive military strategic options. Not just for India but for western nations as well.
Here's Aaakar Patel on Punjabis and Urdu-speakers of Bollywood:
The dominant communities of Bollywood are two: the Urdu-speakers of North India and, above all, the Punjabis from in and around Lahore. They rule Bollywood and always have. To see why this is unusual, imagine a Pakistan film industry set in Karachi but with no Pashtuns or Mohajirs or Sindhis. Instead the actors are all Tamilian and the directors all Bengalis. Imagine also that all Pakistan responds to their Tamil superstars as the nation's biggest heroes. That is how unusual the composition of Bollywood is.
A quick demonstration. Shah Rukh Khan, Aamir Khan and Salman Khan are the three current superstars. All three are Urdu-speakers. In the second rung we have Hrithik Roshan, Saif Ali Khan, Akshay Kumar, Shahid Kapoor and Ajay Devgan. Of these, Hrithik, Ajay and Akshay are Punjabi while Saif is Urdu-speaking. Shahid Kapoor, as his name suggests, is half-Punjabi and half-Urdu-speaking.
Behind the camera, the big names are Punjabi: Karan Johar, Vidhu Vinod Chopra and Yash Chopra of Lahore.
The Kapoor clan of Lyallpur is the greatest family in acting, not just in Bollywood but anywhere in the world. It has produced four generations of superstars: Prithviraj Kapoor, his sons Raj, Shammi and Shashi, their children Rishi and Randhir, and the current generation of Ranbir, Kareena and Karisma.
Bollywood is a Punjabi industry. We have Dev Anand of Lahore, Balraj Sahni of Rawalpindi, Rajendra Kumar of Sialkot, IS Johar of Chakwal, Jeetendra, Premnath, Prem Chopra, Anil Kapoor and Dharmendra who are all Punjabis. Sunil Dutt of Jhelum, Rajesh Khanna, Vinod Khanna, Vinod Mehra, Suresh Oberoi of Quetta, and all their star kids are Punjabis. Composer Roshan (father of Rakesh and grandfather of Hrithik) was from Gujranwala.
What explains this dominance of Punjabis in Bollywood? The answer is their culture. Much of India's television content showcases the culture of conservative Gujarati business families. Similarly, Bollywood is put together around the extroverted culture and rituals of Punjabis.
The sangeet and mehndi of Punjabi weddings are as alien to the Gujarati in Surat as they are to the Mohajir in Karachi. And yet Bollywood's Punjabi culture has successfully penetrated both. Bhangra has become the standard Indian wedding dance. Writer Santosh Desai explained the popularity of bhangra by observing that it was the only form of Indian dance where the armpit was exposed. Indians are naturally modest, and the Punjabi's culture best represents our expressions of fun and wantonness.
Even artsy Indian cinema is made by the people we call Punjus - Gurinder Chadha, Deepa Mehta and Mira Nair.
Another stream of Bollywood is also connected to Lahore, in this case intellectually, and that is the progressives. Sajjad Zaheer (father of Nadira Babbar), Jan Nisar Akhtar (father of lyricist Javed and grandfather of actor/director Farhan and director Zoya), Kaifi Azmi (father of Shabana), Majrooh Sultanpuri and so many others have a deep link to that city.
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