Aamir Aziz vs Anita Dube: Are ‘Integrity’ & ‘Conscience’ Reduced To Theoretical Concepts In The Art World?

In 2020, during the protests against the Citizenship Amendment Act (CAA), a lanky figure emerged out of nowhere. Aamir Aziz was reciting his poem ‘Sab Yaad Rakha Jaayega’ (Everything will be remembered) in his raw, hurried, visceral manner. The video went viral, and the words soon became a part of the lexicon of those resisting CAA라이브 바카라 discriminatory nature and the government라이브 바카라 efforts to quash protests. The words were echoed by Pink Floyd vocalist Roger Waters (adding how 'young Aziz' might have a bright future) at an event in London, demanding the release of Julian Assange.

Five years later, Aziz was told that verses from his poem had been used in an exhibit by renowned artist Anita Dube at the Vadehra Art Gallery in New Delhi. In a comprehensive statement issued by the 34-year-old poet/musician, he stated that he tried to get in touch with Dube to understand why she used words from his poem without his permission. Aziz noted how this wasn’t a one-off incident, but something she had also done earlier in a 2023 exhibition. He clarified that he doesn’t mind the use of his poem in a placard at a protest rally, but it라이브 바카라 hardly the same as a commercial exhibition fronted by a renowned artist. He also mentioned how Dube and her representatives responded with ‘silence, half-truths and insulting offers’, which forced him to send a legal notice, and go public with his accusations. In her response, Dube has admitted that she made an ‘ethical lapse’ by using words from Aziz라이브 바카라 poem, without checking with him.

From afar, this latest case of misappropriation appears to be another incident in the commercial art world, where those with clout prey on the vulnerable. According to theatre veteran Anamika Haksar, like most industries, even the art world can be “exploitative, disgusting and absolutely abominable” for upcoming professionals. She라이브 바카라 happy that Aziz took it upon himself to fight this out in the public sphere. “There are many doyens of theatre, film who blatantly plagiarise and go scot-free,” says Haksar. “It라이브 바카라 happened to me two-three times, where a visual from my play has been entirely lifted,” she recalls.

Haksar recounts how a young filmmaker in her acquaintance was made to work for four months on a script. However, he was neither acknowledged as the writer, nor paid. Haksar knows such incidents being depressingly commonplace in India, especially with actors in theatre, whose names aren’t mentioned in the brochure ahead of a play. A renowned writer, who didn’t wish to be named, but is known to Aziz, asked if Dube would be able to pull something like this with a Javed Akhtar or Gulzar. “I’m seeing a lot of judgement against Aamir on social media, as if those who write protest poetry don’t need to feed their stomachs?” they asked.

Advocate Naveen Nagarjuna, based in Delhi, notes that such cases have increased in recent years, since there is more awareness of a legal recourse. He explains that cases where compensation is mentioned in the court order take longer to fight. But the court usually passes an interim order, directing the artist and the gallery to remove the exhibit, and not sell till the conclusion of the trial. Looking at the prima facie facts of this case, Nagarjuna expects the court to pass an interim order, given that Dube has accepted an ethical lapse on her part in her statement. “There라이브 바카라 a possibility that they might settle out of court,” observes Nagarjuna. “The art gallery and the artist will have a role to play in reaching a settlement with the complainant.”

Nagarjuna concedes that while the law is designed to protect those with less power, but it라이브 바카라 a system that can be gamed to oppress those fighting for their rights. “I can’t speak for the larger system-at-hand, but there라이브 바카라 obviously a possibility that a case is dragged forever.” Haksar isn’t surprised that we, as a society, are seeing this become more widespread. “It라이브 바카라 bound to happen in a society so fixated on consumerism, capitalism—the rights of the poor and the powerless will be diminished at every possible stage,” says the director of Ghode Ko Jalebi Khilane Le Jaa Riya Hoon (2018), clarifying she doesn’t put Dube in the same bracket as the rest, because she라이브 바카라 at least shown the decency to accept her mistake in a public forum.

According to the law, Dube was supposed to acknowledge Aziz라이브 바카라 work. “It라이브 바카라 left to Aamir Aziz라이브 바카라 discretion—she needs his permission. And whatever terms he sets, she will have to accept before using his work,” confirms Nagarjuna. It라이브 바카라 not good enough that Dube has put up a “Not for Sale” sign near the exhibit, as mentioned in her statement. “Exhibiting in a gallery is a commercial activity,” notes Nagarjuna. “Even if she라이브 바카라 not earning money out of it, she is earning recognition.”

Haksar is concerned that with Dube being in the wrong and having accepted her lapse in judgement, this might turn into a witch hunt. “People are exploited in all forms—why aren’t we outraged over that too? Why aren’t all these famous Bollywood producers called out similarly?” Haksar says that while Dube could be an easy target, the outrage could also assume a sexist tenor. “I hope we don’t become fascist in that sense—allowing a path for rectification.”

Nagarjuna doesn’t foresee the legal case dragging on for long, considering Dube has not denied her ethical lapse in her statement. Haksar believes this case might set a strong precedent for others. However, she is also concerned that many might not be willing to show the grit that Aziz has shown: “Not just in the art world, but the space for poor people is shrinking. Politically verbal people are being silenced by powerful lobbies, and poor people are too afraid. The brave ones who speak out will face the consequences.”