Rediscovering the North East or Riding the Bandwagon?

It feels terrible to admit it. When I saw this photograph in the paper today, my instant reaction was, “Oh, so they had to have someone from the North East even to show rains in Mumbai.” As it turned out, I was wrong. These were described as “tourists”.

My immediate reaction tells us something, aside from the fact that people from the Oriental regions too may be mistaken for those in the North East, is that the media is going over the top to portray and project everything possible about the region. It is like dusting something from the attic and placing it on the mantelpiece. There is no attempt at trying to even examine it closely, explore its history, and look at the cracks it has suffered when it was consigned to the dark corner.

Today, we have seen how damaging stories can be. The term “chinki” that many people use for the Chinese or those with slanted eyes is being put to the test of a politically correct grinder. People of Sikkim look like that. Nepalis do. And what about those in Darjeeling who have been demanding Gorkhaland? Why is no one interested in that? Why are we suddenly concerned about what they are called? Have we never made such errors of judgment based on physical appearance?

This sort of quick-fix concern tourism does nothing for the people, educates no one, and enlightens little. Armed with a map, the “seven sisters” are not even given distinct identities that they fought for amongst themselves. Have people already forgotten the ULFA that targeted tea plantation owners, mainly Marwaris from Kolkata? Disaffection with Bangladeshis is not new, but it is not the only problem. (Read Don't Blame the Immigrant)

Film director Kalpana Lajmi, who was the late filmmaker, singer, poet, political activist Bhupen Hazarika’s longtime partner, was interviewed recently by The Times of India about the violence in the North East. She lived there for long periods. Why did she never speak before about the problems that range from “they’re often dismissed off as ‘chinkis’” to “it came as a shock to me when I realized the magnitude of the issues only after violence spilled over at Azad Maidan (Mumbai)”?

She makes dangerous simplistic statements that are no better than the rumour-mongers:

“Friends in Assam say that they have lived in harmony with the Muslims, and that the quarrel is between the Bodos and the immigrant who have outnumbered them. I tell them it is a communal issue as it is a fight between the Muslims and non-Muslims. How can you even call them Bangladeshi if they have lived in India for over 50 years?”

Has she read anything about the history? She is reaching such conclusions because that is what some people in the media and some political parties are doing. It is so conniving that she, sitting in Mumbai now, is talking about communalism. Did she not feel victimised when she was there? Did Bhupenda ever tell her any such thing?

And with as much alacrity as she effectively grants Bangladeshis local status, she contradicts it:

“There is also a feeling that one day a Bangladeshi immigrant may take over as the chief minister of a northeastern state.”

Whose feelings is she referring to? Has she gone there on an assignment recently? When she lived there, did she worry about this? If as she suggests a Bangladeshi who has lived there for 50 years is not a Bangladeshi, then is she implying that someone who has crossed over years later, maybe even recently, will contest elections and become the chief minister? Not only is her surmise ridiculous, she reduces the people of the North East, who have, despite the centre’s callous casual attitude towards them, never cowed down.

So dumb is the discourse that the interviewer asks her, “Are you planning to do anything to bring peace back in the region?” Her reply:

“I am planning to ask CM Tarun Gogoi to request artistes like Shabana Azmi, Javed Akhtar and Mahesh Bhatt to make the people feel at home. There is a need to make them understand that violence is not the solution. There is a need to get leaders and NGOs with no political ambitions to come forward. There is a need to decide once again the cut-off date for newer immigrants. But I still feel it is a deep-rooted problem as one cannot differentiate between the local and the immigrant.”

Yet, she has this crystal ball or third eye that tells her some immigrant can become chief minister. She believes that her chosen gang will bring peace, forgetting that two of them are in politics and politically sharp.

I do not know for how long this party with the North East will last. It is being played out in the most absurd manner and doing nothing for the states. We have already discovered the snowball effect of an ‘exodus’.

Political parties will make a killing of it during the elections. Will the people benefit?

MC Mary Kom, the boxer from Manipur who won the Olympic medal, apologised for not getting more than a bronze. She was feted for her gesture. This infuriates me. How many golds and silvers have we got?

Now Bollywood has jumped on the bandwagon. Sanjay Leela Bhansali wants to make on her life. It is an amazing life, no doubt, but this is not the first time she has participated in an international competition. It is understandable that she sees it positively. As she told the BBC:

“This film will help bridge the gap between people of the Indian mainland and those from the north-eastern states.”

The North East ought to be seen as much as mainland as Maharashtra or Delhi. Giving her example is like making an example of her, to be always on test, to struggle and to to triumph. Success is the barometer for acceptance.

This and the whole human interest angle to her story is part of the patronising attitude we have towards the North East. It started with politicians, it buffered ethnic strife, and now it has reached the pearly gates of our elite intellectuals with the memory span of a few minutes.

(c) Farzana Versey

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Two of my earlier pieces:

Manipur's fate and the North East States
Will Gorkhaland become a reality? 

The Kejriwal-Kiran Karnama

and a dash of Modi...

a

Kejriwal at the protest

This time I am with Kiran Bedi because I know where she stands. Whatever be her personal motives, she was right in not joining Arvind Kejriwal’s protest on Sunday. To those analysts who believe that he is targeting the BJP, take a chill pill. If the party dangles a carrot before him during the general elections meal, he will happily make a halwaa of it.

What we are witness to is political acrobatics. Team Anna has already announced its decision to form a political party. It should go about its business instead of taking to the streets:

The activists are demanding resignations of the PM and Gadkari and the cancellation of all coal licences following the CAG report that estimated a loss of Rs 1.86 lakh crore to the public exchequer.

Does it mean that each scam will result in just such a show of strength? What about the ones in the past? Why don’t they file a PIL? This is indeed an issue, but why does corruption only mean that which grabs media eyeballs?

The activists led by Arvind Kejriwal reached the residences of the PM, Congress president Sonia Gandhi and Gadkari three hours before schedule, setting the pace for a manic nine hours for a harried Delhi police that never quite got its grip on the situation.

Kejriwal said, “Our intention was to show the nation how the BJP and the Congress were hand-in-glove over the coal allocation issue. We have done our job, it is time we go back.”

Oh, sure. You create havoc, try and force an ‘alliance’ between opposition parties to show how ‘balanced’ you are and you expect people to believe you?

Addressing the crowd, he said:

“When the ruler is afraid of its subjects, it means that democracy is dead. What wrong are we doing? We are just sitting quietly on the footpath. At least we should be told why we are being detained.”

What they did was not democratic. They just follow another form of autocracy. It never was and cannot be a “people’s movement” when you need to wear Anna T-shirts. The caps seem to have been replaced. Is this what young India wants?

Kiran Bedi, Anna and the goddess

Kiran Bedi’s stand is “realistic” (My piece on her dance and symbolism is here). As a TOI report states:

She had opposed IAC’s plan to target and gherao BJP president Nitin Gadkari’s house on the coal block allocation issue, arguing that the activists should not forget the support given by leaders like Arun Jaitley, Sushma Swaraj, L K Advani and Gadkari during their bid to get the Jan Lokpal bill passed.

“Arvind and the Bhushans had several meetings with them (BJP leaders). And they agreed to support in some ways. But at least they were not dismissive as the ruling party. Why must we forget this. End of the day, if we paint all black who will get us what the country needs now and in the near future. India needs honest political leadership and I look forward to widespread changes. But we got to be patient and inclusive. Without losing possible quarters of support even if we have ideological difference with them.”

Kejriwal just wanted to play drama queen until things hot up and he will have to sit and help formulate something called a party manifesto that goes beyond corruption that is already being exposed by others. This is, as I have said so often, a BJP vs. RSS diversionary tactic, and he is so comfortable in such a scenario where one acts as the foot soldier with righteous indignation and the other is the moderate.

See you in saffron in 2014, Mr. Kejriwal.

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Netting Modi

Modi maange more

There are several websites singing his praises, uploading his speeches, capturing his every move. So, why does Narendra Modi need another channel?

Cornered by a relentless onslaught from a rejuvenated Congress and a buoyant Keshubhai Patel, chief minister Narendra Modi is planning his biggest ever media blitzkrieg. An internet protocol channel (IPTV), most likely to be named Namo Bharat, will be launched soon to arm the Gujarat CM with a potent propaganda tool.

“The name itself makes it clear that this is personal projection not just for the assembly election but bigger things that lie ahead,” said a source.

Namo is the name the mainstream English media gave him, just like they did Saifeena (for Saif and Kareena), which was copied from Brangelina. This is also what stores and companies with two partners do – add parts of each name and run shops.

"Bigger things" is a loaded phrase. And adding Bharat does not mean a thing, because even Manoj Kumar used the name for his characters in films. This won’t make Indians more interested in him as potential prime minister. In fact, he will appear so limited, stuck to his “5 crore Gujarati” obsession in the big pool. Good. Perhaps, there is a typo in the name. Is it ‘Nano Bharat’, little India?

(c) Farzana Versey

All quiet at the crematorium: A.K.Hangal

How the social hierarchy reveals itself is evident in how many people did not attend actor A K Hangal’s funeral. He lived to be 98 and half of these years were spent in the Hindi film industry.

This is showbiz, and most of the people in it make it a point to be present for various reasons. At one of the prominent funeral pictures, I spotted two well-known stars having a good laugh. Could the joke not wait? Or were they, as has become so trendy to say, “celebrating his life”?

Okay, so why were no prominent names who Hangal saab acted with present? They will run to see a newly-born baby who will come out all swathed to hide her from the world; they will rush to the hospital for an actor who suffers from fever or routine checkups; they will visit to condole the death of a parent/grandparent of one of them.

Of the few character actors present, Raza Murad did not mince words:

“The actors would’ve come if a political party summoned them. But they didn’t have an hour to spare to pay their last respects to the man who gave 50 years to the industry and worked with all top stars.”

I’d also ask the media the same question: where were they? They will climb atop trees to capture a baraat they are not invited to; they will sit for hours outside vanity vans waiting for some star, or even starlet, to turn up after giving 40 retakes to get a sound byte; they will do their Entertainment slots with loops that make no sense. Had they landed there, some stars might have turned up.

Of course, they tweeted about it, or gave their two paise worth.

“A K Hangal, passes away this morning!! A veteran, a gentleman, a congenial co artist and a master at his work” – Amitabh Bachchan

But he is not Uddhav Thackeray getting an angioplasty, right? Besides, what are those two exclamation marks for to announce a death?

“An era comes to an end. Theatre and film were enriched by him” – Shabana Azmi

So what happened? After all, he was part of the great theatre movement IPTA, a card-holding Communist that Ms. Azmi admires so.

“Undying father figure in world of theatre n hindi cinema lived for 50 years in this profession only because he was disciplined n a thorough gentleman, who would bring theatre discipline on sets of a film shoot too . He worked with me in ‘Krodhi’ n ‘Khalnayak’ and we used to call him ‘humble sahib’. Great soul, indeed” - Subhash Ghai

I suppose Mr. Ghai thought he was so humble he would not have wanted to feel conceited about people attending his last rites.

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This is only one of the concerns. More important is the fact that Hangal saab could not afford treatment when he fell seriously ill last year.

I have written this earlier, but let me repeat it. The day after it came out, the film industry woke up. Some contributed quietly, some raised issues of ‘doing something for our seniors’. Jaya Bachchan sent a message to be conveyed that his ‘daughter’ remembers him (he played her father in many movies) and her office will handle his medical bills. How dismissive is this. Office? Could she not visit him or just keep silent about who would manage it? Why this announcement?

Upon mild recovery, Mr Hangal was on the ramp in a wheelchair. The reason? Part of a fashion show was organised by designer Riyaz Gangji to generate money for the ailing actor, according to Mumbai Mirror.

Helpless to save his health

This was insensitive and gross. Was he a showpiece? Can there be no dignity in such charity? Imagine someone who was a “freedom fighter” - incidentally everyone is mentioning this having discovered one more use for their patriotic fervour - expected to display himself and his “abject poverty” to get a decent life. These people get mileage and our seniors have no choice but to go along.

Following this, another case was highlighted about someone leading a penurious life. The editor of Sholay, a blockbuster and pathbreaker of its time, was living in Dharavi. Shocking? Yes and no. How many of us ever bothered to find out who edited the film? What about all those researchers who did critical tomes on these movies? Why such discoveries now?

M.S. Shinde worked on a salary of Rs. 2000 and he has no regrets:

“I worked with Sippy Films on a salary of Rs 2,000 (per film) all my life. I didn’t mind the salary because they allowed me to take up work outside.”

At one time even film stars, the visible beautiful faces immortalised in black and white, led lonely forgotten lives. They did not invest their money and instead chose to flash their Bentleys. That was stardom and glamour in the pre-red carpet days. It also had to do with splurging arising out of insecurity if they had made it from the pavements.

Think also about art house cinema before it got sponsors and acquired marketing skills. A whole bunch of idealists would descend on the city and often crashed at someone’s place. Or took the train back home after performing in a few street theatre plays.

This is not to deny the genuine problems faced by our veterans, but before we dismiss it as callousness think about the hierarchy that has always been prevalent. Even today the actors are paid much more than the director. We won’t get into the subject of junior artistes, at one time called ‘extras’, who have to await their turn and often cosy up to the ‘provider’. It is not a business that is organised and therefore a risky proposition for almost everyone concerned.

Mr Shinde might have had it better if there was mandatory provision for provident fund and retirement benefits.

Newspapers and TV channels, if they do take notice do so in a patronising manner: to announce how people came forward to help after they ‘broke’ the story.

The Hindi film industry is acting out a farce with its fake philanthropy helped along by the media.

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I’m afraid, this should have been a tribute to a fine actor, but this attitude upsets me. About Hangal saab and his most-remembered character of the blind Rahim chacha is Sholay, I have some reservations. It was a stereotype, the token nice Muslim posited against the rough terrain of thakurs and dacoits. His blindness, of course, gave it added pathos of not seeing the bad and therefore understanding the good.

But I cannot forget being creeped out by him as the lecherous old skirt chaser in Shaukeen. I disliked him, so credible he was. He, Ashok Kumar and Utpal Dutt, all wonderful, formed the trio of shaukeens. Dutt was always stylised; Ashok Kumar had his mannerisms. A.K. Hangal had the ability to not act. After seeing him as the genial grandpa or the family retainer in other films, this was a shocker.

I mentioned elsewhere how it is perhaps our moral obsession that makes all tributes glorify his Rahim chacha character and of course, the famous line, “Itna sannata kyon hai bhai?” (Why is it so quiet here)

It was indeed very quiet at the crematorium, for no one was there.

Sunday ka Funda

"Every time when I look in the mirror

All these lines on my face getting clearer

The past is gone

It went by, like dusk to dawn

Isn't that the way

Everybody's got the dues in life to pay...'

Dream on



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The original is by Aerosmith

Look at this...

What does this photograph convey? It was on the day when a mob went
berserk at Azad Maidan in Mumbai.

Here the cop is coolly ambling ahead. What is he reading? Did he not realise there were people on a rampage right behind him? Did he turn to look back later?

He appears to be so immersed in something else. What is it?

This picture, despite it being in-your-face can have its layers unpeeled. Disturbing. Almost dark 'comedy', if it wasn't real.

- - -

Image is from TOI, but there was no photographer's name so not aware
if it's taken from elsewhere.

Leave the guys alone...

People sit in an auditorium watching a wicked play. The jokes are vulgar; there is talk about the female anatomy and sex. What makes this one different? It is restricted to men only.

The reaction is that it is sexist. It is not. The director has not tried to hide intent nor the fact that “‘Only for adult men’ is my USP. It has worked. It is the first time in India, rather in the world, that such a tagline has been used”. Has it caused consternation because the characters are the regular sort?

We have shows for ladies only, be it for movies, plays or other cultural activities. Do women accompany their partners or male friends to dance bars, where men go to enjoy a few drinks and ogle at the dancers? How many women attend tamasha shows (a rustic and sensual dance performance loaded with innuendo) even in the villages where it is a staple form of entertainment?

How, then, can the playwright-director-producer Ashok Patole be put in the dock for “gender segregation” for restricting entry to ‘Ek Chavat Sandhyakaal’ (One Naughty Evening)?

He explained in an interview to Mirror:

“That is a matter of choice. Our play has adult material which, we think, is unpalatable for women. That’s why we do not wish to embarrass women, and also men. We were told by men to keep this a fun evening that they can enjoy. They claimed that they will not be able to laugh aloud at the sexy jokes if their wives were with them.”

It is shocking that he was asked whether women could not use the Indian Constitutional right to watch this play, when many women activists cry themselves hoarse over how women are portrayed. This is a closed group, and everyone knows that women too have their moments of fun. It has become quite the in thing in the metro cities for the ladies who lunch to invite a male stripper. The dynamics are changing, and although these are superficial indulgences there is no denying their usefulness as a form of social catharsis.It is beyond the male pattern Chippendales that advertises itself as :for ladies' entertainment'.

I remember watching a Dada Kondke film that was known for its rather crude humour in a small cinema hall. Curiosity about its filmmaker-actor was what prodded me. It was difficult to convince a friend to accompany me, to begin with. I was the only woman there and I could see that those sitting around me weren’t comfortable. We left mid-way.

The director, therefore, has a point when he says:

“If we had opened the play to everyone, and if some women had found it objectionable, our play would have been banned. We would have been labelled as porn-makers. Theatre-goers, who otherwise savour English sex comedies and Hindi bedroom farces, would have joined some women’s organisations, would have organised morchas against us. So, the marginal chance of doing well at the box-office would have been lost. We didn’t want that. And this tagline helped us put the play into perspective.”

This is way more honest than some ‘bold’ attempts at selling a film on the basis of making a feminist statement. Example being The Dirty Picture. Standard phrases like exploitation, empowerment, breaking the glass ceiling are used without understanding the import of these. Even the more offbeat feminist films and plays, without saying so, are indeed restrictive, in that they are catering to a female audience, have female sensibilities and make no attempt to market themselves for the consumption of men. A case in point being The Vagina Monologues, where the male, however aware and enlightened he might be, was a spectator. Unlike the woman as empathiser-observer.

This men’s only play has “two men talking about sexuality-related issues. A sexologist and a professor help a PhD student to analyze her subject: ‘Psychological, sociological and physical need of sexuality-related jokes and swear words’. It entails all those jokes that we chuckle over in private. We have just made those jokes public. What’s wrong in entertaining people? And we are not even involving people below 18. There is no malicious intent. I am a progressive director with a very broad openended view of sex and morality.”

That is the reason I find it intrusive that women would want to barge in. A female councillor after getting complaints – about what? That women could not attend a play they might find repugnant? – has muscled her way in and the shows will now have a new tagline welcoming the female audience.

I wonder if, as a matter of gender parity, they’d also use the men’s facilities.

(c) Farzana Versey

Sajda and the Sadhu

How sorry are the attempts at communal harmony. This picture is an example. The Times of India used this caption:

"A sadhu prays while a group of Muslims perform namaz in Jodhpur on Eid"

Was the sadhu invited? Is he leading the prayer? He is a distance away, so where is the harmony here? Look at the expression of those praying. Their attention is diverted to this spectacle. Besides, I wonder how the devotees would be bowing before their footwear. Sajda to their chappals?

It's better not to project such images. Really. We can all live without variety.