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By Priyanshee Sharma

“Assisted Reproductive Technology” or ART with its grammatical variations and cognate expressions, means all techniques that attempt to obtain a pregnancy by handling the sperm or the oocyte outside the human body and transferring the gamete or the embryo into the reproductive system of a woman. The modern world has progressed deeper and deeper into the ART.

The growth in these ART methods in recognition of the fact that infertility as a medical condition is a problem in the overall well-being of couples and cannot be overlooked, especially in a patriarchal society like India. Infertility is a major problem as kinship and family ties are dependent on progeny.

An estimated one in seven couple in India have fertility problem, and mostly there is no known medical explanation. It is believed that 10 per cent of the general population suffers from some form of infertility. Of every 100 couples resorting to fertility clinics, 40 per cent are male infertility cases, 50 per cent are of women, and the remaining 10 per cent of both partners are infertile.

Assisted Reproductive Technologies involves a number of therapies that manipulate the egg and/or the sperm for conception in order to establish a sustainable pregnancy. All these stem from the basic In Vitro Fertilization (‘IVF’) process.

To put it simply, IVF is a process where a woman is given hormones that increase the number of eggs in her ovaries. These are then taken out via advanced medical instruments. This egg now is fertilized in a petri dish with the sperm of a donor or the father himself. To increase the chances of this conceiving a baby, a number of eggs are fertilized before putting them into the womb of the mother. This is also why it is common to have twins or triplets via IVF. For example, if a couple fertilizes some eggs and two of them are placed inside the mother’s womb, the rest can be used when the couple feels they’re ready for it.  

So, what happens to these frozen embryos if the couple decides to part ways? What happens if the woman wants to conceive via these frozen embryos and the father wants to destroy them because he doesn’t want his biological children to be born like this, thus exercising the right to reproductive privacy? Let us try and understand the stance regarding these issues globally. 

The American courts have adopted three primary conclusions in evaluating the status of frozen embryos, and the rest of the world has accepted either one of the three approaches-

 (i) Conferring full personhood on the embryo,

(ii) Considering embryos as tissues and therefore property or

(iii) Not human life fully but something more than just mere property, that is something in between the (i) and (ii). 

The case of Davis v Davis is the leading case on this jurisprudential concept. In this case, the couple got separated after using IVF for conception. The embryos were fertilized and frozen, and the implantation of them in the wife’s womb failed. After their separation, the wife wanted to donate the embryos to a childless couple, but the husband wanted to discard them. Before we discuss what the court finally ruled, it is pertinent to note what the court observed in the aforementioned three instances.

Let us suppose the embryos were granted full personhood. The first implication would be that these embryos are children, and if they are so they are entitled to maintenance, inheritance and succession rights. There are several frozen embryos in a clinic at one time, if the progenitors refuse to pay for their maintenance, the clinic would be forced to take care of them because discarding them would become murder.  {Note: There in an Act in UK, called Human Fertilization and Embryology Act 2008 that enables clinics to discard embryos after five years.}

Further, suppose after IVF and before implantation, the couple decided to part ways the wife may claim the embryos’ property rights if she decides to implant them in her womb, thus further elongating and complicating the divorce proceedings. 

Even so, the trial court in the present case took the stand that embryos were full-fledged persons. This was, obviously, later turned down by the Supreme Court of Tennessee. 

As per the second instance, the courts in the USA have ruled that the clinics and progenitors share a bailor bailee relationship while treating the embryos as essentially property. This was completely in disregard of the fact that the embryos have the potential of forming human life. 

THE BALANCE OF INTEREST APPROACH

Normally, in cases where two contradictory instances present themselves, most approaches are taken at the extreme ends treating both these instances as a trade-off. Fortunately for this case, the approach was balancing the legitimate interest of the parties. 

The Court ultimately ruled in Davis v Davis that-

Disputes involving the disposition of pre-embryos produced by in vitro fertilization should be resolved, first, by looking to the preferences of the couple. If their wishes cannot be figured or dispute, then their prior Agreement concerning disposition should be held. If no prior agreement exists, then, the relative interests of the parties in using or in not using the pre-embryos must be weighed. Ordinarily, the party wishing to avoid procreation should prevail, assuming that the other party has a reasonable possibility of achieving parenthood by means other than use of the pre-embryos in question. If no other reasonable alternatives exist, then the argument in favour of using the pre-embryos to achieve pregnancy should be considered. However, if the party seeking control of the pre-embryos intends merely to donate them to another couple, the objecting party has the greater interest and should prevail.”

In a nutshell, the court weighed the Right to Privacy of the husband over the Right of Choice of the wife. It is interesting to note that the decision would not have been the same if the wife had wanted to implant the children in her womb instead of giving them away. The decision in such case is not the concern for the purpose of this project. This is revolutionary because a concept of “forced parenthood” is being used to delivering such decisions.

THE CONTRACTARIAN APPROACH

Embryo Disposition Agreements:

Today, it has become common to freeze embryos. Some couples do this because they are undergoing IVF and have more embryos than they require. Others face medical treatments or procedures that could result in infertility and want to preserve their chance to have natural children. At a later date the embryos can be thawed and transferred into the patient, or a surrogate’s uterus so that a child can be born.

Embryo disposition agreements are a tool to help increase the possibility that the parties’ wishes will be upheld – even if one party changes his/her mind. These contracts reduce the unnecessary prolonging of a dispute, it if arises, in court as the wishes of the parties can be easily ascertained with the help of this Agreement. It provides certainty. While it may seem rather unusual to enter into a contract with one’s romantic partner, it is a risk management tool, necessary to protect their future interests.

In the case of Kass v. Kass, the highest court of New York held that agreements among couples regarding their unused frozen embryos should be enforced unless those agreements are contrary to public policy or unless the couple’s circumstances have significantly changed.

According to the New Jersey court, when a couple disagrees with the disposition of the embryos, both parties’ interests must be balanced. While in Iowa, when the parties disagree, the status quo must be maintained until they can reach resolution or until the fertility clinic is no longer contractually bound to keep the embryos, with the expenses for maintaining the embryos to be shouldered by the party opposing their destruction. Although the courts have adopted a variety of tests to resolve such issues, thus far, they have consistently ruled in favor of the spouse who opposes use of the embryos for procreative purposes. 

THE INFORMED CONSENT APPROACH

This approach in a way overruled the contract-based approach because the courts have in some cases refused to uphold the Agreement as was reached by the parties. 

In AZ v. BZ and later in In Re Marriage of Witten, the court held that-

Principles of contract law are inconsistent with the reasoning behind entering into the embryonic disposition agreements in the first place as they interfere with an individual’s ability to reach personal decisions related to their personal reproduction. The Agreement cannot be enforceable even if initial Agreement was unambiguous in its intent. A rather human analysis of the nature of “informed consent” given by the parties has to be made in assessing whether an agreement is enforceable or not”.

The courts have refused to enforce Agreements even if they had no legal issues with them. This is so because the issues regarding family law cannot be solved through the lens of contract enforcement. The courts will analyze whether the intent of the parties has changed due to change in circumstances and will not give straightjacket decision but prefer the present intent of the parties.  

In India, egg-freezing gained traction in 2016, when the former miss world Diana Hayden gave birth to a baby using eggs that she’d had frozen several years before.

India itself doesn’t have a law to regulate this area of reproductive health. The Assisted Reproductive Technology Bill of 2020 defined cryopreservation as the ‘freezing and storing of human gametes, zygotes and embryos’; section 52 of the Bill provided for the storage and handling of human gametes and embryos. Furthermore, to be specific, the only section that comes anywhere close to mentioning how frozen embryos have to be handled is-

A human embryo may, for such appropriate fee as may  be prescribed, be stored for a maximum period of five years and at the end of such period such embryo shall be allowed to perish or donated to an research organisation  registered  under  this  Act  for  research purposes with the consent of the patients and if during the period  of  five  years,  one  of  the  commissioning partners dies; the surviving partner can use the embryo for herself or for her partner, provided an appropriate consent was taken earlier.”

In a nutshell, the jurisprudence around this concept is still developing but it would not be disputed to say that the time when IVF is a household name is not far. So as to prepare for that time, we must be ready so that we can better tackle the issues surrounding it. 

Presently the Union Cabinet has approved THE ASSISTED REPRODUCTIVE TECHNOLOGY (REGULATION) BILL, 2020. The Bill lays down all the essentials required for the Contractarian Approach mentioned above but is still incomplete from Family Law’s perspective. 

  1. Whether, conception through IVF will amount to the consummation of marriage for the purpose of family law?

An answer is given in the National Guidelines for Accreditation, Supervision and Regulation of ART Clinics in India 2005 that lays down that it doesn’t amount to consummation, which can become a ground for nullity. 

Further, let us suppose a wife who wants to work for the present period, freezes her ovum so that she can conceive at a later time in life, hides this information from her husband. Will this become a ground for nullity?

  1.  Whether, if a woman conceives through a sperm donor without the consent of her husband commits adultery? 

Further, while trying to answer these questions and the kind, we are still unsure as to what approach the family courts will tend to follow. 

In Prakash v. Arun Kumar Saini on 5 February 2010, the court observed that to decide whether, a child in the mother’s womb can be called as a person or not, it is important to discuss different stages of birth of a child in the womb of a mother. Technically the term ‘developing ovum’ is used for the first seven to ten days after conception, i.e. until implantation occurs. It is called an ’embryo’ from one week to the end of the second month and later, it is called ‘foetus’. It becomes a child only when it is completely born. 

The life may be considered to have entered either immediately on the date of conception, in the form of a small cell which gets multiplied later or when a mother can feel the movement of child physically, i.e. when the foetus is twenty weeks or five months old and the cell changes its structures and texture to become different parts of the body such as eyes, legs, bones, blood, head etc. Thus, when the child makes movements touching the internal walls of the womb, the actual life is considered to take its physical form by some.

Therefore, there may be a dilemma regarding the exact date of life entering the foetus, but there cannot be any confusion about embryo. If the embryo doesn’t have a life, it cannot be considered a person. 

In Bhupinder Kumar v. Angrej Singh on 28 August 2009, the court observed that reproductive choices are also a dimension of ‘personal liberty’ as understood under Article 21 of the Constitution of India. This position has achieved even more relevance due to the landmark judgment on Privacy, K.S. Puttaswamy v. Union of India which laid down that Privacy is a fundamental right under Article 21 of the Indian Constitution. Further, It is important to recognize that reproductive choices can be exercised to procreate and abstain from procreating. 

Though the instant judgment (Bhupinder Kumar) speaks about women’s right not to procreate, it is only natural that such a right will be extended to men if brought into question. Apart from applying to divorced couples, this may even apply in a wide interpretation of Article 21 to even sperm or ovum donors who wish their gametic materials to be destroyed or withdrawn in the backdrop of the Puttaswamy Judgment.

CONCLUSION

Thus, it is difficult to give a clear cut answer as to whether a balancing of interest approach or a contractarian approach will prevail. Since a Bill is on its way, the correct answer to this question is based on the contingency of the passing of the Bill. If it does not become an Act, then the balance of interests approach seems to be the dominating approach. 

For now, it is important for our Parliament to pass this Bill as soon as possible. This Bill represents that not being able to conceive a child is curable and the couples who cannot conceive through natural means have no reason to be ashamed of it. It has been seen that couples who have been desperate for a child resorted to desperate and in some cases, illegal measures to fill this self-created void. For example, according to an article published in The Hindu, a poor couple sold their child to a childless couple who were humiliated by their relatives. The police, of course, caught them. 

A Bill recognizing the fact that in the absence of natural conception, there are various remedies that the couple can resort to helps such childless couples from taking drastic measure. Furthermore, it might even help elaborate the taboo attached to childlessness. 

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By Kanika Bhatia  

A very hardened rule of any right wing political government lives upto to the hammer analogy. If all you have is a hammer, everything looks like a nail problem. The hammer, every strong armed government possesses is -censorship. 

Unless you’re living under a rock, you have heard about the Cinematographer Amendment Bill, 2021. The new draft proposes to amend the Cinematograph Act of 1952 with provisions that will give the Centre “revisionary powers” and enable it to “re-examine” films already cleared by the Central Board of Film Certification (CBFC). It empowers the Centre to revoke a certificate granted to a film by the Central Board of Film Certification (CBFC), if it is found to violate Section 5 B (1) of the Cinematograph Act, 1952, which discourages certifying a film that is “against the interests of the sovereignty and integrity of India, the security of the state, friendly relations with foreign States, public order, decency or morality, or involves defamation or contempt of court or is likely to incite the commission of any offence. In layperson terms, it allows the State to revisit certification already guaranteed to a film, truncating its existence. It gives the state absolute control, especially after the abolition of Film Certificate Appellate Tribunal which was the last place of appeal for filmmakers. 

Termed as “super censor” by filmmaker Adoor Gopalkrishnan, the proposed draft raised questions and understated fury amongst the film fraternity. Nearly every big wig took to Twitter, leveraging their fellow directors and actors to raise support against it. Of course, like any bill, there are parts of it which either draw no or milder reactions. The draft Bill also includes provisions to penalise film piracy with jail term and fine, and introduce age-based certification. Currently, films are certified into three categories — ‘U’ for unrestricted public exhibition; ‘U/A’ that requires parental guidance for children under 12; and ‘A’ for adult films. The new draft proposes to divide the categories into further age-based groups: U/A 7+, U/A 13+ and U/A 16+. Somehow this age classification mirrors the intent behind the new IT rules announced in February this year: infantilising of the citizenry. 

Censorship works on a basic belief system of the state, viz. ‘we know what is best for you’. It’s the state managed form of age old patriarchy, if I may stretch a tad bit. It’s based on the belief that citizens have no premise on how to decide what to consume in data. Anything can stir emotions against the ruling regime (whichever it maybe), and hence censorship remains an ideal way to propagate ‘control’. A very interesting article by LiveMint from 2018, titled “100 years of film censorship in India” discusses how narratives were controlled in different time periods based on different ideologies that were ruling at varied times. Whether it was the British who were vary of nationalistic themes in Indian movies; Amrit Nahata’s ‘Kissa Kursi Ka’ which stirred sensitivity amongst Congress leaders who eventually publicly burnt reels of the same; or modern day Padmavat which made a particular community sore. India is a country where offence taking is synonymous to religious and political ideologies – i.e. if you have one. If you don’t, a right wing form of art might offend some liberals, you can never say. Post emergency, revival of stifled art of that period was hoped for by Janta Party that came to power. However, no such thing happened because censorship is any governments strongest weapon. 

However, is democracy really under attack with this proposed bill? Shyam Benegal begs to differ. “If a film is given a certificate, does it mean that it is forever,” he said in an interview. He believes cinema needs to adapt to changing times, and some movies will be redundant when they don’t adhere. The bill also faced criticism as it bypassed a basic law regarding bills. Any bill proposed should offer thirty mandatory days for public consultation. A mere 14 days till July 2nd were offered on the same. This authoritarian discrepancy in basic protocols is also brought into question when consulting the abrupt censorship we have seen since 2014, in nearly every sphere. Recently, Italy removed its 108 year old law on censorship because they believed they have advanced as a society to accept that censorship goes against the basic tenets of Democracy. 

Resonating thoughts of the industry at large, an open letter written by 1400 filmmakers, including the likes of Shabana Azmi, Anurag Kashyap, Farhan Akhtar and others, has been addressed to the government demanding a withdrawal of this bill. The fate of the Bill remains in question as of now. 

To close, here’s where I think I would leave you. With questions, like any good citizen. What is the end goal and where does it end? Is our citizenry so incapable of self-regulating and deciphering art that State control becomes imperative? For a government that proclaims to be pro-democracy, where does censorship and control on art lie on the scale of zero to masked dictatorship? Will filmmakers bank on International film festivals and OTT platforms to release their work? Is candy floss films the future of India’s large movie bank? And lastly, is it possible, at all, that released and approved cinema ahead of this bill being passed, will gain more renown in India and abroad once it passes the baton of our cultural gatekeepers? Because to quote Federico Fellini, a renowned director from Italy, “Censorship is advertising paid by the government.” 

Image Courtesy: Racolblegal

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Ashmi Sheth

The Mona Lisa soon won’t be the only woman in spotlight in the Louvre. On 28 May, 2021, art historian and curator Laurence des Cars became the first woman to be appointed as the president-director of the Musée du Louvre, the world’s largest art museum and historical monument in Paris, France, in its 228-year history. Since its inception in 1793 during the French Revolution, the Musée du Louvre has only been led by men. 

Laurence des Cars has studied art history at École du Louvre, the museum’s prestigious school and is a specialist in 19th and 20th century art. She currently heads the Musée d’Orsay, another iconic museum in Paris, dedicated to 19th century art as well as a much smaller one, the Musée de l’Orrangerie.  Des Cars joined the Musée d’Orsay as a curator in 1994, and later became its first woman director in 2017. Des Cars has won acclaim and praise for her efforts to increase greater diversity in the art shows while heading the Musée D’Orsay, and the 2019 exhibit, “Black models: From Gericault to Matisse,” is regarded as a highlight of her tenure. Des Cars will replace the current president of the Musée du Louvre, Jean-Luc Martinez, on September 1, 2021. “Four years at the Orsay gave me this confidence, this crazy idea that I could be the next president of the Louvre,” des Cars told The New York Times in an interview. Some of Des Cars’ plans include extending the museum’s opening hours into the evening to attract young visitors, expand cultural collaborations and international partnerships and create another department for Byzantium and eastern Christianity, which she says is “lost” in the Louvre. When asked about her views on a woman running the world’s most visited and largest museum in the same interview, Des Cars said, “Things are really changing for women in the museum world. Of the 70 curators in the Louvre, more than half of them are women. More women are heading museums, especially in Europe. And younger women are much more confident these days.” 

Recently, as the president of Musée d’Orsay, Des Cars played a significant role in voluntarily returning a Gustav Klimt painting looted by the Nazis to the heirs of its owner – the first for any French museum. As a president of the Musée du Louvre, Des Cars wishes to break down chronological barriers and connect the Impressionists generation with the old masters by doing joint exhibitions with other French museums.

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By Pragya Jain

I think it wouldn’t be a hyperbole to assume that all of us have at some point ran miles with our thumbs on Instagram, in pursuit of nothing in particular. And this marathon helped us chance upon an artist’s online portfolio. That is exactly how I came across GUNJ, and was right away mesmerised by the beautiful and ethereal looking colour palette and sublime handmade crafting. 

And while scrolling through, I was pleasantly surprised to find out that a former schoolmate of mine was the magician behind the collection. Reconnecting with Ms. Gunjan Jain for #SuccessStories for the Womb was an absolute pleasure. The Womb through this series seeks to celebrate the entrepreneurial spirit in women. 

Given the shared educational background, I was curious to find out how in an environment that constantly pushes young minds to pursue STEM or other professional courses, Gunjan was able to definitively make a choice to dive into fashion. Her answer was nothing short of a poetic homage to her choice, she said, “As a kid I was fond of dressing up which then slowly transfigured into observing sartorial choices of people around me, noticing my mother draping saree ever so graciously, flipping through fashion-lifestyle and even interior-architecture magazines.” Gunjan also emphasized the bearing that her family’s textile trade had on her decision to pursue a career in fashion.

Gunjan’s creations and the unique terminology behind her collections prompted me to ask what inspires her to create. Her muse, she says, is anything that stirs her soul and inspires her – “Be it the beauty that I perceive with my senses, in nature, culture, craftsmanship, heritage, in my roots; or simply a feeling, a cause.” Her collections ‘Noor’ & ‘A piece of sky’ are embodiments of self-love and simple pleasures of life.

Entrepreneurship is a daunting venture and inexperience often casts a shadow on the ambitions of many. Gunjan was far beyond her years when she said that the challenges that one comes across aren’t something which require some special skills for mitigation, but just dedication and time. Persistence reiterates Gunjan, is the key. Her optimism is further reflected in the mantra she chooses to live by – ‘The challenges we face in life are lessons that serve us.’ She says, “this thought keeps me going. Every day there would be something or the other but the way we tackle it is always our choice.” 

Being a staunch supporter of handicrafts over fast fashion, her critique of the same was sharp and apt. She consciously points that, “Mass production in fast fashion has definitely taken a lot from us, not only it has negative impacts on our planet (landfills, greenhouse gas emission), but it also has captured market which once belonged to domestic retailers, who supported local workforce (artisans, skilled labour).”

Gunjan passionately brings forward the forgotten art of ensembles. “With fast fashion being in existence, we have forgotten the ‘bond’ our mothers-grandmothers once forged with their ensembles. Not only their ensembles lasted longer but were also mended and lovingly taken care of; contrary to the prevailing throwaway culture.” 

She explained that fashion played a role far more complex than just clothing, it gave people the chance to immerse themselves in the process. “This bond also took place as they themselves were involved in its intricacies. Their clothing was thus an extension of self; how could something so precious be thrown away!

With fast fashion, we are trying to adopt someone else’s expression and desperately trying to add our individuality to it with styling.”

She asks a question more pertinent than ever – what holds more value? Inexpensive yet trendy, unethically mass-produced apparels or garments that are home-grown, hand-made, in higher quality, infused with artisan’s learned craftsmanship, their dedication, something with increased longevity and something that can be treasured?

The answer to her is simple – “Fast fashion with its 52 seasons per year can be trendy but can never be more in value or in luxury, when compared to the ethically produced slow fashion.”

GUNJ prides itself for its intricate motifs that are appreciative of the local art and heritage. Gunjan fondly recalls her engagements with several artisans and how their sincerity and dedication towards their craft inspires her. “I love visiting their workplace. And on one such expedition, I was surprised to see master craft person himself dyeing clothes, which usually is done by people who are employed under him. He was very fond of the process he learned growing up and never misses a chance to get back to skills – be it dyeing, block printing or block making. This simplicity, to me, is so inspiring.”

Gunjan wholeheartedly spoke of the joy that engaging with her craft brings her. “I just love working around with various crafts, these to me are routes which can be traced back to our culture, our history, I find joy in being able to work and explore with learned artisans. 

Then there comes the joy of seeing my designs, when completed, in the form of an ensemble. And lastly, the delight that comes with customers being satisfied with the outcome.”

Perhaps the most important lesson I learned from my interaction with her was that the future of fashion lies in its sustainability, one that Fast Fashion can never match. And that

Being a young entrepreneur is daunting, truly, but taking her zeal and sensibilities in stride, Gunjan has set out on a professional journey that The Womb Team wishes her well for!  

Her designs can be found at https://www.facebook.com/Gunj.byGunjan/ or via @gunj_bygunjan on Instagram.

For more information, please write to gunj.bygunjan@gmail.com or visit https://www.gunjclothing.com/ .

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Arts Centre Melbourne CEO, Claire Spencer warns about increase in trauma among artists in the performing arts during this pandemic

May 14 2020

Ashmi Sheth

The performing arts were among the first industries hit by COVID-19 shutdowns, and will be among the last to recover as limits on gatherings continue, notes The Age. Claire Spencer’s initiative, Arts Wellbeing Collective, founded in 2016, partnered with Support Act and had set up a 24/7 helpline providing counselling for anyone is the Australian performing arts industry.

Due to the rising impact of COVID-19, Spencer said that there has been a 60% increase in the number of calls on the helpline in the past month, and they are exponentially rising week after week. She attributes this trauma both, to financial insecurity that these artists face at such uncertain time, and also to “the separation from community and purpose.” The artists can call on the helpline number to make an appointment with a clinician, or to speak immediately about any aspect of their mental health and well being.

The Arts Wellbeing Collective has also offered simple resources online, for self-care and mental-health during this pandemic. Clinical psychologist Jane Miskovic-Wheatley, who has worked closely with the Arts Wellbeing Collective, states that one of the reasons artists are feeling overwhelmed and uncertain is due to the changes in usual routine and not creating in a way that one would prefer.

The arts have always been linked to mental health, either in the form of catharsis, sublimation or the due to the specific ‘culture’ of the arts and entertainment industry. A report by Victoria University, Working in the Entertainment Industry, released in August 2015, suggested that mental health problems are widespread in professionals working in this sector. The report incorporated performing artists of all kinds, performing arts support workers and broadcast, film and recording media operators. The report reveals that these workers suffer from the effects of uncertain employment, low pay, and work conditions. Rates of suicide, anxiety, depression and sleep disorders have been found to be more prevalent among those working in the entertainment industry than the general population. A number of research studies over the years have stated that there is a strong pattern of suicidalilty in highly creative individuals. At such challenging times of a pandemic, financial crisis and isolation are likely to adversely impact such creative people in the arts. “We’re really, deeply concerned what the next months and years are going to look like. There is a long road out financially, but also for the wellness of people who work in the sector,” Spencer states.

Although the pandemic might have put a stop to income for both men and women artists alike, the history of low pay to women artists as compared to men, especially in the arts, would lead to lower savings among women artists, ultimately affecting their living during this situation. Moreover, the culture of sexual harassment, bullying, or quid pro quo is deeply embedded in the entertainment industry, as confirmed by the local and global #metoo movements. Arts Wellbeing Collective is one of the initiatives working towards ensuring safe, healthy and respectful workplaces in the creative industries as well as fostering mental health and wellbeing among its workers, through efforts such as “Women in Safety Seminar,” podcasts, and online tips centred on mental health and wellbeing. It is important to note, over half the number of experienced industry professionals on Arts Wellbeing Collective Advisory Group are women. In addition, women psychologist Greta Bradman was one of the key consultants for the Arts Wellbeing Collective Pilot Program 2017, which was aimed to “explore the unique mental health challenges faced by performing arts workers, identify themes, and test potential positive interventions.”

The immense contribution various artists in the performing and entertainment industry make to the country’s cultural value and economy is unfortunately not acknowledged enough; and the small and middle-level artists struggle to make their ends meet. India, being a culturally diverse country with a wide range of arts and talents, needs to not only acknowledge the creative artists that motivate us to live in this challenging period, but also encourage them financially and mentally to pursue their passion and continue to offer us hope through the arts.

Arts Centre Melbourne CEO Claire Spencer is certainly a role model for women in leadership, and under her “collaborative and empathetic leadership approach,” Arts Centre Melbourne has initiated many large-scale projects including the Arts Wellbeing Collective and Asia TOPA – Asia-Pacific Triennial of Performing Arts. Claire represents Australia’s most senior women leaders from the corporate, public service, academic and not-for-profit sectors as a member of Chief Executive Women. She is also a Board Member of The Pinnacle Foundation, who provide scholarships and mentoring support to LGBTQI students who are marginalised or disadvantaged. (Rotary Club of Melbourne) Claire held leadership positions at Sydney Opera House and other firms for close to a decade, before taking on the role of CEO at Arts Centre. She has all praises on her role as a leader from professionals in as well as outside the arts field. “Claire is an inspiring CEO. […] She runs a large asset with a complex set of stakeholders, and she does it with strategic vision and a deep appreciation for the humanity of everyone associated with the Arts Centre.” remarked Siobhan McKenna, senior NewsCorp Australia executive and former Board Member of Australian Ballet. More about Spencer’s leadership, work and vision can be read here.

Mental health resources for arts sector workers can be found at www.artswellbeingcollective.com.au

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How can mandalas serve as an effective tool for all women in healing, coping and living.

By Ashmi Sheth

26 May 2020

Verticals: Arts & Culture, Health, International

Across cultures, disciplines, age groups and beyond time  – “Mandala” seems to be intrinsically attractive, a truth we surrender to – in times of distress and self-confusion. Consciously or unconsciously, circles have garnered a biased extent of attention by the human mind transcending beyond cultures and ages. “Mandala” is a Hindi word derived from Sanskrit, meaning “circle” (more specifically, a magic circle; Singer, 1994) or center.

According to Gestalt psychology, Kohler (1992) suggests, simple, closed forms, such as circles, are more quickly perceived and recognized as meaningful. Circles are registered by the eye and passed directly to the visual cortex without intermediate processing (Horowitz, 1983). Because circles look the same whether right side up or turned upside down, the brain does not have to do intermediate processing to recognize a circle, as it does, when identifying a square or some other form that has been rotated. This ease of identification gives circles an advantage over other forms competing for our full attention. The psychological order created by drawing, a circular mandala extends outward, to help us orient ourselves within our present life situation (Wertheimer, 1959). At the same time, circles are believed to help individuals focus inward. Thus, mandala is considered to be a symbol of “wholeness” and “unity” and is used as a tool for spiritual growth and psychological self-realization.

Mandalas are found amongst the most ancient art forms created by human beings. Rock carvings found all over the world incorporate the circular form and its variations such as spirals, crosses, concentric circles. Although frequently found in Tibetan Buddhist culture, mandalas have also been prevalent in Western culture, including European artwork (Jaffe, 1964), and have clear affiliations with Christianity (Edinger, 1987; 1992). The use of mandalas have been found in early Navajo and Pueblo American Indian cultures (Clarke, 1994). Some ceremonies use circular movement to create an ecstatic state of mind. Eskimos incise a circle in a stone with repetitive, rhythmic movements for long periods of time in order to bring about a trance. Such widespread use of the mandala – whether in drawing, from nature, or as a spiritual meditative technique, demonstrate the strong association of the ‘circle’ with the human mind. The ‘circle’ as a motif is believed to resonate with the deeply felt human intuitions.

Scholars have confirmed the benefits of visual art making for women experiencing a variety of psychological disturbances. Research shows benefits of mandala art making for individuals experiencing psychological trauma, abuse, mental disturbances, emotional and even physical pain, to chronic illnesses such as cancer. In a patriarchal society, where women are often socialized into accepting ‘subordinate status’ and performing ‘subordinate roles,’ mandala making can serve as an effective tool to self-discovery, insight and subsequent enhanced self-esteem. The use of mandalas as a therapeutic tool was first mentioned by Carl Jung (1972). During Jung’s many years as a psychotherapist, mandalas were often drawn, painted, modelled, or danced by his patients as well, usually in times of crisis or transformation (Jung, 1963). Jung has also shared case studies of using mandalas with his female patients. (The Collected Works of C. G. Jung, Vol. 9, Part I). in a chapter titled “Concerning Mandala Symbolism” in the same book, Jung shares his experience of viewing a huge mandala (about ten feet ac) drawn by a woman on the floor of the mandapam (porch), in coloured chalks, at the great temple of Madurai in southern India. When asked about the drawing to a pandit, Jung states, that the pandit could offer him no information about it, and “only the women who drew such pictures knew what they meant.” “The woman herself was non-committal; she evidently did not want to be disturbed in her work,” Jung remarks. He also observed that elaborate mandalas in red chalk could also be found on the whitewashed walls of many huts. Thus, the connection between mandala creation and woman’s unconscious does neither seems novel nor a surprising one. 

Mandala making can also help women effectively cope with major life transitions such as entering motherhood or accepting menopause. Gullemin, while studying ‘drawings as a research method,’ explored the drawings made by women, which portrayed how they understood and experienced menopause. A group of female nursing students who were given the activity of creating a mandala and explaining it through writing, reported deeper self-reflection, experiences of rational thought, critical reflection and social awareness, along with experience of ‘socialization’ that is associated with nursing education. Mahar points out to self-awareness as an important aspect of emotional learning, and states that the nursing students need opportunities throughout the curriculum to engage in self-reflection. Her research thus provides a case for activities such as creating and explaining mandalas to be included in nursing education curriculum, which would support private self-reflection as well as critical reflection, and also be within the comfort zone for those students who might be uncomfortable with a completely verbal activity. She asserts, “the mandala should be viewed by nurse educators as both a transformative and culturally sensitive learning strategy that can be used to address the need for emotional learning.”

Mandalas can also be made from stones, sand, clay, or even “found objects.” The underlying aim is to create a “circular pattern,” that is often repetitive, leading to a meditative state called “the zone” or “flow,” which focuses your mind and temporarily pushes aside all your worries and relieves your stress. “People’s drawings in the circles represent what they thought at that time of the drawing, allows them to forget the confusion they are experiencing, and helps them withdraw into themselves by making them concentrate on the act of drawing itself. Mandala art therapy can thus help psychiatric inpatients integrate the different parts of their selves, understand the essence of life, and lead a life that is more centered on themselves” (Jung, 1973). Art psychotherapists use the mandala as a basic tool for self-awareness, self-expression, conflict resolution, and healing. Within the realm of art therapy, the mandala generally refers to any art form that is executed within a circular context. It can be symmetrical, asymmetrical, abstract or just scribble – but inside a circular boundary.

Art therapy is increasingly being used around the world to complement cancer treatments as part of a wellness programme. A Hong Kong cancer support organisation offered three-day mandala making workshop for breast cancer patients. The workshop showed positive results for most of the participants – some reported that it helped calm and quieten their thoughts, for some, the activity provided a distraction from the stress, emotions or pain related to their illness, while some reported that this form of creative expression led to self-discovery or self-healing. Most importantly, many participants reported that the experience of mandala-making activity helped them view their disease or life from a different angle, and helped them develop a positive attitude toward their disease. Mandala art therapy can thus help psychiatric inpatients integrate the different parts of their selves, understand the essence of life, and lead a life that is more centered on themselves (Jung, 1973). 

Results from a research also suggests that mandala drawings, as an assessment tool, can give physicians a non-invasive approach to broadening breast cancer treatment. The authors further state that “this approach guides the physician to extract valuable information that may be blocked by conscious processes.” Another research confirms the positive effects of Mandala art therapy on ‘boosting hope’ – which they define as “a positive energy that can help patients overcome their illnesses”— in psychiatric patients (people suffering from schizophrenia, bipolar affective disorder, and major depressive disorder. 

Mandalas have been created by Indian women, in the form of ‘Rangoli’ and/or ‘kolam’ since many years, and they do have their own religious and spiritual significance. The research studies cited above help us to confirm its efficacy and allow us to remind ourselves of the beautiful and simple tools that we often have handy, but often ignore or are unaware of. Practiced since ages and now empirically confirmed, the mandala can be an effective tool for women coping with the smallest day-to-day stresses, to women struggling with mental or emotional disturbances, to women battling with chronic diseases like cancer. A whole body of literature related to mandalas an spirituality is not even touched upon here, as this article focuses on the psychological benefits of mandala making. As an artist and an art therapy enthusiast, I urge you to dive into the soothing mandala curves, and I’m sure you’ll come out lighter, stronger, brighter, and calmer. 

Note: An important warning needs to be mentioned here, that mandala making is only one of the activities used in art therapy. Mandala making neither explains or demonstrates the full capacity of art therapy, nor is confined only to the field of art therapy. It is a tool used by various practitioners – from spirituality to therapy. 

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Artist Relief create an emergency initiative to offer funds to artists across the United States.

By Ashmi Sheth

The presidents of Andrew W. Mellon Foundation and the Arison Arts Foundation; namely, Elizabeth Alexander and Sarah Arison, have joined with over 20 art groups to create Artist Relief, a $10 million national fund to support individual artists. Explaining the need for such supporting relief to individual artists, they write:

In dark times, artists do more than provide light; they create it and sustain it. They help us see and understand what makes us human in the face of fear and uncertainty. They give us the words and songs and dances and images with which to mourn and exalt. Rather than give antidotes or easy solutions, artists illuminate the path forward and over and through life’s most challenging moments. […] these artists will be the chroniclers, interpreters, and illuminators helping us process and understand the implications of this unique moment in history we are living together. Artnet.

Artist Relief is a coalition organized by the Academy of American Poets, Artadia, Creative Capital, Foundation for Contemporary Arts, MAP Fund, National YoungArts Foundation, and United States Artists. Artist Relief claims to distribute $5,000 grants to artists facing dire financial emergencies due to COVID-19; every week between now and September. They also clarify that the financial and informational resources would be provided irrespective of whether the artists produce new work during this crisis. They further state that their support for these artists “is not conditional or contingent; it is an investment in the future of these artists and in our country’s arts ecosystem.”

The artists eligible for the grant include musicians, playwrights, painters, poets, sculptors, dancers, filmmakers, novelists, and more—who often operate outside of institutions. Practicing artists from all fifty states, territories, and Tribal Nations, working in any discipline, are able to apply for the grant. The grant would be issued regardless of their citizenship status, given that they have generally lived and worked in the United States for the last two years. More information about the eligibility for grant access can be found here. This initiative has been created by keeping in mind the needs of approximately 2.5 million working artists in the United States, out of which roughly 34 percent were self-employed between 2012 and 2016.

These two women presidents of renowned Arts foundations, Elizabeth Alexander and Sarah Arison, have undoubtedly reaffirmed that women are more empathetic and altruistic than males (NCBI), and when in power, they can use this quality to make decisions for the betterment of humankind. Perhaps this is why, they were sensitive to the impact that the pandemic has had on the artists, whom they describe as “the people who connect us to our humanity.” As displayed on the A. W. Mellon Foundation website, over a dozen of the total funders are women.

One of the pioneering independent funding organisations in India, is the India Foundation for the Arts (IFA), that claims to have distributed over $3.5 million to over 600 projects in India since 1995, the year when they starting making grants. They have also started a fundraiser ‘Fund for Supporting Arts and Culture during COVID-19,’ where people’s donations will contribute to future grants; however, there is no specific mention of how these funds would help artists in such a situation of crisis.

Arts & Humanities is generally considered as a “women’s occupation,” with the Masters of Arts graduates displaying a sex ratio of 160 females for 100 males. A paradoxical situation is observed across the globe, with the number of women art graduates outnumbering men, but the number of practicing male artists outnumbering practicing female artists. This shows that not only are women underrepresented in the arts (with fewer women artists being able to exhibit their work in galleries) and discriminated against, but are also not encouraged or provided sufficient resources to be resilient enough to freely pursue their passion, without stressing about the financial input that artists are generally required to make, including art materials, marketing and rents for exhibitions. Artist Relief will hopefully benefit the women artists in the country, most of who are struggling and are self-employed.

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