The BCCI detests the RTI’s bind. Yet its very structure—the men who officiate in matches—stands on government patronage.
FOR several years, the central government has been making an effort to bring the Board of Control for Cricket in India (BCCI) under the Right to Information (RTI) Act, like all National Sports Federations (NSFs). But the Board has been steadfastly, even auda ciously, stonewalling the government, thanks to the full backing of politicians who have been—and still are—part of it. Successive dispensations, too, have never really been serious about implementing it.
While defying government RTI orders with disdain, the main thrust of BCCI’s defiance—and on which it has been harping unashamedly—has been that it doesn’t take financial assistance from the government. That is only partly true, as it does take indirect, ‘substantial assistance’, as the Delhi High Court observed some years ago and something the Union sports ministry, too, keeps insisting. And, crucially, the men who are the foundational support to the superstructure of BCCI-run tournaments—match officials who run things on the ground—are employees of government institutions. It’s a matter on which the BCCI conveniently, and consistently, keeps mum.
This April, The Law Commission of India (LCI) in a report prepared on directions of the Supreme Court, recommended that the RTI Act be made applicable to the BCCI and all its state affiliates. In addition, the Supreme Court has concluded, in the famous ‘BCCI versus Netaji Cricket Club (Chennai)’ case of 2005—and even in the Zee Telefilms vs Union of India case—that the Board “exercises enormous public functions” and “state-like functions”. These include selection of national teams that are fielded in global tournaments, with players/officials wearing the Indian national logo using the word ‘India’, which is part of the Emblem Act.
Denne historien er fra August 13, 2018-utgaven av Outlook.
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Denne historien er fra August 13, 2018-utgaven av Outlook.
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Layers Of Lear
Director Rajat Kapoor and actor Vinay Pathak's ode to Shakespeare is an experience to behold
Loss and Longing
Memories can be painful, but they also make life more meaningful
Suprabhatham Sub Judice
M.S. Subbulakshmi decided the fate of her memorials a long time ago
Fortress of Desire
A performance titled 'A Streetcart Named Desire', featuring Indian and international artists and performers, explored different desires through an unusual act on a full moon night at the Gwalior Fort
Of Hope and Hopelessness
The body appears as light in Payal Kapadia's film
Ruptured Lives
A visit to Bangladesh in 2010 shaped the author's novel, a sensitively sketched tale of migrants' struggles
The Big Book
The Big Book of Odia Literature is a groundbreaking work that provides readers with a comprehensive introduction to the rich and varied literary traditions of Odisha
How to Refuse the Generous Thief
The poet uses all the available arsenal in English to write the most anti-colonial poetry
The Freedom Compartment
#traindiaries is a photo journal shot in the ladies coaches of Mumbai locals. It explores how women engage and familiarise themselves with spaces by building relationships with complete strangers
Love, Up in the Clouds
Manikbabur Megh is an unusual love story about a man falling for a cloud. Amborish Roychoudhury discusses the process of Manikbabu's creation with actor Chandan Sen and director Abhinandan Banerjee