Should only artists head institutions like Kala Academy and Ravindra Bhavan? It’s a question that resurfaces every few years in Goa, often sparked by controversy, corruption, or sheer frustration from the artistic community.
It sounds idealistic to argue that only artists should be appointed chairpersons of these institutions, after all, they are the beating heart of Goa’s cultural life, built and nurtured by generations of Goan creatives.
But in practice, this remains a pipe dream, held hostage by political egos, party affiliations, and systemic patronage.
Kala Academy, Goa’s premier cultural institution, has been the subject of scrutiny for its management, especially during the controversial and now infamous renovation works undertaken under the chairmanship of Govind Gaude. A former minister and also a self-declared artist, Gaude oversaw a ₹70-crore renovation that has been riddled with controversy.
Despite the massive budget, the building has faced complaints of leaking ceilings, faulty acoustics, and an overall design failure that ignores the architectural genius of Charles Correa’s original structure.
Shockingly, reports have suggested that tenders were not even floated properly, raising suspicions of corruption and misuse of public funds.
Artists who have performed there for decades now call the renovation a betrayal. One described it bluntly as a “cultural crime.”
Yet, Gaude’s defenders argue that he is an artist himself, having acted on stage. So does having an artist at the helm really make a difference?
The answer is complex. Vishnu Wagh, too, was a respected poet, playwright, and cultural icon, but even his tenure at Kala Academy was not free of criticism.
The problem, then, is not merely about whether the chair is held by an artist or not. It’s about whether appointments are made on merit and artistic vision, or purely to serve political utility. In the current system, the latter prevails.
Ravindra Bhavan in Margao, another iconic institution, offers a somewhat different example.
After lying neglected and headless for months, it saw a dramatic turnaround once filmmaker and artist Rajendra Talak took charge.
For the first time in years, artists and local artists were brought into the conversation.
Cleanliness improved, sound systems were upgraded, repair works were finally addressed, and an inclusive approach to governance was adopted. Talak’s appointment proved that when a genuine artist with a sense of administrative responsibility is given the reins, things can change for the better.
But such appointments are rare exceptions, not the norm and they happen not because of a transparent, criteria-based system, but because of political convenience or personal rapport with those in power.
That’s the crux of the issue.
The appointments to cultural institutions in Goa are not autonomous or merit-driven.
They are politically motivated, often determined by proximity to the ruling party. The chairperson’s position is seen not as a responsibility to preserve and promote culture, but as a reward, a badge of power, or a strategic placement in the public eye.
As a result, institutions meant to nurture artistic talent become pawns in larger political games, stagnating under leadership that lacks both vision and accountability.
Artists across Goa are now demanding a change. They want leadership that is grounded in artistic experience and driven by cultural purpose.
They want institutions to be run with the same creative passion that built them. And most importantly, they want to take back control from politicians who neither understand nor care about the cultural soul of these spaces.
This change can only happen if appointments are depoliticized and guided by transparent, eligibility-based processes.
Chairs of institutions like Kala Academy and Ravindra Bhavan must be selected by independent cultural committees, with clear criteria based on artistic credentials and administrative capability.
Ministers should have no role in chairing or directly influencing such institutions.
Until then, the question of whether only artists should lead these spaces will remain moot. What matters more is whether Goa can free its cultural institutions from political strangleholds and hand them back to those who truly understand and respect their value. Only then will Kala Academy and Ravindra Bhavan become more than stages—they will become sanctuaries of creative freedom once again.
