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By:

Naresh Kamath

5 November 2024 at 5:30:38 am

Indian Tourists Need a Reputation Reset

India has long taken pride in the philosophy of ‘Atithi Devo Bhava’ - the belief that guests deserve warmth, respect and dignity. It is an idea deeply woven into the country’s cultural imagination, often been projected as a defining Indian value. As millions of Indians travel overseas every year, the conduct of a small but highly visible section of Indian tourists is increasingly shaping how India itself is perceived abroad. The issue is not about a single incident or a handful of viral...

Indian Tourists Need a Reputation Reset

India has long taken pride in the philosophy of ‘Atithi Devo Bhava’ - the belief that guests deserve warmth, respect and dignity. It is an idea deeply woven into the country’s cultural imagination, often been projected as a defining Indian value. As millions of Indians travel overseas every year, the conduct of a small but highly visible section of Indian tourists is increasingly shaping how India itself is perceived abroad. The issue is not about a single incident or a handful of viral videos but a pattern that is drawing notice from hotels, tourism operators and local authorities across the world. The debate gained fresh momentum after reports emerged of a Swiss hotel issuing a notice specifically addressed to Indian guests. The advisory reportedly requested guests not to pack food from breakfast buffets for later consumption and reminded them to maintain silence in corridors and balconies. Hotels routinely issue guidelines. But when a particular nationality becomes the subject of a specific advisory, it inevitably raises larger questions about perception. “It is a sorry state of affairs. Indians, especially in groups, are displaying atrocious behaviour. This was anyway bound to happen,” says Subhash Motwani, founder of Namaste Tourism. Embarrassing Incidents Whether the notice was justified is another separate matter. The question is why such perceptions are emerging in the first place. Recent months have seen several incidents involving Indian tourists gain traction on social media. One widely circulated video showed travellers performing garba on an airport tarmac in Vietnam. Garba is among India’s most vibrant cultural traditions and a source of immense pride for millions. Yet airports are highly regulated spaces where safety protocols and discipline take precedence over celebration. The incident became symbolic of a larger problem. The rise of social media has encouraged some travellers to treat foreign destinations as stages for content creation. Public dancing, loud celebrations, disruptive behaviour and attention-seeking stunts may generate views and engagement online, but they can also leave lasting impressions on locals and fellow tourists. India is hardly the first country to confront such a challenge. During the 1950s and 1960s, American tourists acquired a reputation for arrogance abroad, giving rise to the phrase “Ugly American.” Britain spent decades dealing with the international embarrassment caused by football hooliganism. China faced similar concerns as outbound tourism surged during the early years of the twenty-first century. A nation’s image is shaped not just by its economic achievements and diplomatic influence but also by the behaviour of its citizens overseas. India today finds itself in a similar situation. Indian tourists are now among the most visible traveller groups across Europe, Southeast Asia and the Middle East. This is, in many ways, a remarkable success story. However, with visibility comes responsibility. Hospitality professionals across destinations frequently point to recurring concerns. Excessive noise, queue-jumping, disregard for local regulations, overcrowding hotel rooms and attempts to bypass established rules through jugaad are among the complaints often cited. Collectively, repeated experiences can create lasting perceptions. The most revealing aspect of the debate is that Indian travellers often display exemplary discipline in countries known for strict law enforcement. In destinations such as Singapore, the UAE, Qatar and Saudi Arabia, compliance with rules is generally high. Complaints tend to emerge more frequently in places perceived as relaxed or lenient. That suggests the challenge is not one of awareness. Most travellers understand the rules perfectly well. The problem is often a mindset that rules can be negotiated when consequences appear unlikely. Changing that mindset is far more important than introducing additional regulations or issuing fresh advisories. Every interaction at an airport, hotel, restaurant, tourist attraction or public transport system contributes to how a country is viewed. These everyday encounters often shape perceptions more powerfully than government campaigns or tourism advertisements. As India stakes its claim to a larger role in the world, its citizens must recognise that national prestige is shaped not only by economic achievements and diplomatic successes, but also by everyday behaviour abroad. The overwhelming majority of Indian tourists travel responsibly and leave behind positive impressions. Their conduct rarely becomes news because courtesy seldom goes viral. Yet a handful of highly visible incidents can overshadow thousands of positive experiences. The challenge is to encourage responsible travel and a greater awareness that behaviour abroad carries consequences beyond the individual. The conduct of Indian citizens overseas should reflect the confidence and values of a nation seeking not merely recognition but enduring respect. (The writer is a senior journalist based in Mumbai. Views personal.)

Say Cheese! The Artist Will See You Now

Updated: Mar 3, 2025

Be it a king or a commoner, the portrait remains a paradox, reflecting reality and illusion in a single frame.


caricature
Jonathan Yeo, King Charles III official portrait, 2024

A caricature artist beckons you to sit for a few minutes as you wander along a tourist avenue. You indulge them and leave with a permanent marker drawing on paper. The exaggerated facial features make you smile. The next day you are at a studio for a passport photo in harsh white light. “Don’t smile,” the photographer tells you as you sit stiffly against a white backdrop. Very few would be fortunate to have an artist paint their portrait, notwithstanding the playful lament of John Singer Sargent, the leading portrait painter of the Edwardian era: “Every time I paint a portrait I lose a friend.”


Juan Gris, Portrait of Pablo Picasso, 1912
Juan Gris, Portrait of Pablo Picasso, 1912

A portrait goes to the core of one’s very being, forcing a confrontation between existence and perception. Photographer and writer Paul Caponigro states the dilemma: “It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.” Can any medium truly capture a person as they are? As they perceive themselves to be? Fashion photographer Richard Avedon goes further: “A portrait isn’t a fact but an opinion - an occasion rather than a truth.”


The daguerrotype changed the fundamentals of portraiture, introducing a novel way of being documented in a two-dimensional format. Photographs could capture a subject as no realist painter could, and photographers became a new kind of artist. Modern portrait artists who use photography as their medium would consider the poignant belief that a photo steals a person’s soul, a compliment of the highest order. To be able to convey the true and complete essence of a person is a formidable, if impossible task. Henri Cartier-Bresson said, “In a portrait, I’m looking for the silence in somebody.” His portraits of Mahatma Gandhi are now iconic. In photojournalist Raghu Rai’s black and white portraits of Mother Teresa, Ustad Bismillah Khan, and leading figures from all fields, he in his own words, “picked up a fact of life, and that fact will live forever.”


But even with the ubiquitous presence of photography, a painted portrait continues to offer something unique and intangible. Sitting for a portrait is an intimate act between an artist and their model. Even if they are working off a photograph, allowing someone else to represent who you are takes courage and faith. Artists from Mughal durbars created exquisitely detailed, stylized royal portraits, replete with symbolism. They represent ideals of beauty, wisdom, statesmanship and power, aesthetically sublime, yet conveying the gravitas of the emperor, portraying him as he wanted to be seen and remembered. President Obama’s portrait by Kehinde Wiley shows him on a chair almost engulfed by “nature and symbolic flowers that reflect both his personal and professional history.” In the 2024 official portrait by Jonathan Yeo, King Charles III seems to emerge like a phantom from a background constructed of violent, red brushstrokes. This jarringly contemporary rendering is an especially enigmatic choice for a man who has spent decades as king-in-waiting while advocating for a return to traditional and conservative architecture and art practices.


Portraits of those not necessarily running the world offer even more room for artistic freedom and interpretation. There’s Leonardo da Vinci’s Mona Lisa, a portrait so popular that poems have been written about her beguiling smile. M.V. Dhurandhar’s portrait of his wife, is a masterpiece of academic realism, and yet conveys something deeper lurking beneath the surface. Raja Ravi Varma portrays his models with finesse, while also imbuing them with classical virtues sometimes dictated by the commissioning client. Whistler’s portrait of his mother is an intently observed study of motherhood, austerity, and the melancholy of ageing. Grant Wood’s American Gothic, is more than a portrait of a farmer and his daughter, it is also a statement on the mid-western rural ethos of the 1930s. Colleagues and friends – Husain and Ram Kumar’s – portraits of each other have an informal ease, exuding warmth and compassion. Juan Gris’ 1912 Portrait of Pablo Picasso pays homage to Cubism, with the torso, neck and head deconstructed into planes that defy the structure of a human body - and yet he is identifiable as Picasso. Each of these portraits is as unique a representation of its subject as it is a revelation about the mind of the artist who painted it.


Picasso once asked, “Who sees the human face correctly: the photographer, the mirror, or the painter?” The conundrum lies in defining the word “correctly.” Whether royal or plebe, we persist in wanting to be portrayed as something we feel we are, in our hearts and souls, through whatever medium is available to us in our lifetime. In Camera Lucida, his book on semiology and photography, Roland Barthes writes, “great portrait photographers are great mythologists.” A portrait, quite simply, is a story about a person, told by the artist. The inimitable Salvador Dali however claimed, “I do not paint a portrait to look like the subject, rather does the person grow to look like his portrait.”


(The author is an architect, writer, editor, and artist. Her column meanders through the vibrant world of art, examining exhibitions, offering critiques, delving into theory and exploring everything in between and beyond.)

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