Do child artistes have rights?

“Under the name of reality shows, what are we asking? Is it ultimately enriching to them or us? Why are we creating boys to be like Salman, Shah Rukh or Hrithik and girls to be Aishwarya-in essence encouraging carbon copies? Why are we not encouraging original singers? Why are we creating clones? Why are parents bending backward to get under the spotlight? What is the yardstick for success?”

The theme of discussion for the first of the open forums of the International Children’s Film Festival, was a serious and a relevant one of “Rights of Child Artistes.” Given the number of children who act in films and in television nowadays, this issue was crucial. The panelists included Amol Palekar, Bobbeeta Sharma, Shravan Kumar (current CEO, CFSI and festival director) and M Vedakumar, while Uma Magal was the moderator.

Uma highlighted the guidelines drawn up for child artistes by the National Commission for Protection of Child Rights. It was also stated that if animals used in films were certified, than why not a body for children? Each of the panelists reacted with different viewpoints.

Shravan Kumar said that in films made by CFSI, guidelines were being followed. He said that a consensus was being evolved, on what is the accepted level of the effort being put in by the child in acting. He said they were also taking into account, whether education was being left out or not.

Bobbeeta Sharma, who acted as a child artiste in Assamese film Anirban mentioned that she did not feel that she was acting. “Dr Saikia (director) approached my parents regarding my role.” She raised a crucial point, “Should we take into account the child’s emotional, psychological aspect or even ask children if they want to act? Why should TV spot talent? Schools and films can!”

Vedakumar, who organised the Asian Film Festivals in Hyderabad and is associated with Forum for Better Hyderabad, asked why there was a dearth of children’s film in the prolific Telugu industry. He felt that acting in cinema should be treated as a hobby; once remuneration is paid it ceases to be hobby. He stressed that education is important in a child’s life and felt that children should be made to live their life. “Let talent be encouraged and not commercialised.”

Well-known actor-director and former chairperson, Children’s Film Society of India, Amol Palekar cited the example of two child artistes Dhruv and Saloni, whom he had introduced.

“Dhruv chose not to continue acting (whether on the advice of his parents or his own one doesn’t know), while Saloni is a prominent TV artiste today. Sachin Tendulkar and Vishwanathan Anand’s (a child prodigy) talent in sports is eminent. What are their educational qualifications? Is that the primary focus or the performance in sports? Second, in most cases most of the parents want the child to be an actor. I do not allow parents on my sets. One way, if you put the child on par with the adult, he will cope early. Different treatment is to be meted out to the adult actor and the child actor. I can push an adult actor for many takes, while the child in the process, may lose his freshness!”

He also disagreed that if money is not paid to the child artiste it amounts to exploitation. Importantly, Amol Palekar questioned, “Under the name of reality shows, what are we asking? Is it ultimately enriching to them or us? Why are we creating boys to be like Salman, Shah Rukh or Hrithik and girls to be Aishwarya-in essence encouraging carbon copies? Why are we not encouraging original singers? Why are we creating clones? Why are parents bending backward to get under the spotlight? What is the yardstick for success?”

The discussion was followed by a Q & A which revolved around this theme. One of the participants from Afghanistan, who has acted in films, pointed out the absence of a child actor on the panel.

It would have been appropriate, as one would have got the actor’s point of view. Since the time was limited, only a handful of questions could be asked. One hopes that Q & A time is longer in the subsequent open forums.