I attend literary festivals to meet authors, introduce my four-year-old twin sons to famous people, and inculcate a sense of reading culture in them,” says Umesh Dubey, a first-generation entrepreneur who began taking his family to attend the Jaipur Literature Festival (JLF) last year.
A literary festival can be defined as a space where writers and readers meet, usually an annual event in a city or as “literature in performance”. Must-have elements include panel discussions with a healthy mix of new and seasoned writers, Q&As with the audience, author signing sessions, workshops related to writing and publishing, book launches, bookstores, a food court, and entertainment in the evenings. And – hopefully – intellectually stimulating conversations, a relaxed ambience, picturesque setting, good weather (no dry days!), and networking possibilities.
In India, literary festivals came into vogue with the astounding success of Jaipur Literature Festival, which began in 2007. The timing was right, soon after the Christmas holidays/ winter break, in January, when Rajasthan is a favourite tourist destination. Attending the festival in the Diggi Palace Grounds, chatting with authors most readers have only admired from afar while sipping the hot Diggi chai in earthen cups, listening to crackling good conversations, and as darkness descends, hearing the musicians who will perform... it made for quite a heady experience. And if at any point you got weary of the crowds and the conversations, you could always step out as a tourist and explore Jaipur. This basic template has begun to be emulated across the country.
The Jaipur Litfest which began in 2007, set the trend for literary festivals across the country
According to the Jaipur Litfest producer, Sanjoy Roy, the intention is to create “a democratic access system of first-come-first-seated where we treat everyone as our guests and do not make a fuss over VIPs. The colour and design create a sense of an Indian mela.”
Of course prior to JLF, India did have a fair share of literary “festivals” like Ajeet Caur’s SAARC Literature Festivals, but admittedly none were on a fabulous scale, nor were they open to the public.
So what explains the runaway success of today’s literature festivals? Says poet K Satchidanadan, “There is a whole urban and semi-urban middle class youth eager to meet authors and listen to them in a festive atmosphere. The publishers are interested in releasing their books there and having their authors on the platform. The authors are interested in meeting other authors and also readers. Cities also get to be on the literary map of India with such celebrations.” Ananth Padmanabhan, senior vice-president, sales, Penguin India, says, “With social media dominating mind space, festivals are a great place to sit back and connect readers to writers; such an engagement opportunity was lacking.” In fact, festival-hopping has resulted in a modern-day phenomenon of the festival junkie: People who move from festival to festival.
Of late the Indian economy may have been in the doldrums but there is no denying that post-liberalisation, more and more people have disposable income, they want to invest in culture and what better way than to make it a family outing? It is a democratic patronage of the arts. It is also a reflection of how much India is becoming a writing culture rather than a reading culture.
Arshia Sattar, who through Sangam House organises the Lekhana Literary Weekend near Bangalore and is also jury member, DSC Award for Literature 2014, says, “My concern is that we are moving further away from ‘literature’ and closer to writing. I think if we had fewer ‘festivals’ and if they had a focus rather than being all things to all people (which is probably what their sponsors want in terms of ‘footfalls’) . . .we might see people stepping out to literary events with dedication.”
Thomas Abraham, CEO, Hachette India, says, “There is not a single real benefit any festival brings to a publisher. And there are a number of cons – it costs a lot to get your author up there for almost no returns on investment, and zero promotional benefit.
Actress Sharmila Tagore in conversation with journalist and author Rauf Ahmed at the Taj Literary Festival
“Yes, if you switch off the business aspect, for the audience it’s a great platform to see your favourite authors, and for authors a great platform to cross-commune with other writers. For editors it’s a good networking and ideas engagement opportunity. But in terms of sales or author brand building, go back to every single festival and put down the authors and their titles and see the impact of either media coverage or sales, and you’ll see not one has moved beyond their earlier levels. Some very successful (read great stage performances) sessions do result in immediate brisker sales at the venue bookshop, but even those are minimal – anything between 30 copies to 100 copies.” Adds Diya Kar Hazra, publisher, trade, Bloomsbury, “There are so many literary festivals these days. Writers are expected to do more than just write these days – they blog, they tweet, they have pages on FB. They appear at festivals and events reading from their books and having conversations with fellow writers. The reader–writer relationship has changed, as a result. Authors are much more accessible than they ever were.”
Author Shovon Chowdhury who released his debut novel, The Competent Authority, earlier this year says that attending literary festivals “feels good. You feel special. I’m not jaded yet, so I enjoy it. I also love meeting lots of interesting people, including some super-intelligent ones. It gives me a dose of much needed perspective and humility. Plus there’s free meals.”
An attractive feature of a literary festival is the free entry. This requires the festival management to scour for private sponsors, funds and collaborations that will help in putting together the extravaganza and these could be either in money or in kind. In many cases, corporate houses are willing to assist with sponsorship for the brand visibility and media coverage. Recently tourism departments and state governments have partnered with festivals which is understandable given the positive impact festivals can have on the local economy. For instance, in a dipstick survey the JLF management did last year, it was estimated that approximately `20 crores of additional spend could be attributed to JLF in Jaipur on account of accommodation, restaurant and shopping. Even this is set to change. The inaugural edition of the Pune International Literature Festival had ticketed entry. Comic Con too proposes to sell tickets in 2014.
The buzz around festivals is tremendous. But the bubble may soon burst as has happened with book launches. People will get weary of them if they happen too often. They will lose their charm for various reasons. As writer Ravi Subramanian points out, “The divisions between the literary and commercial authors are becoming apparent at these festivals.”
Second, most of the festivals are conducted predominantly in English, though slowly this too is changing, to reflect and represent the local languages and the international participants. Many writers have begun to feel bored and disillusioned with these festivals that often sustain and strengthen the hierarchies among writers, dividing them into “stars” and ordinary writers. Even the most ordinary Indian English writers acquire “stardom” while the best of language writers are often time-fillers invited most often to show that they too are represented.
Over the years the festivals have come to align themselves before and after the December/Christmas holidays, making it easier for authors to mark their presence at more than one event. The length and dates of the festivals are also determined by collaborating partners. In fact Surya Rao, director, Hyderabad Literary Festival, says, “We avoid a clash of dates with other major lit festivals because we check the dates of other fests.”
Maybe Indian festival organisers will collaborate with each other as happens in other countries like Australia.
|Just how many kinds of litfests are there?|
There are so many literary festivals being organised in India that one has to create some sort of “classification”. For instance, festivals that have stood the test of time of a minimum period of three years, grown in popularity (as measured by increasing audience participation), established a brand in their name and proven to be sustainable in terms of sponsorship would probably be at the top of the list. These would be the major milestones in the festival calendar – Jaipur, Kolkata, Chennai, Mumbai, Hyderabad and the Sahitya Akademi’s Festival of Letters.
Then there is what could be termed as a “sub-genre” – that is, equally strong brands, dealing with genres of literature which are not necessarily given sufficient space for intense engagement, such as Bookaroo (children’s literature), ComicCon (comics and graphic novels), Samanvay (Indian languages), Cultures of Peace: Festival of the Northeast (Women and Human Rights), Poetry with Prakriti (poems), Mussoorie Writers Festival (mountain and travel writing) and Lekhana (a long literary weekend).
Finally there are the relatively new festivals that are as yet to establish themselves, but people are already familiar with them – Bangalore, Kasauli, Shillong, Agra, Lucknow, Benaras, Patna, Bhubhaneswar, Chandigarh and Pune. And there are still more being organised.
Niche litfests such as Bookaroo have taken the litfest concept a step further
From HT Brunch, January 12
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