“Instagram, YouTube videos are not suitable for ECA admissions” – Does content creation limit creativity?

The pandemic forced an unprecedented shift to digital as artists began sharing their work – paintings, music and choreography – with people online.

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As social media increasingly becomes the outlet for creativity and content creators are sought after and rewarded by brands, many thought these were cues for excellence in the extra program. But sentiment was shaken when the University of Delhi informed applicants under the out-of-school admissions quota that videos uploaded to Instagram, YouTube and any other non-peer-reviewed sites would not be eligible as performances. public. Aside from the gross shock to Gen Z from social media, what implication does this have?

As part of the DU admission procedure, candidates who opt for ECA admissions are scored on the basis of their physical tests (75 points) and the diplomas obtained (15 points). The certificates are divided into four categories: participation, prizes in competitions, training/examinations, workshops, public performance, published works and exhibition.

Deepti Taneja, co-dean of the Cultural Council office, told PTI: “YouTube uploads, Facebook and Instagram reels, vlogs and other similar uploads on other non-peer-reviewed video streaming sites will not be considered for scoring as part of public performance for admission into ECA categories.

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Videos posted on the internet often garner hundreds of thousands of views, but do they deserve to be called public performances? As for DU ECA, no, but if one were to wonder about the future of the medium of artistic expression, could the scene shift to social media?

In some ways, it already is. The pandemic forced an unprecedented shift to digital as artists began sharing their work – paintings, music and choreography – with people online. Whereas previously music videos were posted on the Internet after a performance, full-fledged concerts now take place online.

Often what constitutes a public performance is a concert/exhibition in any public place such as schools, temples or parks and even programs organized by the local community during festivals. Some students may have had the opportunity to perform in well-known venues, such as in front of a dignitary or at an event for a famous ministry or festival. These programs are usually offered to established instructors, often those with the best connections. As a result, it can be said that students who learn from renowned teachers have an edge in securing the most lucrative opportunities. Additionally, students from more economically affluent backgrounds can book auditoriums and stage shows that others, perhaps equally talented, will not have access to.

Since not all audience members, whether in a public place or online, are geeks, whether the scene is physical or virtual shouldn’t matter.

However, this does not mean that social media validation necessarily indicates value. If the future of expression moves online where there are few barriers to entry, there would need to be checks and balances to ensure serious practitioners of the art form are given due recognition.

The future of the performing arts is already here. Dozens of websites and apps offer services for artists to host virtual performances. There is room for online art curators and digital art education start-ups that can support emerging artists by sharing their work and running online competitions and also help educate the audience without borders of social media on indian art.

Despite being a popular means of expression, Instagram and YouTube receive a lot of criticism for stifling creativity by forcing artists to follow “trends”. The right music from Instagram’s suggestion library and the best hashtags can make anything go viral. There is no incentive to think outside the box and be original. But while there are social media channels that support credible, serious artwork that isn’t made with a desire to go viral, social media sites could also be the public place that gives everyone more access. democratic.

The question is how to judge the credibility of such performances and therefore for institutions to recognize them as an extracurricular aptitude due to offering additional credits while judging these candidates! Until this is decided, DU ECA candidates must wait.

Raymond T. Helms