CHENNAI: The view at the India Vision Institute is just as appealing inside as it is outside. The endless blues of the Palavakkam beach would have been distracting, had the office itself not been a repository of stunning artwork. I suppose there is nothing else one can expect when the organisation is run by internationally-recognised museum expert Vinod Daniel, who is known for his work in heritage preservation. He holds a number of positions, including a member of the International Council of Museums, chairman of the Board of AusHeritage and CEO & managing trustee of India Vision Institute.
Raised in Chennai, Vinod began his career as a engineer and has, since, made an interesting pivot to museums as well as pro-bono work for those in need of spectacles in India and as we sat with our cups of black tea, there was much to unfold of the process.
Excerpts follow:
Could you talk of your work in preservation at the Getty?
I am basically a Chennai local boy. I got the opportunity to study at IIT and move to Delhi, which was my first experience of another culture. It opened my door to people, the commonality and appreciating the differences. Next, I got an opportunity to work with the Getty in the US, where they wanted someone with a chemical background to do studies to further preservation. It was one of the projects I was involved in that is now a world standard. Earlier, museums would use chemicals on exhibits to ward off insects; this would have a big impact on the person and the environment. We found a non-toxic way to do this using nitrogen. Over time, I worked with 45 countries. Museums are my passion and I’m privileged that I could become a part of it.
As someone who has worked extensively for museums in several countries, what is the art appreciation or museum-going culture like in different places?
I think the interest to visit museums exists globally. But the mix of people that go to the museums may be different. Bigger museums like the Louvre and the MET get a lot of international visitors. Here (in India), visitation might be more from local visitors. But the key difference is probably in the experience of visiting a museum. Museums in the west are strongly audience-focussed — on how to give them a good experience. Whether it is just the type of building, the cafes, the shops, how they communicate art and history in a way that the visitor really enjoys. Furthermore, many museums in the west are catered strongly to children. Sometimes, parents are forced to come to the museum because of their kids.
What do Chennai museums need to become more appealing?
A place like Tamil Nadu also has its own strength in terms of objects. You have the Chola bronzes or Ravi Varma paintings, history and a range of ancient sites. How you strengthen the museums using this knowledge so that the audience has a ‘wow’ experience, is probably what needs to change.
To change the system in a way where people have the greatest time, you need a master plan of 12 to 15 years. We also need to look gallery by gallery for the strengths of the same and find the best mechanism to communicate. Technology is such a tool, although one musn’t use it just for the sake of it. Text is also (a tool). You want visitors to take at least two messages with them. The next thing needed is leadership. You need continuity with someone who will can take the museum through 8-10 years of transition. Human resource in museum also needs training, it’s not something any public servant can do.
You mentioned in an interview that COVID-19 brought not just challenges but also opportunities. Do you still maintain this?
It has; not just for the museum sector. People everywhere are much more comfortable using online mechanisms. Here is an opportunity. Physical museums have limitations as to how many objects can be displayed and how many people can visit. An online version is an excellent solution. The two-way interaction is also better since people can post their questions. There is also a challenge. When people go to museums in person, they spend money on tickets, food and merchandise. How will they do the same online? If there is a better revenue raising model, it would help you sustain.
What are some of the emerging trends you see in museums currently?
A big trend globally is to connect to communities. What museums want is to not look at themselves as isolated places. It’s about how you can contribute towards contemporary debates about climate change or biodiversity and bring the ability to strengthen cross-cultural understanding. The more you can do, the more relevance you have. The global trend is to extend the definition of what a museum is.
Tell us about your work at the India Vision Institute? As someone who works with museums and visual impairment, what is your opinion on accessibility in Indian museums?
A colleague highlighted the need for people in India to have access to spectacles. So, there was a need to set up something to assist with this. Over 100 million people in the country can’t see well because they don’t have glasses. Seven per cent kids (especially in tribal or corporation schools) can’t see the board and perform poorly. Older people need reading glasses and so, it is a struggle for professions like cobblers or weavers. Productivity goes down by 20 per cent and income capacity also reduces. It’s also common in drivers. Many have compromised eyesight and don’t have glasses so we don’t know if they can see the next signal. This is a concern for road safety. We have established camps, raised awareness and worked with 5,50,000 people to get them glasses.
When it comes to museums, the idea is that anyone with needs doesn’t miss out. The challenges are huge and it’s a young and new area. It will take some time to develop. For the visually impaired, since art cannot be touched, maybe they could have replica art. I am very optimistic about museums in India because everyone from the Prime Minister to the chief minister can be seen saying positive things and having the desire to do something.