Questionable Stage

Few events blur the line between artistic expression and public accountability as sharply as the recent controversy surrounding IIT-Bombay’s invitation to Mahmood Farooqui. A noted filmmaker and pioneer in reviving ‘Dastangoi,’ a medieval form of storytelling, Farooqui was scheduled to perform ‘Dastan-e-Karn Az Mahabharat’ - a rendition of the ‘Mahabharata’ as part of the Izhaar festival organized by the Indian Languages Club, Vaani. However, the performance was cancelled at the last moment after an outcry from a section of students and staff. The critics expressed discomfort with the choice of Farooqui, who, despite being acquitted after a prior conviction on sexual assault charges, remains a contentious figure due to ongoing debates over consent and power dynamics.

The protesters, including a body of volunteers named ‘IIT B for Bharat’ argued that hosting Mr. Farooqui risked conveying a dismissive message about survivors’ experiences and could compromise campus safety. They emphasized that, as a premier educational institution, IIT-Bombay has a responsibility to foster a respectful and inclusive environment. The invitation not only sparked disapproval within the institution but also led to public debate on social media, ultimately prompting the administration to cancel the performance.

Why, then, do so-called liberal campuses across India engage in such decisions? What do they stand to gain? On campuses known for their progressive leanings, inviting figures who polarize public opinion, often under the guise of inclusivity or artistic expression, has become a recurring trend. For instance, Jawaharlal Nehru University’s frequent hosting of events involving figures with provocative pasts is often framed as a stand for free speech. Similarly, recent guest lectures by controversial activists and intellectuals at institutions like Jadavpur University and Ashoka University have drawn criticism. Such actions risk alienating large segments of society, appearing more like symbolic gestures of defiance than genuine efforts to foster meaningful discussion.

It also raises a pressing question: why choose a figure whose past remains controversial for a performance based on a revered Hindu text, particularly in an educational context? Imagine the reaction if a Hindu figure, even absent a contentious history, were invited to perform or recite from the Quran or other sacred Islamic texts. Farooqui’s past support of a mercy petition for Ajmal Kasab, the lone surviving perpetrator of the 26/11 terror attacks, further compounds the controversy.

The role of educational institutions in navigating cultural sensitivities and promoting ethical standards cannot be understated. Arts and academia must indeed push boundaries to explore new perspectives. However, in contexts as sensitive as India’s current socio-religious climate, the choice of representatives is paramount. For IIT-Bombay, an institution held in high regard, the lesson is clear: the pursuit of artistic and cultural dialogue should neither ignore public sentiment nor sacrifice institutional integrity.