In the heart of Goa, the Kala Academy stands as a cultural beacon, a testament to artistic expression and heritage. Designed by the renowned architect Charles Correa, this institution has long been a cradle for creativity, nurturing artists, musicians, and performers. However, recent controversies surrounding its mismanagement, structural decay, and alleged commercialization have sparked a unique movement—the Supari Adolan.
This grassroots campaign, launched to safeguard the Kala Academy, redefines the term supari—a word traditionally associated with sinister connotations—into a symbol of resistance and cultural preservation. By invoking Jacques Derrida’s concept of deconstruction, we can unpack the layers of meaning behind Supari Adolan and its critique of systemic issues, including the phenomenon of “supari journalism” as highlighted by veteran journalist Rajdeep Sardesai.
The Kala Academy Crisis: A Cultural Institution Under Threat
The Kala Academy, established in 1970, has been a cornerstone of Goan identity, hosting events that celebrate the region’s rich cultural tapestry. In recent years, concerns over its deteriorating infrastructure, mismanaged renovationshave alarmed artists, activists, and citizens. Reports of shoddy repair work, such as the collapse of a portion of the auditorium roof in 2023, fueled public outrage.
Critics argue that the government’s neglect threatens to erode the academy’s legacy, prompting the birth of the Supari Adolan—a movement to protect this cultural gem.The term supari originates from the betel nut, but in Indian colloquialism, it carries a darker meaning: a contract or payment for an assassination or illicit act.
The Supari Adolan cleverly subverts this term, transforming it into a rallying cry for collective action to “kill” the forces of negligence and corruption that endanger the Kala Academy. This linguistic shift invites a deeper analysis through Derrida’s deconstruction, a philosophical approach that challenges binary oppositions and uncovers hidden meanings in language and culture.
Deconstructing Supari: From Assassination to Activism
Jacques Derrida’s deconstruction is a method of critical analysis that questions fixed meanings and reveals the instability of language. It dismantles binary oppositions—such as good/evil or literal/metaphorical—to expose how meanings are constructed and contested. In the context of the Supari Adolan, the term supari is ripe for deconstruction.
Traditionally, “giving supari” implies paying for a violent act, often murder, rooted in underworld slang. The Supari Adolan flips this meaning, using supari metaphorically to signify the “killing” of apathy, corruption, and cultural erosion. This subversion destabilizes the word’s conventional associations, turning a symbol of destruction into one of creation and resistance.
Derrida’s concept of différance—the interplay of differing and deferring meanings—is evident here. The Supari Adolan does not erase the term’s criminal undertones but incorporates them to highlight the urgency of its mission. By invoking supari, the movement suggests that the threats to Kala Academy are akin to a cultural assassination, requiring an equally bold response.
This linguistic play empowers activists to reclaim agency, using irony to critique systemic failures while galvanizing public support.
Supari Journalism: Rajdeep Sardesai’s Critique of Paid News
The Supari Adolan also draws parallels to broader societal critiques, notably the concept of “supari journalism,” a term popularized by journalist Rajdeep Sardesai. In a 2024 interview with The Wire, Sardesai expressed disillusionment with the state of Indian media, lamenting that a “large part of media [is] completely compromised on journalism’s core values”. He coined “supari journalism” to describe paid news, where media outlets or journalists accept financial incentives to push narratives, effectively acting as hired guns.
This practice, Sardesai argues, undermines journalistic integrity, replacing truth with propaganda.The term “supari journalism” mirrors the Supari Adolan in its use of supari as a metaphor for betrayal. Just as the adolan accuses authorities of destroying primary intrest of the Kala Academy’.
Sardesai critiques media houses for “selling” their credibility for profit. Both contexts deconstruct supari to expose systemic corruption—whether in cultural preservation or journalism. The Supari Adolan thus aligns with Sardesai’s call for integrity, positioning itself as a movement that rejects corruption in favor of authenticity.
The Mission of Supari Andolan: A Cultural Counter-Narrative
The Supari Adolan is more than a protest; it is a mission to reclaim and redefine cultural spaces. By adopting the provocative term supari, the movement captures public attention, using humor and irony to highlight the gravity of the Kala Academy’s plight. Its objectives include demanding transparent restoration efforts, ensuring public access to the academy, and preserving its role as a non-commercial hub for the arts.
Activists have organized rallies, social media campaigns, and public discussions, urging citizens to “take back” the Kala Academy from bureaucratic neglect and greed.Through a Derridean lens, the Supari Adolan challenges the binary of power versus powerlessness. It rejects the notion that citizens are helpless against institutional failures, instead asserts collective agency.
The movement deconstructs the narrative that cultural institutions must bow to economic pressures, proposing instead that they can be spaces of resistance and renewal. By redefining supari, the adolan transforms a term of violence into one of empowerment, aligning with Derrida’s idea that meaning is never fixed but constantly renegotiated.
Conclusion
The Supari Andolan is a testament to the power of language and collective action in defending cultural heritage. By deconstructing the term supari, the movement turns a symbol of destruction into a call for preservation, echoing Jacques Derrida’s insights into the fluidity of meaning.
Its critique of systemic neglect parallels Rajdeep Sardesai’s condemnation of “supari journalism,” highlighting a shared struggle against commodification and corruption.
In redefining supari, the adolan not only protects the Kala Academy but also offers a model for activism that is bold, creative, and unapologetic. As Goa’s artists and citizens rally to save their cultural legacy, the Supari Adolan stands as a reminder that even the darkest terms can be reimagined to light the way forward. Indeed the supari adolan has rewritened the script .
