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The Wire
5 hours ago
- Politics
- The Wire
'A Quiet Crisis': Deepak Nayyar on the State of Higher Education in India
Professor Deepak Nayyar speaks on pressing questions, challenges and concerns over higher education in India. Deepak Nayyar speaking at the B.G. Deshmukh Lecture 2025 at IIC, Delhi. Photo: YouTube New Delhi: At the 2025 BG Deshmukh Memorial Lecture at the India International Centre in New Delhi on July 9, Deepak Nayyar, Emeritus Professor of Economics at Jawaharlal Nehru University and former vice-chancellor of Delhi University, reflected on the challenges facing India's higher education system. He cautioned that a combination of structural neglect, political intervention and institutional decline has brought public universities to a point of serious concern. Placing higher education within the broader developmental trajectory of nations, Nayyar said that while foundational schooling is critical, it is universities that enable the skills and ideas necessary for long-term economic and social progress. He described India's limited investment in higher education as one of the country's most significant post-independence shortcomings. Describing the issue as a 'quiet crisis', Nayyar traced its evolution over several decades. He highlighted the growing gap between demand and supply for quality higher education, the decline of academic standards, and the erosion of previously well-regarded institutions. "The challenges confronting higher education in India are clear. It needs a massive expansion to educate much larger numbers without diluting academic standards," he said. While expressing caution over global university rankings, he acknowledged that India's poor performance on these indices pointed to wider structural issues. He also raised concerns about the rapid expansion of elite institutions such as the IITs and IIMs, noting that it had created challenges around quality control and institutional coherence. "Alas, the comparative advantage that India had, at least in a few of its universities, has been slowly yet surely squandered over time. And sadly, even that little that remains is being progressively undermined by the growing intrusion of politics in universities," he argued. By contrast, countries like China and others in Asia, he said, had managed more effective reforms. Nayyar also discussed the trend of Indian students seeking higher education abroad. In 2023, over 900,000 students reportedly studied overseas, spending close to USD 27 billion – roughly equivalent to India's foreign exchange earnings from tourism, Nayyar noted, adding that such a significant outflow of resources could have been channelled into building and improving domestic institutions. A major portion of the lecture focused on political and bureaucratic interference in public universities. Nayyar described how, since the 1970s, central and state governments have increasingly influenced key academic appointments and policy decisions, often prioritising political alignment over academic merit. He noted that the period after 2014 had seen this trend accelerate, adding that "The past five years since 2019 have witnessed a rapid acceleration in this process. It has now reached a stage where the future of public universities in India is at grave risk, if not already over the edge of the precipice." Nayyar also expressed concern about the functioning of the University Grants Commission (UGC), calling it an institution with significant power but limited accountability. He argued that its emphasis on standardisation has often come at the cost of institutional diversity and academic excellence. In several cases, he said, leadership roles were filled based on loyalty rather than expertise and mechanisms for academic dissent were steadily weakening. Even the IITs and IIMs, which traditionally had more institutional autonomy, were now increasingly subject to central oversight, he explained. On the subject of academic freedom, Nayyar underlined the importance of open inquiry, critical thinking, and independent research. He described a growing culture of self-censorship and administrative scrutiny, sharing instances where faculty were required to sign undertakings to not criticise the government in order to attend international conferences. He also noted that private universities were not immune, often adopting restrictive internal policies in response to external pressures. For Indian universities to flourish, he argued, academic spaces must be protected from both political and commercial influence. Stressing that the health of the education sector is connected to India's long-term development goals, he said, "I'd like to examine the implications and consequences of the crisis in higher what this might mean for realising the aspiration of a Viksit Bharat, a developed high income country, in 2047." "Indeed, selections are shaped by political preferences and political networks. The quality of those appointed to leadership positions in higher education, even if for limited tenures, is critical, because they willingly cede the autonomy of their institutional space for their political commitment, or simply their career paths. The quality of those appointed to faculty positions is perhaps even more critical, because it will shape the future of higher education," he noted. Without serious investment in knowledge systems and the protection of institutional autonomy, he argued, the country's vision of becoming a developed economy by 2047 would remain difficult to achieve. He said that innovation, productivity and technological advancement are all linked to a strong higher education framework. Ending on a note of cautious hope, Nayyar urged academic communities to actively reclaim their role in shaping institutions. 'Autonomy,' he said, 'is not given – it is taken.' The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
Time of India
2 days ago
- Time of India
3 dead, 9 hurt in Koraput road accident; CM announces ex gratia of Rs 4L each
Koraput: Three persons were killed and at least nine others were injured in a head-on collision between an SUV and a car on NH-26 near Sunabeda in Koraput district late Saturday night. The accident occurred around 11pm when the two vehicles, reportedly travelling at high speed, collided with great force. The deceased were identified as Ashutosh Rana (24), Dibyaranjan Patra (24), and Bikash Patra (26), all residents of Sunabeda. Another passenger, Kailash Harijan (26), sustained critical injuries and was initially treated at a Sunabeda hospital before being shifted to Visakhapatnam. "At least eight people were in the SUV. Most sustained minor injuries, while the driver was seriously hurt and referred to a hospital in Visakhapatnam," said IIC of Sunabeda police station, Sushma Konhar. The rest were administered first aid and did not require hospitalisation. CM Mohan Charan Majhi expressed deep sorrow over the incident and announced an ex gratia of Rs 4 lakh each to the next of kin of the deceased from the Chief Minister's Relief Fund. He also said the govt will bear the medical expenses of the injured. Police have registered a case and launched an investigation to determine the exact cause of the accident.
New Indian Express
5 days ago
- Entertainment
- New Indian Express
20 years of Delhi's Dastangoi Collective so it has to be a Dastan-ival!
It is said you have conceived the modern format of the dastangoi art form, what does that mean in terms of content and presentation? When I revived the form under the guidance of the great late Shamsur Rahman Faruqi none of us had ever seen a dastangoi performance. My innovation was, I thought, of having two people perform together. With Anusha's help [partner, writer and Peepli Live director Anusha Rizvi] and with my intuitive theatre training, we devised the modern form and presentation style as a combination of the traditional and the modern. We had a takht, katoras to drink from, Anusha devised the costumes, I insisted on a certain style of pajamas and topis. We used lights, sound, stage decorum, which made this much closer to a modern stage show, and thereby modern dastangoi was born as something that was akin to theatre, but also much more than that. Why did you think dastangoi would work in Delhi--there was already theatre present in various forms 20 years ago? Which story did you start with? When I read the traditional stories of Dastan-e-Amir hamza, I was flabbergasted at their plot turns, use of language, poetry and their uninhibited, unfettered imagination. They were the most outstanding thing I had ever come across in Indian literature and performance. So, I knew they would work. The first show was at the IIC in Delhi on May 4, 2005. Why has the story of the tilism (magical world) of Hoshruba become one of the foremost fantasy tales of Urdu and can one understand it if one doesn't know Urdu? Yes, Tilism-e-Hoshruba, the most famous chapter of the traditional Dastan-e-Amir Hamza [supposedly an uncle of the Prophet Mohammed], which is itself in eight volumes or over 8,000 pages, is in many ways the crowning glory not just of Urdu but also Indian literature and performance. It is full of wit, playfulness, literary flourishes, inventiveness and fantasy, and has several different rasas in it, as exhorted by the Natyashastra. It speaks wonderfully to non-Urdu speakers, too. In the Partition dastan, you liberally take material from Krishan Chander, Rahi Masoom Raza, Faiz Ahmed Faiz, Amrita Pritam, Vazira Fazila-Yacoobali's Zamindar, Intizar Hussain, et al. Is dastangoi copyright-agnostic, or is this part of the dastan tradition? There is no stealing in paying homage. We draw upon poetry but not stories, we allude to those great works and adapt them and synergise them to our narration. All the readings I have done in my life, all the history I have studied at Delhi, Oxford, Cambridge, gets poured into the Dastan's research to re-direct the material and deploy it to new uses. Vazira's Zamindar book, for instance, has not sold as many copies as the number of people it may have reached via our Dastans. Dastangoi takes knowledge out of books, libraries and universities and puts it into the popular realm. In these 20 years, which dastan performance has been your most difficult, or that's given the audience most pleasure? Dastan-e-Karan from the Mahabharata. I put my life into it every time I do it. It has also earned a great response, and why not, it is after all the Mahabharata.
Indian Express
6 days ago
- Entertainment
- Indian Express
How an artist brings alive the unseen faces of daily labour through oil and charcoal
Written by Deepak Rajeev A young boy sitting against a backdrop dominated by fast-paced machinery, his contemplating, sombre eyes indicate an infinitude of thoughts; an old man with visible chest bones on a canvas of an oil painting, sleeping after the day ends, his bald head drooping onto his shoulder; a giant shovelling machine that represents the complex work and thoughts of daily-wage earners are all part of Shubhendu Sarkar's solo exhibition titled 'Tracing the Unseen' at the India International Centre (IIC) Annexe, New Delhi. The show, which closes on July 18, captures the unseen realities of hardworking people who often shape our lives. Our cities and the modern techno-industrial society, saturated with social media and advertisements, put on a facade of luxury and sophistication, showing only the best of what one can dream of. In this dynamic environment of hustle-culture, shopping frenzy and extravaganza, what often goes unrecognised and unappreciated are some of the simple souls and their physical labour that continues from dawn-till-dusk, often in a chaotic and dark environment. Shubhendu draws his subjects from the people he sees and interacts with daily —individuals who often fade into the background. Capturing fleeting moments from these familiar domestic spaces, he tries to plant a seed of emotional truth or awareness within the psyche of aesthetes. He says, 'Many of these paintings are born from my experiences of interacting with people when I visit in Delhi. Be it the young boy repairing a bicycle puncture or a man repairing a machine. For instance, some of the drawings are of my father. I first draw a rough sketch on paper with graphite or charcoal, then, after procuring a fair idea about the picture, I execute it with oil on canvas.' As an artist, Shubhendu's eyes fall on these seen-yet-unseen actualities of the world and through his paintings, he creates a deeper sense of empathy and perception of our surroundings. 'My surroundings are my inspiration. An artist doesn't look at things like everyone else. A simple, everyday situation can be put onto a canvas. When a connoisseur sees the image, as it is deeply connected to humanity, inside his heart he will feel 'wow', have that sense of wonder. That's all I want,' he says. In the IIC Annexe Art Gallery Shubhendu has placed two oil paintings together, titled 'The Carpenter's Code' and 'Where the Silence Paints'. These artworks without a human subject, speak volumes about the artist and the hours spent in solitary labour. 'The Carpenter's Code' is filled with wooden logs, equipment placed disorderly on the table and slivers of wood spilled on the ground. Similarly, 'Where Silence Paints', is of Shubhendu studio, which contains a canvas at the centre, an empty chair on the left and tables on the right with almost all his painting equipment splattered on it. These paintings depict the spaces of two artists working in different mediums, subtly representing the inner landscapes of creative individuals. Shubhendu who believes that every medium has its own advantages, finds his deepest joy in working with graphite and charcoal on paper and oil painting. In his other paintings, one sees boys engaged in hard physical labour; cycle workshops where wheels, chains and steel splinters create a chaotic mess; a common man sitting in the middle of machines and welding, in the afternoon. Shubhendu's craft attains excellence by converting these mundane moments and people into artistic truths that invite a spectator to pause and contemplate. 'The job of the artist or his highest hope should be what he can contribute to the art world. Not only painters, if you look at singers like Nusrat Fateh Ali Khan or Mohammed Rafi, they have died but their songs live on. The job of a true artist is to produce such works that can surpass the passage of time,' says Shubhendu, who graduated from College of Art, New Delhi in 2020. Shubhendu has received numerous awards, including the Himachal State Museum Award in Painting and has been part of multiple exhibitions throughout India. 'The art of drawing is no longer separate from who I am. It's how I process and understand the world around me, how I communicate what remains unspoken. My art is not decorative, it's lived, it's the solitude of practice. It's how I build empathy for those whose realities I translate on paper,' he says. Deepak Rajeev is an intern with The Indian Express
New Indian Express
12-07-2025
- General
- New Indian Express
Documentary Becoming Geshema by Malati Rao spotlights the nuns' challenge in the monastic order
Namdol Phuntshok remembers carrying around rose beads and wearing only 'red or yellow' so that her parents would understand her 'calling' to become a nun. The young girl–when she failed to convince her parents–began feeling lonely and misunderstood, and fell into depression. Considering her health, when Phuntshok's parents took her to a Lama, a spiritual guide in Tibetan Buddhism, he advised them to let her follow her path. 'My parents were reluctant but were obliged to follow the Lama's advice,' says Phuntshok, who later became one of the first nuns to receive the highest honour of 'Geshema'. Phuntshok narrates her story in the documentary, The Geshema Is Born, directed by Malati Rao. The film highlights the discrimination nuns face under ancient Tibetan Buddhist rules and patriarchy. Fight for equality In the Tibetan Buddhist tradition, to graduate as a Geshe (Geshema, for nuns) means to create a karmic imprint for rebirth in the mythic kingdom of Shambhala. The word 'Geshe', literally refers to 'the one who knows virtue'. In the film, dressed in red robes, the nuns are seen chanting prayers in monasteries, debating, studying, and performing daily chores. Some wear a special yellow robe, reserved for scholarly nuns. The film also tells the stories of nuns fleeing Tibet to escape Chinese oppression. 'Ill-prepared to walk the high mountains,' with blistered feet, they remember begging to survive. 'Somehow, we reached Nepal, and then finally to India. Many perished on the way,' one of them recalls. As shown in the documentary, the eight monastic rules in Buddhism subordinate nuns to monks in all matters. Tibetan Buddhist nuns have long fought against these outdated traditions. The participation of women in Buddhism dates back to the time of the Buddha in the 5th century BCE. Despite a highly patriarchal society, women were recognised as equally capable of attaining spiritual enlightenment. They were allowed to ordain as full monastics, equal to men, and many became respected teachers who ran their own independent nunneries. However, over centuries, Buddhism took different forms across Asia. In many communities, women were no longer allowed to ordain as novices or full monastics (bhikkhunis), and their lineages disappeared. But in some countries like Taiwan and South Korea, full ordination of women continues. The 'Geshema' title–equivalent to a Doctorate in Philosophy (PhD) in Buddhist philosophy–was officially approved for Tibetan Buddhist nuns in 2012. The degree is earned after a minimum of 21 years of extensive study of Buddhist texts, and training. The film, The Geshema Is Born, was screened during the event, Women & Buddhism - Films and Discussion, at the India International Centre (IIC) on Thursday (July 10). Another documentary, White Robes, Saffron Dreams–directed by Teena Gill–was also featured during the event. It was followed by a discussion by panelists including historian Uma Chakravarati, sociologist Renuka Singh, Tibetan monastic Kaveri Gill, and Zen teacher Shantum Seth.
