Much-awaited Modi Gallery at PM Museum is a glowing tribute. All triumphs, no trials

New Delhi: A massive screen projection of Prime Minister Narendra Modi, his hands folded in a namaskar, welcomes throngs of eager visitors making a beeline for the new gallery dedicated to him at Delhi’s Pradhanmantri Sangrahalaya or PM Museum. The long-awaited Modi Gallery offers an exhaustive multimedia chronicle of his life, from his childhood to his political ascent, with a focus on a glowing depiction of his decade-long reign as Prime Minister.

Visitors embark on a journey through his numerous foreign visits, temple inaugurations, and major development projects, although the main display omits some controversial policies like demonetisation.

Just after his predecessor Manmohan Singh’s gallery ends, a contemplative-looking PM Modi appears in a white kurta-pyjama along with the poem, “Yahi samay hai, sahi samay hai, bharat ka anmol samay hai” (This is the time, the right time, India’s most precious time). Modi has often recited these lines, including from the Red Fort in 2021 and during the consecration ceremony at Ayodhya’s Ram Temple on 22 January.

“In my view, this poem epitomises the PM’s feelings towards the country, his approach towards his responsibility, attitude, and confidence. It represents all of that,” said A. Surya Prakash, vice-chairman, executive council of the PM Museum and Library.

President Droupadi Murmu became the first visitor to the Modi Gallery on 15 January, later praising how the PM’s “contributions to the various spheres of nation-building” were “coherently showcased in one place”.

My visit to the Prime Ministers’ Sangrahalaya was a pleasant and illuminating experience. The galleries dedicated to the past Prime Ministers of India not only rekindled many memories but also offered new ways to engage with our past. As the first visitor of the gallery devoted… pic.twitter.com/k3uw35S2Nq

— President of India (@rashtrapatibhvn) January 15, 2024

Bringing the gallery to life was a two-year endeavour involving the efforts of a content committee comprising veteran journalist and former minister MJ Akbar, lyricist Prasoon Joshi, Professor Kapil Kapoor, former Indian Council for Cultural Relations president Vinay Sahasrabuddhe, and A Surya Prakash.

“These people worked very hard to create and curate the content for this gallery,” said Surya Prakash, adding that their work was considerable given how Modi’s “focus and determination” had resulted in a tremendous amount of work being accomplished over the years.

Last Saturday, the gallery was teeming with history enthusiasts, school and college students, families with children, and Modi admirers, all tinkering with the interactive displays and gizmos and many taking selfies with the PM’s portrait.

Amit Kumar, who is pursuing a history degree at Delhi University, said he and his friends had been waiting for the Modi gallery to open. “Earlier when I came here there was no information about the current Prime Minister. When I heard about the gallery opening, I wanted to see it. Modi inspires me,” Kumar added.

The PM inaugurated the Pradhanmantri Sangrahalaya in 2022, calling it a living reflection of the shared legacy of all governments in India. Previously known as the Nehru Memorial and Library, the institution’s renaming last year by the Modi government stirred a major controversy.

A high-tech experience

The Modi Gallery unfolds across eight themed sections within a spacious hall on the ground floor of the Pradhanmantri Sangrahalaya— Vishwa Sadbhav (International Relations), Paryavaran (Environment), Janbhagidari (People’s Participation), Sushasan (Good Governance), Vigyandoday (Science and Technology), Sanskriti (Culture), Suraksha (Defence), and Vikas (Development).

At its heart lies a symbolic banyan tree, encircled by a large helical structure titled ‘Balya Kaal Se Shasan Tak’ (From Childhood Until Governance) capturing various phases of Modi’s life. The display features images from his early years, moments with his mother Hiraben, scenes from Vadnagar station where Modi once sold tea, his days as an RSS pracharak, and his tenure as the chief minister of Gujarat. At another point, on a small screen, Modi’s swearing-in ceremonies as the Prime Minister in 2014 and 2019 are also showcased.

Modi gallery display

A helix-shaped structure depicting key moments from the life of PM Modi | Photo: Krishan Murari | ThePrint

The gallery incorporates plenty of tech to highlight Modi’s achievements and development model, including QR codes, scanners, and touchscreens. At one kiosk, visitors can take a pledge to preserve India’s diverse culture and receive a copy on their e-mail. In the Vikas section, schemes like Swachh Bharat Abhiyan, Jan Dhan, Atal Pension, Ujjawala, and PM-JAY are displayed on a circular contraption. Visitors can tap their phone on each scheme and get detailed information on their screen.

Headphones are also available in different sections, allowing visitors to hear about developments during Modi’s tenure.

Technology has been used to augment the story-telling and round out the “classic museum experience”, according to Gautam Chintamani who assisted with curating the content of the gallery.

Article 370 to Balakot

Framed primarily from the government’s perspective, the exhibits offer a sweeping narrative of the past decade’s developments, celebrating achievements while subtly downplaying setbacks.

For instance, one large screen displays a bar graph depicting a steep rise in FDI inflows to India but the demonetisation decision of 2016 is not prominently featured, although it is mentioned in a video.

The Sushasan section delves into landmark governance decisions, including the abrogation of Article 370, titled “Bure Daur Ka Ant” (end of an anomaly). It also displays the speech Amit Shah delivered in the Lok Sabha during the abrogation.

“Everyone said that (scrapping Article 370) can never happen in India but Modi never accepted that something can’t be done. He is a person who actually loves challenges,” said Surya Prakash.

The Vishwa Sadbhav section highlights Modi’s foreign policy doctrine, including details of his visits to 66 nations. For outer space travels, the science section, Vigyandoday, features the Chandrayan-3 mission, offering an interactive experience that allows visitors to witness the rover landing on the moon. The Digital India initiative and the country’s response to the Covid-19 pandemic are also given pride of place.

The Paryavaran section showcases Modi’s environmental commitment through a 3D model, while the Suraksha section uses a 7D theatre to depict cross-border strikes, including Balakot in 2019, the launch of the Brahmos missile, and the Tejas fighter jet. An outfit that Modi wore during his sortie on the Tejas last year is also displayed.

The gallery also showcases ‘cultural rejuvenation’ through the restoration of temples and promotion of khadi in the Sanskriti section. A six-minute video guides visitors through Ayodhya’s Ram Temple, the Kashi and Ujjain corridors, and the repatriation of sculptures from abroad. The Janbhagidari segment sheds light on Modi’s interaction with the public through Mann ki Baat.

The gallery concludes with a section titled Naye Bharat ki Buniyad (Foundations of New India), showcasing development projects such as the new Parliament building, the Guwahati AIIMS, the Kashi Vishwanath Corridor, Kedarnath redevelopment, Rajkot Airport, and the recently inaugurated Atal Setu, the country’s longest sea bridge in Mumbai. These projects are presented with timelines indicating their foundation and inauguration dates.

This, according to Surya Prakash, is the biggest endorsement of Modi’s drive to see big-ticket projects to fruition.

“Indira Gandhi used to lay foundation stones before the elections. BG Verghese did research on what had become those of foundation stones and discovered there were no project reports and no budgetary allocations,” he said. “But Modi keeps a very punishing schedule for himself and expects the same from his colleagues. There is a timeline for achieving things for which he lays foundations.”

(Edited by Asavari Singh)