Nishtha Gautam – SAWM Sisters https://dev.sawmsisters.com South Asian Women in Media Tue, 04 Apr 2023 06:11:51 +0000 en-US hourly 1 https://wordpress.org/?v=6.5.5 https://dev.sawmsisters.com/wp-content/uploads/2022/08/sawm-logo-circle-bg-100x100.png Nishtha Gautam – SAWM Sisters https://dev.sawmsisters.com 32 32 Dior’s Mumbai Show: Spectacle At Gateway of India, But Not Of Fashion Or Design https://dev.sawmsisters.com/diors-mumbai-show-spectacle-at-gateway-of-india-but-not-of-fashion-or-design/ Tue, 04 Apr 2023 06:11:51 +0000 https://sawmsisters.com/?p=6608 This India inspired collection could have opened floodgates for a genuinely high moment in fashion history In 1947, six months before India got independence from British colonial rule, Christian Dior unleashed another kind of revolution with his first collection later christened the 'New Look'. A long and full skirt, rounded shoulders, and a cinched waist. [...]]]>

This story first appeared in TheQuint

This India inspired collection could have opened floodgates for a genuinely high moment in fashion history

In 1947, six months before India got independence from British colonial rule, Christian Dior unleashed another kind of revolution with his first collection later christened the ‘New Look’. A long and full skirt, rounded shoulders, and a cinched waist. The newness of this look was an act of rebellion against the war-time necessities—economic and ergonomic—namely straight skirts with knee-length hems, night robes et al. For the next seven years, Christian decided to define and redefine this primary idea of his sartorial vision.

Now, vision is something that was conspicuous by absence in Dior’s latest show in Mumbai. This essay is not a critique of the spectacle that Dior conjured at the iconic Gateway of India but a lament for fashion and design. When a hyped moment fails to deliver, when it comes from a style revolutionary that brought us characteristic draped necklines and fitted waistlines, or the “Zig Zag”, or even the self-fabric-covered buttons, it hurts particularly bad.

Did Dior Do Enough?

Yes, it was thrilling to see a world heritage site being transformed into a fashion ramp. But that’s what Maria Grazia Chiuri has been doing lately. Remember the Athens show?

Yes, it was heartwarming to have the artisans from a Mumbai-based craft school being acknowledged as partners in Dior’s fashion journey. So what? Is this not the right thing to do in terms of fair trade practices?

Yes, there was a nod to ‘Indian-ness’ through the ramp design complete with a rangoli and folk tunes like “ghoomar”. Isn’t it, however, a case of blatant essentialising of a culture? Bordering pastiche?

But, what about clothes? The dress. The characteristic Dior philosophy of continuity coupled with evolution?

Fashion Is Now, Decidedly, Art

Since 2016, Dior has been partnering with Karishma Swali, the director of the Chanakya School of Craft, and incorporating the creative output from the Mumbai-based institution into set designs, bags, and statement couture pieces. The pre-fall 2023 show was, thus, an on-site salute to Indian embroidery, a living and breathing heritage.

But can or should fashion be only seen through the lens of correctness? Anne Hollander says that dress is “a form of visual art, a creation of images with the visible self as its medium”. Therefore, fashion should be accorded the same rigour by “studying their formal, strictly visual properties in the light of previous and concurrent ones, as is usually done in studying changes in styles of art.”

Dior’s India-inspired collection—with its almost 200 looks—does not wow when the art paradigm is used. The clothes have all been seen before, with utterly familiar drapes and silhouettes. This pre-fall collection was showcased in Dec 2022 and a lot has been written about the India inspiration: the Jardin Indien toile de jouy pants, the Nehru collar, the Madras checks, and other such trans-continental elements.

During the showcase, Chiuri told a leading fashion magazine, “Fashion is not only about clothes. It’s a way of knowing each other.” Yes, it is. But by now, we ought to know each other a lot better than merely incorporating the most identifiable motifs and styles.

The Attack of the Unsexy

There’s also a minor point about sexiness—or, its absence. Fashion has long withstood the charge of being anti woman. And in many ways, it indeed is. French haute couture, in particular, has been a favourite punching bag. A reporter in L’Express wrote in as early as the 1960s, “In the domain of spectacle, French haute couture has attained a sort of perfection. In the art of dehumanising women it has almost succeeded”. The problem of the male gaze is still going strong.

Chiuri is a champion of easy and comfortable luxury—somewhat of an anti-corset crusader. She has been professing the need for clothes that feel good on the skin of the wearer. However, being comfortable does not necessarily have to mean uninspired. It doesn’t mean un-sexy.

Even one of the staunchest critics of ‘fashion’, noted feminist Simone De Beauvoir wrote in The Second Sex, “woman allies herself to nature while bringing to nature the need of artifice; for man she becomes flower and gem—and for herself also”.

Dior Had the Dali Dress, Where Is Chiuri’s Response?

Mix and match, layered outfits, day-to-evening ensembles have been around for a while. What exactly has been the Dior contribution to the utility fashion? Even the play around drapes of saree does not make one sit up and take notice of the legendary fashion house’s innovation. Compare this collection to the drapes of Roksanda Ilincic or our own Nikhil and Shantanu to realise that Chiuri’s effort was not enough. Even a new kind on the block, Miss Sohee, has been hitting it out of the park while incorporating indigenous motifs in revolutionary and sexy ways.

Christian drew inspiration from high-brow artists like Salvador Dali and collaborated with them. Chiuri is big on collaborations, so where is her response to the ‘Dali Dress’ that Christian had created? Indian art, in different mediums, and artists have been inspiring trends across the world for centuries. Why did Chiuri miss this bus?

This India inspired collection could have opened floodgates for a genuinely high moment in fashion history had Chiuri managed to scratch beneath the surface of tigers, peacocks and the like.

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Salman Rushdie’s ‘Victory City’: A Lesson In Historiography Told Through A Joke? https://dev.sawmsisters.com/salman-rushdies-victory-city-a-lesson-in-historiography-told-through-a-joke/ Thu, 23 Feb 2023 18:24:21 +0000 https://sawmsisters.com/?p=6368 All myths of origin are suspect, and those who believe them to be the Truth are nothing but naive, to put it mildly.]]>

This story first appeared in TheQuint

All myths of origin are suspect, and those who believe them to be the Truth are nothing but naive, to put it mildly.

Salman Rushdie’s Victory City is more than a novel.

It is a life-affirming totem. It is the triumph of the storyteller: Rushdie himself and all others who have defied or succumbed to death to serve the cause of storytelling.

Victory City has come with a chip on its shoulder—Rushdie’s first novel after a near-fatal stabbing in a New York event. It will be an arduous task to delink the symbolism of publishing this novel from its literary merit. The book, let this be recorded, stands tall as one of Rushdie’s finest works.

The Plot of Victory City: Is Salman Rushdie Being Modest?

The story of Victory City is quintessentially Rushdiesque—of the rise and fall of empires, families, and demigods. Rushdie is inarguably the Homer, the Valmiki, the Vyas of our times, bringing worlds alive through his words. There is a creator-writer Pampa Kampana whom Rushdie lends his mantle for plot purposes.

The empire of ‘Bisnaga’—a corruption of Vijaynagar is willed into existence by Pampa Kampana, “a vessel for Goddess Parvati” through two brothers Hukka and Bukka. The story of this empire’s rise and fall is what occupies the space of 340 pages—it starts with a funeral pyre and ends with one, too. Pampa Kampana survives both for she is the muse, the mother, the poet, the prophet whose account of the empire’s ‘life’ and ‘death’ called ‘Jayaparajaya’ has been “retold in plainer language by the present author, who is neither a scholar, nor a poet but merely a spinner of yarns.”

Salman Rushdie’s Meta World

Rushdie’s Victory City, thus, becomes a stellar example of his tried and tested literary genre of what Jean-François Lyotard calls ‘metanarrative’, and draws attention to the very process of authoring the novel, thereby, turning it into a ‘metafiction’. But the ‘meta’-ness of the work spreads beyond what the author claims to be doing and encourages the reader to become a participant in the world of Rushdie’s words.

Who can after all, not think about Rushdie’s own travails while reading about the fate of poets and prophets in the book? What befell Pampa Kampana is eerily identical to the recent attack on Rushdie. Or, who wouldn’t chuckle about the Hobbesian reflection of Bukka,Looks like even the magic seeds have one rule for the rulers and another for the ruled” early on in the story? Further, “‘The day will come,’ Bukka said mutinously ‘when we will no longer allow foreigners to tell us who we are.’”

Rushdie has deftly sprinkled references to philosophical debates and current affairs throughout the book which increasingly appears to be a fable of and for our times. During Pampa Kampana’s exile in the forest, the ilk of Vidyasagar is eager to change the names of streets of Bisnaga and the “city was now under this new senate’s strict religious control, as it ‘demolished’ the philosophies of Buddhists and Jains as well as Muslims to celebrate the New Orthodoxy.”

Remember, Rushdie has been critiquing religious orthodoxies of all stripes. His criticism of the rise of the Hindu supremacists lost him many a fan in India who earlier hailed him for resisting Islamist supremacist ideas.

All About Here and Now

Past, present, and future have always coexisted in a fabulist harmony in Rushdie’s fiction. Victory City, therefore, is no exception. While the unnamed narrator’s ‘translation’ of Pampa Kampala’s epic poem moves in a linear fashion, the reader is sucked into the vortex of the ‘here and now’.

Pampa Kampana, like Ursula in Gabriel Garcia Marquez’s One Hundred Years of Solitude, is witness to the rise and fall of generations in Bisnaga. Her dealings with the Portuguese and the Chinese and many other “foreigners” make Bisnaga the empire that it was. Rushdie’s oh-so-obvious celebration of multiculturalism in the book is like a familiar meme doing rounds on the internet.

The reason is simple: his literary politics is defined by the realpolitik of his mother and the adopted countries. Since the resistance towards the ‘other’ has reached caricaturish levels in these countries, Rushdie won’t leave it alone in peace. He must insert lines such as these to define an ideal state:

Every man may come and go and live according to his own creed. Great equity and justice is observed to all, not only by the rulers, but by the people, one to another.”

The Joke

Pampa Kampana’s ideal city, however, is a short-lived one. After all, “it is a kind of derangement in the world when a mere accusation supported by nothing feels like a guilty verdict” and this great derangement can only end in the fall of structures—State, relationships, society et al—it ostensibly tries to protect.

And with the finale, the real Rushdie reveals himself. Forever irreverent, pulling elaborate literary pranks, almost smirking at his readers’ naïveté.

The last lines of Victory City are also a historiographer’s delight:

“…How are they remembered now, these kings, these queens?

They exist now only in words. 

While they lived, they were victors, or vanquished, or both.

Now they are neither

.…

They will be remembered in the way I have chosen to remember them.

They will mean what I wish them to mean.

Words are the only victors…”

All myths of origin are suspect, and those who believe them to be the Truth—including the readers of Victory City—are nothing but naive, to put it mildly.

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Lata Mangeshkar’s Love Story That Never Was: What Does It Tell About Us? https://dev.sawmsisters.com/lata-mangeshkars-love-story-that-never-was-what-does-it-tell-about-us/ Tue, 08 Feb 2022 08:16:56 +0000 https://sawmsisters.com/?p=4177 Who was Lata Mangeshkar wary of hurting—family, friends, fans, or her own self?]]>

This story first appeared in The Quint

Who was Lata Mangeshkar wary of hurting—family, friends, fans, or her own self?

Lata Mangeshkar, the nightingale. Lata Mangeshkar, the Elizabeth-like Virgin Queen. Lata Mangeshkar, the Aai and the Tai.

‘Love and longing’ is the leitmotif for Lata Mangeshkar’s oeuvre. And because she lived and worked in a country where television sets were worshipped before the broadcast of the Ramayana would start, the actors playing Ram, Sita and Lakshman or Shri Krishna in tableaus would be revered as deities, the line between the art and the artist faded ever more quickly.

And then there was the Lata—flesh, blood, and passion—that remained an enigma to us.

We moulded Lata Mangeshkar the way we wanted her to be: a soothing, ephemeral—almost divine—presence in our lives that would be tarnished by the slightest hint of sensuality in her persona. It is no wonder that Asha Bhonsle and Lata Mangeshkar offered the musical-moral duality: the former singing all the cabaret and ‘naughty’ songs.

Lata Mangeshkar: The Unsexed Artist?

The one cabaret song that Lata agreed to sing was “Aa jaane jaan…” for Laxmikant Pyarelal in the 1969 film Inteqam. The song was picturised on Helen and oozes the unique Lataesque longing—she was the queen of the Vipralambha (separation) in shringara rasa—with no overt references to the physiology of desire. Jiya jale came much later in her career, when she had already claimed a deified position in the Indian music industry.

That’s the Lata everyone admired and respected, and she, too, appeared to perpetuate this image of herself as an unsexed artist.

The fact that she stayed unmarried—as opposed to her sister Asha Bhonsle’s tempestuous experiments with marriage—bolstered Lata’s dichotomous image as the woman who sang about love and longing without knowing anything about the same.

Lata Mangeshkar and Raj Singh Dungarpur: Why Do We Know So Little?

There have always been, however, murmurs about her relationship with Raj Singh Dungarpur, former president of Board of Control for Cricket in India. The internet is awash, at least since the news of her passing broke, with stories about how Lata could not become the ‘Princess of Dungarpur’ by not marrying Raj, the youngest son of the ruler of the Dungarpur princely state in Rajasthan.

<div class="paragraphs"><p>Raj Singh Dungarpur, Ranji player and former BCCI president.&nbsp;</p></div>
Raj Singh Dungarpur, Ranji player and former BCCI president. Amazon

Lata had acknowledged Raj as one of her close friends in interviews. Neither, however, ever commented on the nature and extent of this friendship. No biographer of Lata, too, dwelt on the subject.

Nasreen Munni Kabir, author of Lata Mangeshkar…In Her Own Voice shares, “We never discussed Raj Singh Dungarpur. Of course, I had met him. I never asked him about Lata Mangeshkar either.”

Did the author feel the need to self-censor or was under any pressure to take this approach?

Nasreen rejects the idea. “I was working on her life story and this aspect of her life was of little interest to me. I felt, and continue to feel, that private lives of public figures ought to remain private. We in India have a tendency to sensationalise everything.”

Nasreen Munni Kabir’s Lata Mangeshkar…In Her Own Voice. Niyogi Books

The closest she came to ask Lata about the ‘rumours’ was by way of the following question:

It is rumoured you have a permanent gallery reserved for you at Lord’s ‘…where she enjoys watching her favourite game.’ Is it true?

No! It’s not true. [laughs] I sit in the stands like any other cricket fan.

Another biographer of Lata Mangeshkar, Yatindra Mishra, chose to broach the subject. “I asked Lata ji about Raj Singh Dungarpur. She said that he was a close family friend. It was not appropriate to then take the conversation forward only on the basis of unconfirmed reports published here and there,” he says.

Lata, Raj, Cricket, Royalty, And More… 

Mangeshkar was a big fan of cricket and knew the sport well. So well that it was irksome to her that Sharmila Tagore, wife of Tiger Pataudi didn’t bother to know the details of the sport. Tagore said in her tribute to Mangeshkar, ‘‘She was a person who knew her cricket. She was fond of Tiger and once told me that being the wife of Indian captain, I should be updating myself more on the game”.

Raj Singh Dungarpur and Tiger Pataudi. Image Courtesy: Beyond Boundary Heritage

The singer’s younger brother, Hridaynath Mangeshkar, and Raj Singh Dungarpur were good friends. Cricket brought the two men together—the entire Mangeshkar family has been deeply fond of the sport—and paved the way for a life-long relationship between a prince and a singer.

Raj Singh’s niece, Rajyashree Kumari, wrote in her memoir, The Place of Clouds, that the reason that he could not get married to Lata Mangeshkar was the disapproval of his father and other family members. How could an artist become a part of the royal family?

She writes about the relationship in her book:

On meeting Lata, there sprang up an attraction between them and a relationship was forged that was to last almost till the day that he died in 2009. My mother and Danta aunt were of the opinion that a personable young prince such as their youngest brother should in fact make a suitable match with a Rajput princess or at least a girl from an aristocratic family, so naturally they were not too approving of his relationship with Lata. I have a recollection that at some point when we were little children, Lata Mangeshkar was invited to old Bikaner House in Bombay and I strongly suspect (but cannot confirm) that she was asked to leave their brother alone so that he might make a suitable match. Despite that, Raj Singh refused to give up his relationship with Lata and despite regular rumours and gossip that he had secretly married her; he firmly assured me that that was definitely not the case.

And then a little later:

On the day of the main lunch on 19 December, which was his birthday, he gave a little speech: somewhere hidden within the anodyne comments there was a little grenade that he lobbed at his unsuspecting sisters, when he happened to mention that when he was a young man he was denied the marriage of his choice and now in later years the younger generation were getting married out of the Rajput community and the family had changed the goal posts and accepted these marriages without protest. I think his sisters were quite taken aback by this full frontal attack but put up a brave face at least in public, but I believe many tears were shed later in private.

Rajyashree Kumari’s memoir, The Place of Clouds. Image: Bloomsbury

Was Lata a Victim of Societal Pressures or a Rebel?

Other members of the Dungarpur clan, however, contradict this story. On condition of anonymity, a member shares, “The story of Maharwal Laxman Singhji, (Senior Dungarpur) disagreeing violently is a bit of creative imagination. It is true that they would have preferred a daughter-in-law from amongst the clan but Raj Singhji was too much of his own man to worry about such fixations beyond a point”.

It is to be noted that the senior Dungarpur, too, had married a couple of times and Raj Singh was the youngest son from the second marriage.

The family member adds, “Raj Singhji was not the titular heir-apparent of Dungarpur state. Hence, this was not in that classical sense a ‘be-izzati’ case. Lata and Raj Singhji met fairly late in life, by those times’ standards, and the supposed domination of the father, in any case would have ceased. Laxman Singhji Dungarpur died in 1989 and nothing really stopped the two from formalising things, if they really wanted to”.

Lata Mangeshkar and Raj Singh Dungarpur. Image Courtesy: MidDay archives

Another family member, requesting to stay anonymous, shares, “The only societal thing to hold back the two would have been the slant of getting married ‘that late in life’. She was six-seven years elder to him, maybe that was the reason! I think, it was the convenience of living their lives contentedly without having to answer too many questions that prompted the status quo”.

This family member adds, “It was a mature and adult relationship at play…that needed to avoid fuss and tantrums in that stage of life. Some elders in my family acknowledged, ‘she didn’t need his money, and he didn’t need her fame’. He was a gentleman as only he could be and she could sing as only she could, and this made a lovely arrangement of trust and happiness”.

Lata is said to have gone to Dungarpur when Raj died in 2009 but his family members deny the reports. However, she is connected to the place by her involvement in the modernisation of the local government hospital there.

Plaque at the Dungarpur hospital. Image Courtesy: Dungarpur family.

Who Was Lata Mangeshkar Wary of Hurting—Family, Friends, Fans, or Her Own Self?

Raj Singh had guardedly revealed some details about their relationship in some interviews in his autumn years but they were rarely the highlights.

Aseem Chhabra, a noted film festival curator and author, says, “I got to know about their relationship only the day Lata ji passed away. It is largely owing to the fact that I spent a large part of the 70s and 80s in the US. There was no social media then. No 24/7 dedicated paparazzi”.

The fact that the general public did not care for the private life of Lata Mangeshkar tells us more about the persona that she had carefully created: hard-working, ambitious, fastidious, fiercely territorial, and all that single women are supposed to be.

That makes them more acceptable and worthy of edification. One may never be able to know what Mangeshkar felt about Dungarpur or a life in matrimony running parallel to her singing career.

Nasreen Munni Kabir quotes her as saying:

“I used to write a diary for years. I wrote some stories and songs in Hindi. Then one day I decided there was no point and I tore it all up and threw it away. I never wanted to write an autobiography because I believe you have to be totally honest when you write. And it would hurt too many people. What’s the point in hurting people? My life and my experiences are so personal to me. Why write? It’s all so personal. There’s no need to tell the world.”

Who was Lata wary of hurting with her honesty?

Perhaps it was us, the people, who did not allow her the space beyond our ears.

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Pandemic is So Short, Grief is So Long https://dev.sawmsisters.com/pandemic-is-so-short-grief-is-so-long/ Wed, 12 May 2021 11:05:14 +0000 https://sawmsisters.com/?p=3496 Unlike other times, people might not forget how and when they grieved. And that is what the “system” is afraid of.]]>

This story first appeared in The Quint

Unlike other times, people might not forget how and when they grieved. And that is what the “system” is afraid of.

Tonight I can write the saddest lines.

Neruda has worked almost always. Except now. It should not be a surprise. These days nothing works: government portals, telephone numbers of hospitals, minister saheb’s sifaarish, expensive drugs bought from life-saving black-marketeers, or even faulty oxygen concentrators.

A city heaves a collective sigh of grief. Yet, it is inured to grief. While everyone appears to be grieving, nobody is grieving. There is something else to be done instead of grieving. Another life to be saved, or another loved one to be cremated.

We Need to Talk About to Grief

Many of us, including the highest level of political leadership of the country, seemed upset when our grief coloured the pages of international publications. We felt belittled when “vultures” feasted on our grief. The same people are silent today when dead bodies are being torn apart by hungry birds and animals because they can’t be cremated or buried. Impoverished family members can’t muster resources or social cache to afford a dignified farewell; Ganga, the ultimate purifier, is accorded that duty. In such scenarios, whither grief?

Yet, we need to talk about it. And many of us are doing so. In the face of impending doom, patients are recording their last battle in images, video clips, or words. Once they bid goodbye, family members are putting out these vignettes as a form of collective mourning. Because personal, ritualistic grieving is denied to them, this novel form of bidding farewell is bringing bereaved families close to each other. On social media, there is a somber wake in progress, punctuating a constant stream of messages seeking help for those who are still alive.

Game of Numbers and Grief

Grief cannot be quantified, other things can. A lot of attention has been paid to the Spanish Flu pandemic of 1918-19 that claimed a substantial part of India’s population. Yet, when official records are accessed, a gaping hole is found with respect of people who perished.

History is repeating itself in ways more than one. Some deaths are deemed lesser than the others. In rural Uttar Pradesh, a village saw fifteen deaths in the last ten days. Oddly, almost everyone died, officially at least, of heart attack. There seems to be another epidemic in the offing, if official records are to be believed.

It is interesting how bereaved families also do not want to acknowledge that the tragedy has reached their doorsteps, too. It is something still out there, impacting other people in faraway lands.
Anecdotally speaking, “Fridge ka thanda paani” seems to be another mysterious killer. Sore throat, fever, heaviness in chest, shortness of breath, weakness, death.
Perhaps, this is the only way to cope with grief for some. The reality might raise questions: personal and institutional. If we do not acknowledge something, it cannot impact us even if it does.

We need the things-are-not-that-bad intoxicant to deal with grief. Who knows, even the State needs it, too!

Memory and Grief

Funny thing, memory. The gaps in national histories are filled by individual, personal memory. When the State does not want these holes filled, it wants to falsify any personal memory project. It’s not allowed to be a part of India’s memory that when the capital city was gasping for oxygen, the construction of our new polis was ongoing in full swing. Photography and videography are now prohibited at the Central Vista construction site.

Funny thing, memory. While India is topping the charts in COVID-19 deaths and daily cases, we are reminded about “positivity”. This attempt at erasure of our grief is perhaps the State’s own coping mechanism, since it has failed on every single parameter. We shall be encouraged to remember only positivity. Not positive cases.

Funny thing, memory. Each time a new obituary is written, the older one gets relegated to background. There are crowds everywhere: in hospitals, at vaccination centres, at free-food stalls, and even in our grieving hearts. We promise to remember everything and everyone. We promise that when “all this is over”, we’ll grieve properly. Till then, memory and spectating the present jostle for space.

The “System” is Afraid of Grief

“Am I the government? Why am I forced to do their job?”
“Are we doing enough?”
“What is the point of it all? We cannot make any difference?”
“Every life I cannot save is weighing down my conscience.”

All expressions of grief that will take a long, very long, perhaps even a lifetime to subside.

And that is what the State, the government, or wait…the “system” is afraid of. Unlike other times, perhaps people would not forget how and when they grieved. Maybe that’s why all the red-herrings—from ludicrous COVID-19 treatments to pointless announcements—come our way.

What if people do not forget how they grieved?
What if people do not forget how they were not allowed to grieve?

Milan Kundera says, “The struggle of man against power is the struggle of memory against forgetting”.

After all, the real ‘long covid’ is nothing but grief, in all its manifestations in tears, blood, and sweat. And the memory of this grief.

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Indian #GirlsWhoWearRippedJeans Are Protesting Violence, CM Rawat! https://dev.sawmsisters.com/indian-girlswhowearrippedjeans-are-protesting-violence-cm-rawat/ Fri, 19 Mar 2021 06:23:55 +0000 https://sawmsisters.com/?p=3340 What Uttarakhand CM Rawat has done is this: establish some women to be worthy of sneer, jeer, and violence.]]>

This story first appeared in TheQuint

What Uttarakhand CM Rawat has done is this: establish some women to be worthy of sneer, jeer, and violence.

What is the similarity between the incident of mass shooting at multiple sites in Georgia, US and the trending twitter hashtags, #GirlsWhoWearRipped Jeans and #RippedJeansTwitter?

Both are an outcome of a continuum of stereotyping women on the basis of their appearances. Robert Aaron Long, a 21-year-old man shot eight people dead at three different massage parlours or relaxation spas in Atlanta on 17 March: six of them were women of Asian descent. Just as ‘westernised’ women—those who live, earn and spend independently—have long been stigmatised as tarts in India, Asian women have borne the brunt of continued hypersexualisation in pop culture.

Murder—even metaphorically—often begins with a casual tug. At what the victim may hold dear: a portmanteau, or comportment. You can resist the tug and escalate the fight, or ignore it and be robbed—of your dignity or diamonds.

What Makes Someone a Good Mother or Mentor?

Exactly a month ago, on 18 February, I was addressing a bunch of senior students at my stepdaughter’s school. I was invited by the school management to mentor these meritorious students in their upcoming career pursuits. The conversation turned out to be lively and informative, feedback even better. The school boasts of a stellar record of students making it to the finest universities across the world—none of our institutions in India figure on the top charts now, unfortunately.

I can only thank my stars that the new CM of Uttarakhand hadn’t iterated his opinion on what brand of women are fit to guide and mentor children and young adults.

My ripped jeans and brightly coloured hair would not have stood a chance. Never mind my university degrees with enviable grades, almost a decade-long academic career at one of India’s best universities, countless publications, and a respectable career graph spanning various fields.

Oh, I forgot about the two brilliant—academically and socially speaking—daughters I’m raising at home.

No, I’m unwilling to be modest about any aspect of my life anymore because each little bit of this collage has been painstakingly put together involving copious amounts of sweat, blood, and milk. And I speak for all women who get casually stereotyped, whether or not they wear ripped jeans.

However, before we proceed, allow me to share my scepticism about CM Rawat’s “flight” story: it’s amusing how all the possible “liberal” cliches are present here—husband is professor at JNU, woman in question is an “NGO” worker, bratty children et al.

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Violence at Delhi’s Red Fort: Here’s What Happened Before & After https://dev.sawmsisters.com/violence-at-delhis-red-fort-heres-what-happened-before-after/ Wed, 27 Jan 2021 16:48:44 +0000 https://sawmsisters.com/?p=3203 An eyewitness account of how a peaceful protest turned violent at Delhi’s Red Fort on 26 January 2021.]]>

This story first appeared in The Quint

An eyewitness account of how a peaceful protest turned violent at Delhi’s Red Fort on 26 January 2021. 

The biggest lesson from yesterday’s unprecedented scenes at Red Fort is that no journalist should take her phone battery for granted.

The Road to Red Fort

1:30 pm: I step out of my house around 1:30 pm to walk down to the Ring Road from where the protest chants are getting louder. What is meant to be a curious stroll to witness the ‘Tractor Rally’ by protesting farmers will turn into a trek to Red Fort to watch violence unfold at one of the most iconic monuments of Delhi.

Standing opposite Metcalfe House on Ring Road, I witness an unending procession of tractors, cars, SUVs and bikes. Not to mention cycles and walking protestors. For an hour or so, the sloganeering, the songs, and vehicular noise drowns any other experience on the road. The din shakes the sleepy neighbourhood of Civil Lines awake. What is remarkable about the processions is that there is absolutely no problem on the roads. The traffic is largely streamlined. I see organisers making way for an ambulance.

Walking with some protestors, I learn that all of them are coming from Singhu Border and the plan is to go to Red Fort to assert their presence by unfurling Nishan Sahib, the holy flag of Khalsa panth.

I keep chuckling at the naïveté of these proclamations but there is a context.

A centuries-The biggest lesson from yesterday’s unprecedented scenes at Red Fort is that no journalist should take her phone battery for granted.old dream of sikhi was perhaps going to be realised on 26 January 2020—to bring Dilli Darbar to its knees. Except, there is no darbar in Delhi anymore and the Mughal fort is not a seat of power.

I speak to Sikh and non-Sikh protestors of all ages from Amritsar, Jalandhar, Kurukshetra, Delhi, Jalaun and almost everyone echoes the same sentiments: We are marching to Red Fort to show the country what government friendly media does not want anyone to see. We are not just a handful of protesting farmers; the dissent against controversial farm laws is widespread.

Ladakhis, Tibetans Standing in Solidarity, While A Bengali Baba Sits and Supports

2:00 pm : I walk past the Monastery Market and found hordes of Tibetans and Ladakhis standing in solidarity and cheering the protestors on. There were families with little children perched on parents’ shoulders. I asked a bunch the most jaded question in a reporter’s repertoire: How are you feeling? They reply, “Achha lag raha hai”. (We are feeling good looking at the protest.) One man adds, “Bina khaane ke kaise rahega?” (How can we live without food?) A big thumbs up to the tractor rally.

Young men Tenzin, Norbu, and Sospel draw my attention by shouting “Sat Sri Akal” and “Support, Support”. They told me enthusiastically that they were from UT Ladakh.

A little ahead, a bunch of people—including children— from Uttarakhand are waving and shouting at the procession. “We are supporting because we are farmers, too,” Dayal Singh informs me.

A ‘Bengali Baba’ with his tent on the road divider is keen to talk. Jagtar Singh from Amritsar, this ‘Bengali baba’ is happy about the protests and cautions that if farmers’ don’t get their due, we’ll die of hunger. His chela, Pankaj Singh, nods in agreement.

‘Bengali’ Baba Jagtar Singh from Amritsar shows solidarity with farmers’ protests.&nbsp;

Reaching Red Fort

2:30 pm : At Red Fort, there are rows of DTC buses on police duty and a constant stream of protestor influx. Farmers from Singhu borders have reached Red Fort. It’s one straight road, after all. Some of them want to go inside Red Fort others are happy with circling the area. Entering the Red Fort grounds, I see a carpet of police personnel sitting and waiting. Men and women in khaki ready with their batons but casually lounging.

I can see several Nishan Sahibs on the railings of the platform from where the Prime Minister of India makes his Independence Day speech every year. The tri-colour stands giant and glorious above.

For one flag hoisted by a bunch of churlish protestors at Red Fort, there were thousands of tricolours being waved and respectfully carried by the same protesting crowd.

I walk towards Lahori Gate, bracing myself for impending claustrophobia. The narrow entry to Red Fort cannot handle this volume of protestors. Once inside, there is some breathing space, despite a parked police-duty bus. The stairwell, however, is crammed with people, mostly young men. There is a protestor standing with a banner welcoming the outstation farmers to Delhi. I spot a Nihang Sikh standing precariously at a high parapet. On the opposite ramparts, a young man is trying to climb the wall. It is surreal. At this moment I realise I do not have my press ID. I don’t have a single penny in my pocket, either.

When It All Started at Red Fort

3:00 pm : Some trouble is beginning to brew. There is a scuffle right behind me. A young man is being lambasted by another. Minor fisticuffs. It appears that more youngsters want to climb up the walls of Red Fort to reach the flagstaff. Elderly protestors are telling hot-headed youth that it isn’t right. “Ye hamara national jhanda hai. Iss ko chhoona bhi nahi chahiye. Hamara kaam ho gaya hai bas yahaan aakar.” (This is our national flag, it shouldn’t be disrespected. We have achieved our goal by reaching Red Fort.)

One youngster says, “Hum khoon chadhane aaye hain”. (We are here to make a blood offering.) An elderly gent shouted, “Baahar jaake chadha khoon” (Offer your blood outside) and let some chaste Punjabi expletives out.

Police personnel enter Lahori Gate in anticipation and stand at one side. This sight unsettles the protestors perched on the platform and there is commotion on the stairwell. A stampede, if nothing worse, looks impending. I squeeze out and observe from the parapet near Lahori Gate. I catch a glimpse of a handful of police personnel on the platform. And a flurry of protestors exiting from Lahori Gate.

Some youngsters run outside to tell people about police lathicharge. I run towards the police tents and seek comfort in the company of fellow members of the media. “Let’s pray things don’t turn ugly here,” a video journalist from Kannur says to me.

Police personnel start charging towards Lahori gate and that’s when the confrontation started. Protestors outside are beating up police personnel in retaliation for the ‘lathicharge’ inside. The parapet I was earlier standing on becomes the site of clashes.

Tractors come charging towards the crowds. I retreat towards the main road where some Delhi Police personnel are standing. I ask, “What is happening here?” and pat come the reply “Nothing much”. I ask about what orders they have. “We have no orders. We are waiting”.

Signs of First Blood

3:15 pm : I spot an injured cop being escorted out by a group of protesters. His head was hit and blood was streaming down his face. I fumble to take my phone out but he’s quickly taken away. From the main road I attempt to record a piece to camera but it is interrupted by a protestor who threatens me in Haryanwi, “Don’t bring us bad name by showing only this police constable”. I talk to him and my phone battery dies. Other protestors whisk him away and apologise to me.

I walk away from Red Fort as farmers keep coming from Singhu Border and Ghazipur. Oblivious of the scenes inside, most of them circle Red Fort and head back. I hear some shots—they seem distant. Perhaps from ITO. My colleagues from ITO have been reporting disturbing scenes of clashes between Delhi Police and protestors.

I want to reach home to file an eyewitness blog quickly but there is no internet at home. My neighbours have no internet either. I go to a friend’s house in Mukherjee Nagar—after multiple detours—to send photos and video clips to my colleagues at desk.

At night, I receive a drone video showing details of the police-protestor clashes at Red Fort.

Link to original story

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Testing Positive for COVID-19 Exposed Us to the ‘Delhi Disease’ https://dev.sawmsisters.com/testing-positive-for-covid-19-exposed-us-to-the-delhi-disease/ Wed, 14 Oct 2020 06:00:39 +0000 https://sawmsisters.com/?p=3076 A Delhi household tested positive for COVID-19 & exposed them to gaps in government’s policy to deal with pandemic.]]>

This story first appeared in The Quint

A Delhi household tested positive for COVID-19 & exposed them to gaps in government’s policy to deal with pandemic.

We tried our best before being defeated.

For the past eight months, our household of eight (husband, wife, two daughters, two live-in domestic employees, and two dogs) had been following all the instructions that the central and state governments had been giving us. In addition, we looked up various national and international experts for advice. Our family became a butt of jokes from friends and neighbours for being “paranoid”. Nothing, however, could avert the inevitable. All our efforts could accomplish was buy us some time.

COVID-19 infected five of us. And our ‘positive’ results were just the tip of this iceberg which I’d like to call the Delhi Disease.

COVID-19 Comes Home Uninvited

The moment my husband tested positive, we did everything that the government expected us to. We sent the dogs to a kennel, informed the neighbours, quarantined ourselves, and awaited further instructions from authorities concerned. Much later in the day, we answered several phone calls to confirm our address. The next day, some auxiliary heath workers wanted us to sign home-isolation forms. Later, a poster was put up on our door announcing the husband’s COVID-19 status.

In the next two days, the husband was joined by more of us. It was utter chaos. Mind you, we got ourselves tested out of our own volition. Our household staff (let’s call them R&D) had no symptoms but their RT-PCR test results came out positive. It made no difference to our household situation, since we had already started a strict quarantine and were almost sure that all of us in the household were going to catch the infection. After all, this virus is sneaky. You can pass it to others even before you know of its presence in your body.

And this is when our real nightmare began.

The ‘Delhi Disease’ of No Planning, No Coordination

We were bombarded by phone calls that were neither necessary nor helpful. I’m sure the authorities were doing it to keep us comfortable, but it had the opposite impact.

Consider the following:

  • COVID-19 patients receive around 10-12 phone calls everyday from different agencies (municipality, DM office, ICMR, and others) seeking the EXACT SAME INFORMATION
  • Add to this the automated calls to check ‘availability’ to take these calls
  • Now, imagine a household with FOUR positive cases at the same time and calculate the number of calls received by the only caregiver

Each time the cellphone rang, it gave us bouts of anxiety because no matter what we said in response to the questions asked by call-centre executives, they repeated their lines, and talking worsened our respiratory condition and drained us. The executives did not understand what being ‘asymptomatic’ meant. They insisted on pro forma lines.

And then there was the incessant ringing of the doorbell. For each patient, the process of signing of forms, putting up of posters etc, was carried out at different times and by different people.

As if we hadn’t had our fill of the absurd, one healthcare worker forgot to take a photograph of the poster she put up and her supervisor refused to pay her. She could only get paid if we went out of the house to click a picture and sent it to her. That involved some more phone calls and entirely avoidable physical movement.

Did it strike nobody that it was ONE address that had more than one COVID-19 patient? Or does economy of time, efforts and resources mean nothing to anyone even in the national capital?

Let me share, dear reader, that my house happens to be only a stone’s throw away from the official residence of CM Arvind Kejriwal.

Did it occur to nobody that address-wise data could be consolidated, and just ONE person could make ONE daily call to collect information and then share the same across? This lack of planning and coordination is what I call the Delhi Disease. Authorities authorities everywhere, no accountability, just hoodwink! With due apology to ST Coleridge.

Have Governments Given Up on Contact Tracing?

The enthusiasm of phone calls, however, was missing in following all other protocols. No special arrangements were made for our house to collect garbage for the first ten days. We had started sealing our trash very carefully and it was being collected by our regular cleaning staff of the society. I could not explain the pointlessness of his arrival when an MCD employee came on the 10th day to empty our bins. He had been instructed to visit our house only the same day.

The same evening, two Delhi Police constables came to put the “DO NOT CROSS” ribbons at our front door. Again, a futile gesture that was past its expiry date.

No efforts, whatsoever, were made for contact tracing. Nobody called or visited to do that. We had, however, informed the hospital where my husband had been going for his physiotherapy, the eye surgeon that our daughter consulted, and the vet surgeon we take our dogs to about our COVID-19 status to caution them.

Ironically, the physiotherapy centre called the husband once to ask why he had missed his sessions. Clearly, the hospital authorities—despite acknowledging our email—forgot to inform their physiotherapy department. I shudder as I type this.

COVID-19 and Communication

As of now, we remain in this self-imposed quarantine as we have no idea what procedure is to be followed for declaring ourselves COVID-free. When should we count our 17 days from? From the onset of symptoms in the first patient? From the day of their test result (as mentioned in the poster), or the day the asymptomatic patients got their positive report? None of the tele-callers can deal with this query, or anything that is not there in their ‘syllabus’.

But why blame them when even the highest echelons of state and central governments are incommunicado when it comes to our COVID-19 strategy? We brought many issues to the notice of the state and central authorities through official (email) and unofficial (via twitter, friends, family and acquaintances) channels but received no response.

The household is trudging back to communicating with each other face to face, but normalcy remains a mirage. How long it will take us to be normal, nobody knows.

Link to original story

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Yes, Hathras Rape Case is My Issue. No, I’m Not a Dalit Woman https://dev.sawmsisters.com/yes-hathras-rape-case-is-my-issue-no-im-not-a-dalit-woman-2/ Thu, 01 Oct 2020 12:32:57 +0000 https://sawmsisters.com/?p=3061 Social justice does not take place in silos, nor does it come about by merely doing a ‘privilege check’. ]]>

This story first appeared in The Quint

Social justice does not take place in silos, nor does it come about by merely doing a ‘privilege check’.

“So you put the burden on me to raise it as my issue?”

P responded to my WhatsApp text yesterday as I urged her to write a think piece on the Hathras rape case. Before making this request, a professional hazard, we were discussing long distance running, strength training, different fitness apps and gears etc.

P and I grew up in towns sitting adjacent to Hathras. When we were colleagues at an A-list Delhi University college, we’d spend some afternoons discussing what that milieu was and how we survived it. Yesterday, we both figured that we only had rage, blind rage, over what was done to the Hathras victim, first by the rapists, and subsequently by the police.

“I can’t write it myself…But somebody needs to raise the question ki bhai kab tak chalega ye sab?” – I had texted, to which P had responded with the curt statement above.

I deserved it. I was trying to play too safe, perhaps, by doing the politically correct thing.

P cleared the clouds in my head with her subsequent messages:

“ … you need to figure out a way of articulating it as your issue then na…, ”and, “Maybe you could start with this conversation?”

Do We Really Need To Bicker About Who Gets to Speak For Whom?

Who is afraid of ‘appropriation’? Or of ‘hijacking’ the ‘issue’? Or even of ‘making it about themselves’? In all likelihood, all these concerns are the last things on the mind of an individual or a community suffering physical, structural, cultural, sexual or psychological violence. And, mostly, brass tacks are more useful than air quotes. The unfashionably material issues of food, water, access (to education, employment, justice…everything), nutrition et al.

Can the subaltern speak without an ally? Of course. Should the subaltern march alone just because the ally can possibly make it all about herself? Now, that is a trick question. More provocatively, can only a Dalit woman legitimately outrage about the Hathras rape case ? Is rape only a women’s issue?

Ought privilege become a guilt trap that, ironically, also encourages indifference and, worse, laziness? When cruelty can be public — all engulfing — why shouldn’t the outrage against it be all-encompassing?

It has been established that identity-based motivations are often behind incidents of sexual assault. Does our response have to be identity-based, too? If yes, will it not bolster public cruelty which scholar Michelle Rodino-Colocino defines as “the deliberate infliction of physical, and secondarily emotional, pain upon a weaker person or group by stronger ones in order to achieve some end, tangible or intangible”?

Can ‘Dalit Issues’ Only Be Taken Up By Fellow Dalits?

Coming back to the specific issue of rape, it is fallacious to categorise this as only a crime against women, and thus conveniently shove it in a bag labeled ‘women’s issues’. It is, in fact, a national security issue and needs to be treated as such. Rape as an instrument of oppression attempts to destabilise one half of the population, plus some bonus gains coming in from the other half. Why should the burden of proof, outrage, and even advocacy fall upon the shoulders of only the victim individuals and communities?

The fact that Uttar Pradesh had to wait for a Dalit woman to assume the CM’s role to see a significant rise in the number of reported rapes, says how this debate of “my issue, your issue” does more damage than good. When Mayawati assumed power in UP, she had instructed all the police station to record every single rape accusation brought there by a Dalit woman. When she lost power, the number of rapes reported by Dalit women fell from 375 cases in 2011 to 285 in 2012 (NCRB 2014).

This small statistical entry is enough to serve as an indictment, ironically, of the limits of exclusionary representative politics. Damned is the society that cannot care for those who are not ‘people like us’.

Each one of us bears responsibility to create an enabling environment for the members of each marginalised community to feel secure and not desperately clutch at the straws of ghettoisation. Social justice does not take place in silos, nor does it come about by merely doing a ‘privilege check’. Put this privilege to work, shall we?

No Hierarchy Of Empathy Needed, Please

And now there is this minor problem of the Constitution and the rights it grants to all the people of this country. No crystal-gazing is required to figure that constitutional rights are not the panacea for social ills. Public power trumps constitutional rights; violence and discrimination are seen as legitimate expressions of privilege. We need to turn this concept upside down. Privilege ought to manifest itself differently: through empathy and honesty.

Let’s talk about ‘agency’, too. For powerful people, even ‘lack of agency’ works in their favour. Scholar Susan Ehrlich explains that the “grammar of non-agency” paints powerful perpetrators with an “aura of non-responsibility”, turning them into victims of forces beyond their own control. Remember Mulayam Singh Yadav’s “Boys make mistakes” statement?

Most law enforcement personnel perceive victimhood through the lens of caste, class, religious background, and gender norms when it comes to crimes like rape. Those who are committed to social justice need not do the same.

The concept of intersectionality is supposed to bring an added layer of empathy but we don’t need a hierarchy of ally action.

As Carrie A Rentschler succinctly articulates, “A rape culture condones physical and emotional terrorism as the norm.” ‘Terrorism’ is not the ‘issue’ or ‘problem’ of one individual or community – it affects an entire nation and subsequently the world.

Link to original story

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Yes, Hathras Rape Case is My Issue. No, I’m Not a Dalit Woman https://dev.sawmsisters.com/yes-hathras-rape-case-is-my-issue-no-im-not-a-dalit-woman/ Thu, 01 Oct 2020 12:32:57 +0000 https://sawmsisters.com/?p=3061 Social justice does not take place in silos, nor does it come about by merely doing a ‘privilege check’. ]]>

This story first appeared in The Quint

Social justice does not take place in silos, nor does it come about by merely doing a ‘privilege check’.

“So you put the burden on me to raise it as my issue?”

P responded to my WhatsApp text yesterday as I urged her to write a think piece on the Hathras rape case. Before making this request, a professional hazard, we were discussing long distance running, strength training, different fitness apps and gears etc.

P and I grew up in towns sitting adjacent to Hathras. When we were colleagues at an A-list Delhi University college, we’d spend some afternoons discussing what that milieu was and how we survived it. Yesterday, we both figured that we only had rage, blind rage, over what was done to the Hathras victim, first by the rapists, and subsequently by the police.

“I can’t write it myself…But somebody needs to raise the question ki bhai kab tak chalega ye sab?” – I had texted, to which P had responded with the curt statement above.

I deserved it. I was trying to play too safe, perhaps, by doing the politically correct thing.

P cleared the clouds in my head with her subsequent messages:

“ … you need to figure out a way of articulating it as your issue then na…, ”and, “Maybe you could start with this conversation?”

Do We Really Need To Bicker About Who Gets to Speak For Whom?

Who is afraid of ‘appropriation’? Or of ‘hijacking’ the ‘issue’? Or even of ‘making it about themselves’? In all likelihood, all these concerns are the last things on the mind of an individual or a community suffering physical, structural, cultural, sexual or psychological violence. And, mostly, brass tacks are more useful than air quotes. The unfashionably material issues of food, water, access (to education, employment, justice…everything), nutrition et al.

Can the subaltern speak without an ally? Of course. Should the subaltern march alone just because the ally can possibly make it all about herself? Now, that is a trick question. More provocatively, can only a Dalit woman legitimately outrage about the Hathras rape case ? Is rape only a women’s issue?

Ought privilege become a guilt trap that, ironically, also encourages indifference and, worse, laziness? When cruelty can be public — all engulfing — why shouldn’t the outrage against it be all-encompassing?

It has been established that identity-based motivations are often behind incidents of sexual assault. Does our response have to be identity-based, too? If yes, will it not bolster public cruelty which scholar Michelle Rodino-Colocino defines as “the deliberate infliction of physical, and secondarily emotional, pain upon a weaker person or group by stronger ones in order to achieve some end, tangible or intangible”?

Can ‘Dalit Issues’ Only Be Taken Up By Fellow Dalits?

Coming back to the specific issue of rape, it is fallacious to categorise this as only a crime against women, and thus conveniently shove it in a bag labeled ‘women’s issues’. It is, in fact, a national security issue and needs to be treated as such. Rape as an instrument of oppression attempts to destabilise one half of the population, plus some bonus gains coming in from the other half. Why should the burden of proof, outrage, and even advocacy fall upon the shoulders of only the victim individuals and communities?

The fact that Uttar Pradesh had to wait for a Dalit woman to assume the CM’s role to see a significant rise in the number of reported rapes, says how this debate of “my issue, your issue” does more damage than good. When Mayawati assumed power in UP, she had instructed all the police station to record every single rape accusation brought there by a Dalit woman. When she lost power, the number of rapes reported by Dalit women fell from 375 cases in 2011 to 285 in 2012 (NCRB 2014).

This small statistical entry is enough to serve as an indictment, ironically, of the limits of exclusionary representative politics. Damned is the society that cannot care for those who are not ‘people like us’.

Each one of us bears responsibility to create an enabling environment for the members of each marginalised community to feel secure and not desperately clutch at the straws of ghettoisation. Social justice does not take place in silos, nor does it come about by merely doing a ‘privilege check’. Put this privilege to work, shall we?

No Hierarchy Of Empathy Needed, Please

And now there is this minor problem of the Constitution and the rights it grants to all the people of this country. No crystal-gazing is required to figure that constitutional rights are not the panacea for social ills. Public power trumps constitutional rights; violence and discrimination are seen as legitimate expressions of privilege. We need to turn this concept upside down. Privilege ought to manifest itself differently: through empathy and honesty.

Let’s talk about ‘agency’, too. For powerful people, even ‘lack of agency’ works in their favour. Scholar Susan Ehrlich explains that the “grammar of non-agency” paints powerful perpetrators with an “aura of non-responsibility”, turning them into victims of forces beyond their own control. Remember Mulayam Singh Yadav’s “Boys make mistakes” statement?

Most law enforcement personnel perceive victimhood through the lens of caste, class, religious background, and gender norms when it comes to crimes like rape. Those who are committed to social justice need not do the same.

The concept of intersectionality is supposed to bring an added layer of empathy but we don’t need a hierarchy of ally action.

As Carrie A Rentschler succinctly articulates, “A rape culture condones physical and emotional terrorism as the norm.” ‘Terrorism’ is not the ‘issue’ or ‘problem’ of one individual or community – it affects an entire nation and subsequently the world.

Link to original story

]]>
Lockdown, Paatal Lok & Migrant Workers Tell Us Why Villages Exist https://dev.sawmsisters.com/lockdown-paatal-lok-migrant-workers-tell-us-why-villages-exist/ Thu, 21 May 2020 07:34:30 +0000 https://sawmsisters.com/?p=2881 Paatal Lok could not have streamed at a better time. What better time for a narrative about how urban India makes everything about itself than today when our screens are plastered with the visuals of “migrant workers” in our cities? It also helps that the series also operates at a ‘meta’ level.]]>

This story first appeared in The Quint

Paatal Lok could not have streamed at a better time. What better time for a narrative about how urban India makes everything about itself than today when our screens are plastered with the visuals of “migrant workers” in our cities? It also helps that the series also operates at a ‘meta’ level.

The reader must be warned at this point that this is not a review of the series, though a lot could be said about how impressive the cinematography by Avinash Arun and Saurabh Goswami is, how Jaideep Ahlawat’s elephant performance will be remembered in years to come, and what a delight it is to hear Padma Shri Prahlad Singh Tipaniya singing a Kabir bhajan as the final credits roll.

So why discuss Paatal Lok when “our migrants” are dying, getting brutalised, putting themselves (and others) at risk?
Because, Immanuel Kant—the giant of the Enlightenment—thinks examples make those concepts and codes visible to people that were hitherto languishing in darkness or made invisible.

Just like the migrants.

Why Do Villages and Villagers Exist, After All?

For generations, urban elites have seen villagers as lesser human beings. Who wants to revisit the genesis and outcome of the Etawah Project, a symbol of Nehruvian optimism in the 1950s? Definitely a much lesser number of people than those who have already watched Paatal Lok. Therefore, let’s come straight to the point. Since Independence (and even before) to the present day, almost everything has been about cities and not villages. Even the existence of the villages has been about the cities. What happens when villages ‘fail’ the cities?

When the Etawah Project, a pet rural development project of Nehru and noted planner Albert Mayer failed in Uttar Pradesh, it was hastily concluded that the villagers did not deserve anything better than their lot since they were not making progress fast enough towards the new style of life. India’s villages and villagers were supposed to adapt as fast as possible to “modernity” that came in the form of “radios, bicycles, sewing machines, and apparel” which could be acquired through a self-repeating cycle of increased production and consumption.

To put it simply, borrowing Partha Chatterjee’s argument, even back in the 1950s, India’s villages and their people were meant to serve the country’s cities by becoming enmeshed in the process of large-scale industrialisation. Like the characters in Paatal Lok’s villages a.k.a. ‘Badlands’ exist only to be exploited by shiny studios of the cities. As if the cities do not have caste and class faultlines, as if violent crime and gore are only part of the rural landscape.

The State’s Failure to Reform Villages Has Many Excuses

Anthropologist Oscar Lewis, who travelled in India in the 1950s to assist the Planning Commission coined the phrase “the culture of poverty” which was lapped up by legislators and economists to deny what the villages needed to flourish. Because villages are inefficient, backward, and lazy, let’s not funnel our resources and energies to transform them, just keep them going with subsidies.

It has been an urban refrain for many years that agriculture pulls India’s economy down; that manufacturing is the way forward; that villages need to become an extension of cities. And for what? To sustain cities because that’s where the future of India is. It’s beyond ironical that future, in the aftermath of the coronavirus pandemic, can only be saved by agriculture. The Indian economy is getting bailed out, in whatever limited measure, by villages through agriculture.

The agriculture sector is likely to achieve 3% growth in the current fiscal year despite the coronavirus lockdown. Let us also remember that it employs almost half of our workforce. If it was about villages, agriculture reforms would have taken precedence over ego-boosting projects in the cities. The agriculture workforce would have contributed a lot higher than the current tally of 16% in GDP. Packages and schemes for agriculture sector would not be frowned upon as doles when manufacturing subsidies are hailed as reforms. Agriculture would be remunerative with village people not wanting to escape for chasing mirages—yes, ‘a good life in the city’ is a mirage as millions of workers have learnt today.

How Ill-Planned Cities Deceive Villages

Harvard economist Edward Glaeser emphasises in his path-breaking book Triumph of the City (2011) that cities attract poor people. Perhaps, but it is only half the truth. The full story is what is unravelling in front of our eyes every day during the coronavirus pandemic: cities deceive poor people, cities deceive villages.

Cities lure villages with a promise of modernity which they can neither afford nor sustain. Let’s go back, again, to Paatal Lok and talk about the Gujjar community whose biggest messiah, a dacoit, acts as a pivot to the plot even though his real name and face are never known to the viewer. What we have is a mythologised version of this quasi-god quasi-king half-mystery man as ‘Donullia’—a reference to the 12 bore double barrel gun only the ‘bad’ people carry in the boondocks. The way urban political landscape makes use of Donullia and his influence over the Gujjar community is nothing surprising.

And why should it be? After all, even in real life a highway that allows Delhi to connect to its satellite settlements—in Pataal Lok’s “Outer Jamuna Paar” area—is also built on land acquired from Gujjars, a traditionally agriculturist pastoralist community, who are supposed to be happy because the highway is named after another mythologised figure: Gurjar Samrat Mihir Bhoj Marg. And of course there’s the compensation cash that’s meant to assuage the worries of a community’s loss of their known ways of livelihood. Land acquisition reforms have taken too long to come.

Finally, let’s look at the streams of migrant workers again. Their villages can’t feed so many mouths and cities want only their hands. In the Paatal Lok parlance, they are only to be treated as the most dispensable and replaceable parts of a “well-oiled machinery”.

“Our migrants” are living, breathing, crawling, starving, defecating people that have been shorn of their history. They are seen as an amorphous anonymous lump that has suddenly exploded on the city roads.

“Our migrants” are people who came to cities only to be deceived and conned. Worse off than Renu Chaudhary (Gul Panag), who is left with a blingy monstrosity dispensing inedible ‘Crazy Cranberry’ in the name of modernity.

Link to original story

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