[ Getem Miyu ]
In recent years, the ‘Adi Idol’ has emerged as a prominent platform for young performers to showcase their abilities and celebrate the cultural expression of the Adi community. It carries the promise of discovering hidden talent and providing youths with a meaningful stage. However, certain practices associated with the competition have raised serious concerns about its direction and integrity.
Paid voting
One of the most troubling aspects of the Adi Idol is the practice of charging Rs 20 per vote, where each payment counts as a single vote. This system transforms public support into a financial transaction rather than a genuine expression of appreciation.
Instead of rewarding the most talented performer, it favours those who can mobilise more money. When voting becomes dependent on financial capacity, the platform risks turning into a business model, rather than remaining a fair talent hunt. It shifts the focus from performance quality to purchasing power, which undermines the very purpose of such competitions.
Lottery selling
Equally concerning is the practice of encouraging – or at times insisting – that contestants sell lottery tickets, with the highest seller being considered as having the strongest public support. This approach is deeply problematic. Selling lottery tickets has little to do with talent, skill, or artistic merit. By introducing such activities, the organisers inadvertently push the competition in the wrong direction- one where commercial gain overshadows creative excellence.
A talent platform should evaluate voice, performance, and originality, not salesmanship.
A platform for talent, not wealth
The Adi Idol should be a platform for talent, not wealth. It is not intended to be a competition of financial influence. It is meant to be a stage where individuals can express themselves, discover their abilities, and earn recognition based on merit.
When Rs 20 equals one vote, it naturally creates an unequal system. Contestants from financially strong backgrounds gain an advantage, while those from economically weaker sections – despite having exceptional talent – struggle to compete. This creates barriers that discourage genuine participation and inclusivity.
Bias and credibility
These practices raise larger issues of bias and credibility. When outcomes are influenced by money and sales rather than talent, the legitimacy of the results becomes questionable. Audiences begin to doubt whether winners truly deserve their titles or if they simply had better financial backing.
Such perceptions can damage the reputation of the platform and reduce public trust over time. A talent hunt must remain transparent, fair, and merit-based to preserve its value.
Institutions like the AdiSU (Adi Students’ Union) and the ABK (Adi Bane Kebang) should play a crucial role in safeguarding community initiatives. Their intervention is important to ensure that platforms like the Adi Idol remain aligned with their original purpose.
If the current trend continues, it becomes necessary to question whether the platform should be paused or restructured. Allowing such practices to continue unchecked could permanently alter its identity.
A talent hunt should celebrate ability, not affordability. The current practices risk turning the Adi Idol into a commercial hub, rather than a cultural platform.
If these trends continue, it is reasonable to call upon the AdiSU and ABK to take necessary action – even if it means temporarily stopping the platform until meaningful reforms are implemented.
The involvement of money in determining success is difficult to justify. For the sake of fairness, inclusivity, and the future of young talent, it is time to bring the focus back where it belongs – on talent itself. (The contributor is a mass communication student at Arunachal Pradesh University, Pasighat)
