State-funded art galleries and museums are one way of remembering them
Seldom do artists make it to the news. This week was different. Cartoonist Mario de Miranda was remembered in the Goa Assembly. This once again put the spotlight on a talented personality who passed away well over a decade ago.
Following a Calling Attention motion in the Assembly, Chief Minister Pramod Sawant suggested a “state-of-the-art government museum” to honour the prominent cartoonist’s work. It’s a good initiative. Mario Miranda spent almost his lifetime in cartooning and illustrations and worked for major newspapers in what then was the joint commercial capital and media capital of India, Bombay, now Mumbai.
Goa has had its fair share of painters and visual artists, many waiting to be adequately recognised back home. Besides Miranda, there was Vasudev S Gaitonde, born to Goan parents in Nagpur and who died in 2001, largely in obscurity. One of his untitled paintings sold for Rs 42 crore. Others, like Antonio Xavier Trinidade (1870–1935), have been called the ‘Rembrandt of the East’. Trinidade’s works are on permanent exhibition in Panaji but probably not yet widely viewed or recognised. Vamona Navelcar, who passed away in 2021, was recognised by a few not long before his death. Laxman Pai, the former principal of the Goa College of Art and a renowned painter, also passed away in 2021 like Navelcar and gained some recognition thanks to a few individuals who recognised his worth. F N Souza’s highest-priced painting is said to be The Lovers, sold for a whopping Rs 40 crore at Christie’s. Of course, talent cannot be judged by price alone, but it reminds us of their value elsewhere in the world.
Besides this, small Goa has a disproportionate number of noted writers, litterateurs, and poets; film and TV personalities; top-quality musicians, singers, and music mentors. Some have been based outside Goa, so it is easier to overlook their contribution. But, in doing so, Goa misses the crucial potential of building up role models for its future generations in fields where natural talent lies.
State-funded art galleries and museums, as suggested now, are one way of recognising them. But Goa need not stop there. It could take on the task of building a Goa Art Archive to digitally document and preserve the works of Goan artists for research or education. Likewise, scholarships and grants in their name could encourage young artists here to study and widely exhibit their work. Public art installations could be thought of at prominent locations.
If Goa is to do greater justice to the amazing talent that sprouted here, it could also think of an annual Goa Art Biennale, which could be conceptualised as a large-scale art event that brings together Goan and international artists. Theatre, music and art collaborations could also be thought of, as could interactive art workshops. At the same time, Goan artists admittedly do need to feature in a bigger way in the media and in online museums or virtual exhibits. Private sector involvement, corporate sponsorship and community participation could fill in the gaps where the State falls short. Art history needs to reach schools; artist talks and public lectures have to be more ubiquitous. More publications and films documenting Goa’s artistic heritage could also help.
Finally, while there are no two views about the need to recognise the contribution of Mario Miranda, this debate also reminds us about the need to recognise more of our achievers. For this, collaborations and joint ventures could also be thought of.
