When Jharkhand became an independent state, Bihar could only rely on education, agri-based industries and tourism as a progress route, writes Anjani Kumar Singh, advisor to the Bihar chief minister, in his memoir One Life is Enough. Hence, “a plan was devised to present Bihar as a soft state,” adds Singh, who is also the director general of Bihar Museum.
The efforts have quite evidently borne fruit. Today, capital city Patna is home to Bihar Museum, which is not only unbundling one of the oldest cultural civilisations but is also being considered as one of the best repositories of history in the country. The museum is currently hosting a biennale, the only such event in the world.
Along with four museums from India, the four-month-long Bihar Museum Biennale is showcasing exhibits of international participants from Nepal, Russia, Israel, Panama and Costa Rica, among other nations. Along with that, the G20 exhibition, which showcases art works of national and international artists, is bringing out the universality of art while retaining the individuality of the region, rightfully justifying the theme ‘Together We Art’.
“The idea was simple,” Singh tells FE. “While there were a lot of art biennales, there was no such event for museums. So, there was no way for us to know about each other’s histories, uniqueness and strengths. For example, a museum somewhere might have come up with a unique solution for a problem, but there was no way to learn that. So, there was no exchange of ideas, solutions and collections. Also, we were not able to showcase India’s collective strength to the world,” he explains. “So, a museum biennale is nothing but a platform for museums and museum-related professionals to share their history, issues, uniqueness, solutions and collection,” he adds.
For the biennale’s curator Dr Alka Pande, it is about communication. “It is about reaching out to a large cross-section of people. It is not about talking to the initiated, I don’t want to talk to people who are museum people. I want to get new people in,” she explains.
An advantage that the Bihar Museum offers to the biennale is its high footfall. “On weekdays, we have a footfall of about 2,000, which rises to 3,500-4,000 on weekends,” Singh says. “This is despite the fact that our ticket rates (`100) are the highest in India,” he adds.
Although developing, Patna, in particular, and Bihar, in general, offers limited options when it comes to recreation. The museum somewhat fills that void.
Making a huge stride away from traditional museums, Bihar Museum is designed more as a cultural centre, with ample options, from a deeply engaging children’s section to an amphitheatre and restaurant, which offers authentic Bihari cuisine. The design of the structure is huge yet minimal, which keeps one intrigued and engaged without overpowering in feel or content.
“Most museums in India are either those of the British-era, or collections of the princely states. But now, the definition of museums has changed. It is no longer just a repository of antiquities. It is no longer static. It is now a cultural centre, an experiential space,” says Singh.
The location adds much allure to the biennale experience, as one hops seamlessly from the Nepali exhibit to the section showcasing ancient antiquities of Bihar. Hence, while attending the biennale, one will definitely go through the museum’s antiquities section, and vice versa, and in no way, the experience feels jarring or disconnected.
Careful thought has also been put in not only curating the antiquities but enhancing the experience, both with tech and non-tech add-ons. So, while a real-life Didarganj Yakshi, played by a school-going girl, who tells the tale of her creation and finding, adds much to the fascination that the accidental finding garners, a young boy roaming around dressed like a monk adds upon the experience and drives one to visit the ruins of Nalanda and Vikramshila.
“Earlier, there was only religious tourism here. So, Buddhists would come to Bodh Gaya for pilgrimage, Hindus to Gaya for Pind Daan and Sikhs to Patna Sahib. So, we already have around 3 crore people arriving, which is more than some other states. The aim now is to convert that into longer stays, only then will the economy benefit,” explains Singh.
A concerted effort is being put in. Apart from Bihar Museum, “other institutions such as the Samrat Ashok Convention Centre were also set up. An international convention centre was built in Rajgir with its own visual arts gallery. The Central Jail was right in front of Patna Junction. The prison was relocated and the Buddha Shanti Stupa was set up with a beautiful park and museum. A huge museum devoted to Lord Buddha is being set up in Vaishali. There is a plan to start an important Bapu Museum in Patna. A science museum designed to international standards will also come up in Patna. A convention complex of international standards is being built at Bodh Gaya, which is an important tourist centre,” Singh writes in his book.
While it is still a novel path for the state, it is innovative and most importantly needed, given Bihar’s resource constraints. It is always advised to play upon one’s strengths, and who knows, several years down the lane, Bihar’s soft power could become a model for others to replicate.
