By Dhruva Balram:

Let’s get it out of the way early: the music industry, like every other in our patriarchal society, is sexist. We all know that. It’s especially prevalent in India where, within certain segments of society women are forced to get married by a certain age, not stay out past a certain hour, take care of the house and family, and be suppressed by the weight of what is right and wrong in the eyes of the “community”. In the UK, female producers represent less than 4% of the industry. It’s less than 5% in the USA. One in Five members of the Australian Performing Rights Association are female.

There is no such collection of data for the Indian music industry and very little dialogue about this online so we decided to get in touch with Brinda, Simran Shetty and Anu Anna George to get their perspectives. We sought them out to discuss the misogyny and sexism that takes place behind the scenes in the music industry, a topic that has been gathering momentum in the international media for some time now.

Girl in Sound is a blog about a sound engineer and her experience of working in an industry that’s perpetually undermining her. Though the posts are sporadic, the author Brinda, writes content that is compelling and persuasive. Her posts, mainly about life as a sound engineer, piqued our interest as they discuss and dissect the sexism that prevails throughout the industry. Considering she’s been in the business for almost three years (two and a half of which were spent as the in-house engineer at The Humming Tree in Bangalore), Brinda had a lot to say: from the elitism Indian music acts portray to the misogyny and bias she faces as one of the new female sound engineers in the industry.

Though her blog posts at times may seem heated and haphazard, Brinda was concise about her message when we interviewed her. She was deliberate in her details when retelling her experiences: “With Indian artists, I’ve realised that they are mostly not certain if I would be able to do sound.” International artists, more prone to meeting other women in Brinda’s field, never seem bothered by her gender at the first meeting. “They’ve always been really supportive,” she said. “There are a lot of artists (in India) whom I’ve done sound for who aren’t sceptical anymore.” Anu Anna George, an artist manager at Mixtape, agrees with Brinda. Anu asserts that women’s opinions should not be overlooked before having had a chance to voice them, “There may be a sense of women having a lack of knowledge but the bottom line is if we educate ourselves and do enough research there is no reason why our opinions should not be respected.”

Women often have to battle prejudice in work environments. Anu, like Brinda, was once the only woman in her workplace as well, “I know a lot of women working in the music industry in India. There was a point where I was the only girl in the Mixtape team but that is no longer the case. Globally, it is definitely something that is being addressed.”

In her blog posts, Brinda states that she may be the only professional female sound engineer in the country, especially one that mixes live acts on a regular basis. And because of this, she has a cache full of stories of misogyny, “Once, a band brought in another engineer because they did not believe I would know when to ‘increase/decrease the guitar levels’, but the funny thing is I mixed the entire band standing next to him and he only moved the faders up and down, throughout. So basically, they paid a man to move faders up and down when I could have done the same.”

Due to societal conditioning, a woman’s opinion or competence for a job is often swiftly dismissed. Well-meaning people may try and “fix” this issue, but it could result in the worst kind of feedback loop where they, too, are overlooked. Though Brinda’s stories are concerning and demonstrate prejudice aptly, there are also good experiences out there. Simran Shetty, an artist manager at KRUNK, has had more positive experiences, “Lucky for me, my colleagues are open-minded and forward thinkers. Moreover, we have been encouraged to take control over certain projects, and to get out of sticky situations by ourselves.”

If women are to have an equal say, there needs to be a sense of equality in the workplace, which only comes from more involvement of women in the industry. And Simran echoed this, expressing how women are stepping into the roles traditionally occupied by men, “50% of my colleagues are women. This is how we learn and move forward.” She went on to state that sexism is much more complicated than people think, “it’s not only being shut down or ‘put in our place’, it’s facing unwanted attention, tolerating jokes/comments on your appearance, being spoken about.” Ignoring sexism and misogyny isn’t going to put an end to it. Women, but more importantly men, have to stand up to the blatant acts we’ve seen, a sentiment reiterated by many women and Jackmaster recently mirrored this in a series of tweets.

Optimistic of a day when there will be parity between genders, Anu voiced that relationships can develop and strengthen, “The way I see it is we all have to work hard, be it, men or women.” Simran, too, couldn’t agree more. For both of them, mutual respect is the bottom line, “All relationships are a two-way street. You have to make the other person understand, and vice versa. Without having your mind spoken and getting your point across clearly I guess no one’s really going to know what the hell is going on. At the end of the day, it’s about being on the same page.”

Whether that’s a sentiment more women who work in the music industry will be able to share in the coming years remains to be seen. But for those who are struggling to gain recognition for their work, not having their voice acknowledged in offices, or are generally found to be overcoming more obstacles than their male counterparts, there is hope. It’s not the last we’re going to hear of this issue, but the fact that we’re all starting to talk about it is a step in the right direction. Anu summarised it best by saying, “It is important that women support and encourage each other. But eventually, it all boils down to how much you are willing to put in.”

Below are a number of links and resources women in the industry may find useful:

Shesaid.so
Shesaid.so connects women across all industry sectors, from PR to management to record labels.

Discwoman
New York based Discwoman started out as a two-day festival back in 2014 and has grown into a platform, collective and booking agency with events taking place in over 15 cities, working with over 150 producers and DJs.

female:pressure
Since its launch in 1998, female:pressure has built an international network of over 1,600 female artists across 66 countries working across the spectrum of electronic music.

Point Blank
Point Blank Music School spotlights a range of networking resources and collectives in a bid to help the next generation of female artists to make their mark.

Women in Music
Now in its third decade, Women in Music brings together a broad group of music industry professionals to offer support and cultivate a network of women working across all areas of the music industry.

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Follow Dhruva on Twitter here.

Photo credits: Flickr/Eva Renaldi

The post Women In The Indian Music Industry Call Out Sexism And Misogyny appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

यदि आप स्वयं को भारतीय संस्कृति के रक्षक मानते हैं या आपको अपने घनघोर राष्ट्रवादी होने का अभिमान है अथवा आप भारतीय जनता पार्टी, राष्ट्रीय स्वयंसेवक संघ या अखिल भारतीय विद्यार्थी परिषद के सक्रिय सदस्य हैं तो आपसे एक अनुरोध है कि आप फिर से उन्हीं सांस्कृतिक मूल्यों का अध्ययन करें जिन्हें आपने बचपन में पढ़ा,सोचा या समझा है।

याद कीजिए जब आप घर से स्कूल के लिए निकलते थे तो स्कूल में आपको क्या-क्या सिखाया जाता था। कैसे प्रार्थना में आपको ये समझाया जाता था कि इस संसार में सब पूजनीय हैं, धरती माँ से लेकर पशु-पक्षी तक। किस तरह से आपको समझाया जाता था कि समाज समता मूलक है। दुनिया एक परिवार की भांति है जिसमें सबको परस्पर प्रेम और सहअस्तित्व की भावना को स्वीकार कर साथ-साथ रहना चाहिए। कैसे समझाया जाता था कि दुनिया एक दर्पण की तरह है जैसा आपका आचरण होगा वैसा ही आपके साथ व्यवहार होगा।

व्यवहार और आचरण की शुद्धता पर तो नैतिक शिक्षा की कक्षा ही लगाई जाती थी, जिसमें सिखाया जाता था कि शत्रु से भी मित्रवत् आचरण करो। शत्रुता अंततः प्रबल प्रेम के आगे हार जाती है। हर धर्म और विचारधारा का सम्मान करो। अपनी विचारधारा किसी पर थोपो मत। विचारधाराओं की लड़ाई को व्यक्तिगत लड़ाई न बनाओ।

मृदुभाषिता, अहिंसा और भाषा की सौम्यता पर तो दर्जनों श्लोक पढ़ाए और समझाए जाते थे। उन सारे श्लोकों से, शिक्षाओं से आपके व्यवहार का विपथन आपको नितांत अतार्किक और अप्रासंगिक ही बनाएगा। इनमें से तो कोई एक लक्षण आपमें नहीं दिख रहा है। समझ में नहीं आता कि ये सारी व्यवहारिकता आप लोगों के आचरण से रूठ कर कहां चली गई है। क्या गोस्वामी जी की चौपाई को सही मान लें कि ‘जाको प्रभु दारुण दुख दीन्हा, ताकि मति पहिले हर लीन्हा’? बीते कुछ दिनों से तो यही लग रहा है। ग़ज़ब पागलपन सवार है कुछ लोगों पर।

किसी भी संगठन का विनाश उसके आलोचक या प्रतिद्वंद्वी नहीं करते हैं। वे चाहते हैं कि वो संगठन फले-फूले तभी तो दमदार प्रतिद्वंद्वी मिलेगा आलोचना करने को, हराने को। लड़ाई तो बराबरी वालों से ही अच्छी होती है न? लेकिन यहां तो संगठन के अंध समर्थक ही संगठन को मिटाने के लिए पर्याप्त हैं।

इस विनाश के मूल में छिपा है कार्यकर्ताओं का व्यवहार। व्यक्ति का  व्यवहार सामान्यतः उसके पारिवारिक संस्कारों पर निर्भर करता है, कई बार आस-पास का माहौल और सामाजिक दशा पर भी, किन्तु यह ध्रुव सत्य नहीं है। व्यक्ति के अच्छे या बुरे व्यवहार के अन्य कारण भी हो सकते हैं जैसे संगति, स्वभाव, रुचि इत्यादि।

यही अंधसमर्थक कार्यकर्ता संगठन की फजीहत कराते हैं। इनका पढ़ा-लिखा होना भी किसी काम का नहीं होता क्योंकि ये अपने विवेक का इस्तेमाल शायद ही कभी करते हैं। इसे मार दो, इसे पीट दो, ये फालतू बोल रहा है, ये ऐसे कैसे बोल सकता है। चलो साथियों आज इनपे बजा देते हैं, हाथ-पैर तोड़ देते हैं बहुत अकड़ आ रही इसमें…इस चक्कर में सारा संगठन हाशिये पर चला जाता है।

सामान्यतः भारत में जन्म लेने वाला हर दर्शन इसी उन्माद की भेंट चढ़ता है। अंधअनुयायियों की एक फौज पूरी विचारधारा को ले डूबती है। इनकी ख़ास बात होती है कि ये लोग न तो उस दर्शन को पढ़ते हैं न ही समझने भर की बुद्धि होती है। इन्हें केवल ठोकने-पीटने से मतलब होता है। संगठन की सदस्यता ये उस दर्शन से प्रेम की वज़ह से नहीं लेते बल्कि भौकाल बढ़ाने के लिए लेते हैं।

हर संगठन और विचारधारा को ऐसे लोगों से सावधान रहना चाहिए। मूढ, कुसंस्कारी और क्रोधी व्यक्ति कभी भी विश्वसनीय नहीं होता और किसी संस्था के लायक नहीं होता। इनसे किसी संस्था का रत्ती भर भी फायदा नहीं हो सकता। हां! इनसे होने वाले नुकसान पर तो महापुराण लिखा जा सकता है।भारत की सांस्कृतिक विरासत पर यदि आपको अभिमान है, भारतीय मूल्यों पर आपको गर्व है तो ठीक है। होना चाहिए, मुझे भी गर्व है। लेकिन मेरा गर्व अहंकार की परिधि में नहीं आता है।

लाठी-डंडों से आप सबको नैतिकता नहीं सिखा सकते। यह कृत्य स्वयं ही अनैतिक है। भारतीय दर्शन हिंसा की बात तो नहीं करता। शांति, अहिंसा, प्रेम, सौहार्द और सहअस्तित्व की भावना, भारत के मूल दर्शन का हिस्सा है। सोचिए कितने कटे हैं आप इससे। कितने भटके हुए हैं आप भारतीयता से। किस ओर ले जा रहे हैं आप समाज को? असहिष्णुता, हिंसा और धार्मिक भेदभाव की ओर? ये आपकी राष्ट्रभक्ति है?

मेरी प्राथमिक शिक्षा-दीक्षा एक संघ समर्थित विद्यालय में हुई है। पहली क्लास लगने से पहले वंदे मातरम्, जन-गण-मन और सरस्वती वंदना होती थी। इंटरवल में लंच से पहले अन्नपूर्णा प्रार्थना होती थी और शाम को छु्ट्टी से पहले राम और वंदे मातरम् का उद्घोष होता था। लेकिन इन सबके बावजूद भी किसी धर्म के प्रति दुराग्रह का पाठ नहीं पढ़ाया जाता था। सब बच्चे साथ रहते थे, खेलते थे,पढ़ते थे। देश प्रेम समझाया जाता था।

मैं संघ पोषित स्कूलों में पढ़ने वाले छात्रों को भी जानता हूँ। भारतीय दर्शन और व्यवहार पर जब ये छात्र बोलते थे तो मंत्रमुग्ध हो सुनने का मन करता था। वे सारे छात्र कहीं न कहीं स्थापित हो गए हैं। कोई पढ़ रहा है तो कोई पढ़ा रहा है। कोई प्रशासनिक सेवा में है, कोई सेना में है तो कोई इंजीनियर है। कोई वकील है तो कोई डॅाक्टर है। सब कामयाब हैं और अपने-अपने क्षेत्रों में नाम कर रहे हैं। ये सारे वे लोग हैं जिन्होंने इन संस्थानों में पढ़ाई की है। संस्कारों को जिया है, सीखा है। ये लोग उन्मादी नहीं हैं। अगर ये लोग उपर्युक्त संस्थानों में आ जाएं तो कितना अच्छा हो।

सावरकर को तो इन्होंने पढ़ा है, श्यामा प्रसाद मुखर्जी को तो इन्होंने पढ़ा है। भारतीय दर्शन और संस्कृति के प्रवक्ता तो ऐसे लोग हैं फिर ये लोग संगठनों में क्यों नहीं हैं? और वो लोग जो कार्यकर्ता कम गुंडे ज़्यादा हैं कहां से आए हैं? क्या सच में ऐसे संस्थाओं के सदस्यता के लिए अधिनियमित आहर्ता में नया संशोधन किया गया है? अब ऐसे ही लोग सदस्य बन सकेंगे जिनमें उत्पात मचाने का हुनर होगा? विरोधी विचारधारा को सुने बिना तलवारें तान लेना कहां तक सही है। ये कहां का भारतीय दर्शन है? लोकतंत्र में विचारधाराओं के सहअस्तित्व की स्वीकार्यता तो होनी चाहिए न?

सुनते क्यों नहीं? आपके पास भी अवसर आएगा असहमति का। अपने तर्कों से उन्हें अतार्किक सिद्ध करें। यह आपका संवैधानिक अधिकार है।लेकिन उनके विनाश के लिए हवन करना न शुरू कीजिए। आप जनमेजय की तरह निष्पाप नहीं हैं। अगर सब आपके ही विचारधारा का अनुसरण करने लगे तो भारत नीरस हो जाएगा। आपका  संगठन ही कई धुरियों में बंट जाएगा। कुछ अच्छे लोग ये उत्पात सहन नहीं करेंगे। अगर वे सब आपके संगठन से निकल गए तो फिर किसी भी दिन आप पर पूर्णकालिक बैन लगाया जा सकता है। जनता सब जानती है। किसी को भी एक हद से ज़्यादा अवसर नहीं देती।

और हां! एक भारत और श्रेष्ठ भारत का सपना तभी पूरा हो सकता है जब आपका व्यवहार और आचरण संयमित हो। आप भारतीय मूल्यों को जानते हों, आप तार्किक होने के साथ-साथ बुद्धिमान और विनम्र भी हों, जिससे लोग आपको सुन सकें और आप लोगों को सुन सकें। लेकिन आपका अपने पथ से भटकाव देखकर नहीं लगता कि आपकी कोई ऐसी मंशा है। आप ही बताइये! कहां ले जाना चाहते हैं भारत को? भारत को छोड़िए आपकी वज़ह से भारत को कुछ नहीं होगा। बहुत लोग आए भारत को तहस-नहस करने सब पता नहीं कहां चले गए। आप अपने ही संगठन को कहां ले जा रहे हैं? क्या कोई भी बुद्धिजीवी आपके इन ओछी हरकतों को सहन करेगा? यदि आप सच में चाहते हैं कि आपका संगठन आगे बढ़े, तो आपको दो काम जरुर करना चाहिए-

पहला- आप अपने संगठन से इस्तीफा दे दें। कुछ दिन आराम करें और फिर से संस्कार और अनुशासन सीख कर आएं। आत्मावलोकन करें, आपको आभास हो जाएगा कि आपको सिखाया क्या गया था पर आप कर क्या रहे हैं। अगर पता होने के बाद भी आपको ग्लानि नहीं हो रही है तो आप इन संस्थाओं के लायक नहीं हैं। पुनः सदस्यता लेने की सोचें भी मत। कुछ और काम कर लीजिए। संगठन आपसे बरबाद ही होगा बनेगा नहीं।

दूसरा ये कि सुनना शुरू कर दीजिए। अगर आलोचना नहीं सुनेंगे तो सुधार नहीं आएगा। सुधार नहीं आएगा तो बिगड़े लोगों को समाज मुख्य धारा में कभी गिनता नहीं है। सुधार अपरिहार्य है। अपने प्रासंगिकता के लिए आपको सुधरना होगा। ख़ैर, जो भी करना हो कीजिए लेकिन इतना उन्माद और अहंकार न पालें। कुछ भी यथावत नहीं रहता। जानते हैं न अहंकार ईश्वर का भोजन है। भगवान ने कहा है तो सही ही होगा। न लगे तो ऐसे ही बने रहिए, आभास भी हो जाएगा। फिर खोजते रहिएगा भारत के भूगोल पर स्वयं को। आपसे सहानुभूति है इसलिए इतना लंबा पुराण लिखा। अपने समय को आपके लिए खर्च किया वो भी नि:शुल्क। आगे सब आप की इच्छा।

फोटो आभार: फेसबुक

The post संघ पोषित स्कूल से मेरी पढ़ाई, और राष्ट्रवाद की मेरी समझ appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

Standing against a red brick backdrop, holding a mike in his hand, stand up comedian Daniel Fernandes, begins performing his piece in front of a young audience. “If you have been reading the news lately, you’d know that Syria has a small problem. And the reason why I say ‘small problem’,” he continues sarcastically, “is because other countries have ‘real issues’. Like 3G not working, or flights not taking off as per Indigo standard time or the serious stuff, like an entire country spending its time to define a single world – ‘tolerance‘. Compared to that, Syria has an inconsequential problem of a small civil war… that’s leading to 4 million people fleeing the country.”

And just like that, he has not only made people laugh, but also made them think about an important issue. The 31-year-old Indian stand-up comic has in fact acquired a reputation for raising hard-hitting social issues like marital rape, student suicides and terrorism through his acts (he says he prefers to use the term ‘issues’ than the phrase ‘social issues’ to define them, though).

“I choose topics that are in the news and something that you wouldn’t normally find as part of a comic routine. To clarify, I’m not a social activist. I am not involved with any of these issues beyond a certain point. I see myself as a social commentator. Like most comedians in this space, I bring some sort of perspective to what’s happening in the world today and that’s it,” he says in an interview.

Fernandes isn’t the only comedian doing this. Aman Ali, a stand-up comic is trying to do the same thing, highlighting the many challenges faced by Muslims in America on his YouTube channel. “It’s been so frustrating. It’s time for Muslims to start telling their own stories,” he said during an interview.

At a time when critiquing issues can invite heavy backlash or create controversy, an increasing number of comedians are, in fact, choosing to layer their acts with social commentaries, in order to raise difficult questions or highlight uncomfortable truths. Touchy topics like religion and politics, or issues that are usually brushed under the carpet in most Indian households (read: alternate sexuality, student suicide, marital rape), in fact, invite laughter and agreement on stage. Humour does the job of sugar coating the bitter medicine.  It takes away the sting.

The Evolution Of The Indian Comedy Scene

Comedy is arguably the oldest, most universal and basic form of humorous expression. From actors like Mehmood Ali, Kishore Kumar, Kader Khan and Johnny Lever to newer ones like Kenny Sebastian, Vir Das and Sorab Pant, comedians have always been big on the Indian pop culture scene. That said, the country has also seen a dramatic shift in the way comedy is done in the last decade. A decade ago, most on-stage comedy was slapstick or, at most, poked fun at public figures through mimicry. Then, a new brigade of comedians like Shekhar Suman and Ahsaan Qureshi found their spot in shows like “Movers And Shakers” or TV shows like the raucous “Indian Laughter Challenge”. The rise of the Internet revolution, as well as a  growing pub culture, especially in cosmopolitan cities, has in the latest wave, made standup comedy extremely popular.

But the question remains, can stand-up comedy also open a path to social change? And if yes, how?

Deconstructing A Stand-Up Act

Stand-up comedy acts generally involve performers narrating personal tales to the audience. Huffington Post,  in fact, analysed the set pattern followed by most comedians. The first step involves establishing a common ground by asking the audience a few questions, and then making them a little uncomfortable, perhaps by stating something unexpected. This is followed by again establishing common ground, narrating an incident that has a connect with the audience. As the act continues, the performer may make the audience more uncomfortable and then conclude his piece by establishing new ground through an alternative perspective.

But Can Stand-Up Comedy Change Perspectives?

Just like successful social awareness campaigns, good comedy can change perspectives by holding up a mirror to society, forcing it to confront realities that it often ignores. The process gets interesting the moment a comedian gives a pause for the audience to reflect upon a topic. Making someone uncomfortable — guilty, confused, offended — is the first thing to changing minds and consequently behaviours. Why?

Because it seems that making people uncomfortable forces them to think. Once the thought process starts, the chance to establish a new perspective can begin.

Papa CJ, a leading comedian who taps into issues faced by Indian college students, says, “People have limited attention spans now. Humour is a powerful way to get people to listen while subconsciously educating as well.”

The Risk Of Taking The Joke Too Far: Can Comedy Bring About Change?

It surely has the potential. But with humour also comes an added risk – that of trivialising a problem or an issue. The distinction between creative license and sensitivity is a fine line to be walked upon. Here, the importance of treating content properly becomes paramount.

“I think that stand-up can bring about social change because, at the end of the day, it is a conversation. And all conversation can spark change. But don’t think it can bring about a change in isolation, that’s entirely too much pressure to put on a form of creative expression. That been said, if and when it is used that way, it can be used as one tool in a series of many to bring out change,” says Rohan Joshi of AIB fame.

Sure, talking about social issues and not being preachy is a difficult line to toe. A comedian’s first concern is to be funny. It’s their primary job after all. But stand-up acts can spark interest in a topic, they can enlighten, build awareness and empathy.

The trick, however, is to get the right balance, to use humour constructively for the cause of social change. Humour writer Mary Hirsch said it best: “Humour is a rubber sword – it allows you to make a point without drawing blood.”

Aman Ali is performing at the American Center in Delhi on Feb 27 at 5:30 p.m. Do attend and take the conversation on comedy for social change ahead!

Yashasvini Mathur is an intern with Youth Ki Awaaz for the February-March 2017 batch.

The post Changing Minds, One Joke At A Time: Can Comedy Bring Social Change? appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

On February 17 in Kochi, a group of seven men abducted and sexually assaulted a female actor in a moving car, as she made her way back from a shoot in Thrissur. The police have made arrests in the case, and the film fraternity has risen in support, and protest. In what sends a firm message about refusing to back down, the actor, who’s a part of Malayalam cinema, has now returned on the sets of her next film, with many encouraging her. One of them being popular actor Prithviraj Sukumaran who wrote about this in a Facebook post titled ‘Courage’.

Sukumaran most firmly stood by his friend saying, , “I […] bear witness to an extraordinary moment of courage from an extraordinary woman in my life! Today..she makes a statement..a statement that will echo through time, space and gender..that no one or no incident has control over your life but YOU!”

And he didn’t just end it there. In a move that all of us who have ever demanded  better from the cinema we watch, have constantly hoped for, the Malayalam actor took responsibility for his own work explaining the influence it has.

It’s a big step in the Indian film industry that has, for years, created sexist and misogynistic cinema in the name of ‘entertainment’. Sukumaran went on to talk about how the actor’s decision to start off on her next film is a bold step in a society that shames survivors who actually speak up and try and reclaim their lives. Take the case of Suzette Jordan, who refused the ‘Park Street rape victim’ tag and chose to reveal her identity, and was disbelieved and shamed, by the then state CM herself.

While female actors have often called out sexism in films, Prithviraj’s note proves how important it is for male actors to take a stand, in a profession that’s dominated by them. His voice joins actors Siddharth and Aamir Khan’s who have publicly spoken out about the issue as well. Last year, Siddharth slammed the glorification of stalking in movies, and said it has real-life consequences, contributing to rape culture. And in his TV show Satyamev Jayate’s episode on masculinity, Aamir Khan pointed out how he has played roles in movies that objectified women (remember “Khambe jaisi khadi hai”?) and spoke about just how deeply movies impact our society.

These actors’ statements go a long way in fighting the industry’s inherent sexism. While it’s extremely saddening that a real-life incident of sexual violence brought this forward, such violence is and continues to be the harshest reality we must confront today. And in light of that, statements such as Sukumaran’s are especially significant because they prove just how individuals can be shaken to introspect, and truly promise a change.

The post His Friend Sexually Assaulted, Actor Prithviraj Vows To Never Do What Most Male Actors Do appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

‘रंगून’ मैंने गुजरात के वापी शहर में देखी। मुंबई यहां से बहुत नज़दीक है, मगर सिनेमा हॉल अब भी दो-चार ही। विशाल भारद्वाज का सिनेमा देखने वाले उससे भी कम। देश की इंडस्ट्रीज़ से फैलने वाले केमिकल प्रदूषण में वापी का बहुत बड़ा योगदान है। यहां जितने गुजराती हैं, उससे ज़्यादा बिहार-यूपी के मजदूर लोग। लिहाज़ा शाहरूख-सलमान की नाच-गाने वाली फिल्मों के कद्रदान यहां ज़्यादा हैं, ‘रंगून’ के बिल्कुल नहीं। रिलीज़ के दूसरे दिन ही हॉल में मुश्किल से 20-25 लोग थे।

पहले फिल्म का एक सीन। हीरोइन पर सैनिकों का हमला हुआ है और ‘उस पार’ ले जाने के लिए गधे बुलाए गए हैं। हीरोइन हीरो को ‘गधा’ बुलाकर मज़ाक करती है तो हीरो बताता है कि ये ‘गधी’ है। इत्तेफाक देखिए कि राजनीति के जिस ‘गदहाकाल’ में गुजरात से आने वाले पीएम भी ज़ोर-शोर से लगे हुए हैं, ‘रंगून’ में भी गधे दिख गए तो अचानक ही हंसी आ गई।

ऐसा नहीं कि फिल्म में कोई कहानी नहीं है। फिल्म विशाल भारद्वाज की है तो कहानी के कई लेयर हैं। मगर इस बार एक परत देशभक्ति की भी है जो विशाल भारद्वाज का असली फ्लेवर नहीं लगता। लगता है जैसे वो किसी दबाव में फिल्म बना रहे हैं। फिल्म शुरू होने से पहले एक ‘राष्ट्रगान’ और फिर बीच-बीच में आज़ाद हिंद फौज का राष्ट्रगान। नवाब (शाहिद कपूर) कहता है कि अपनी जान से कीमती वो होता है जिसके लिए मरा जा सके यानी देश, मातृभूमि। ये उस निर्देशक का स्टेटमेंट है जो ‘ओंकारा’, ‘मकबूल’, ‘सात ख़ून माफ’ में प्यार के हज़ारों सैंपल दिखा चुका है।

इसके अलावा फिल्म में ‘मां’ भी है। एक बंधक जापानी सैनिक हीरो-हीरोइन को रास्ता दिखाते हुए एक दिन इन्हें मारने को ही होता है कि रो पड़ता है। उसे सिखाया गया है कि जापान में युद्ध से हारकर ज़िंदा लौटने का रिवाज नहीं है। कोई ये नहीं मानेगा कि ‘दुश्मन’ ने उन्हें ज़िंदा जाने दिया। शाहिद कपूर कहते हैं कि कोई समझे, न समझे- मां समझेगी। इतना संवेदनशील सैनिक ‘ऊपरवाला ख़ूबसूरत लड़कियों को इतना बेवकूफ क्यूं बनाता है’ जैसा हल्का डायलॉग मारता है तो लगता है ये व्हाट्सऐप के दौर की ही कोई फिल्म है। फिल्म के कई हिस्से बहुत भी अच्छे हैं। मगर पूरी फिल्म एक साथ अच्छी नहीं हो पाई। हिटलर की मिमिक्री, ‘प्यार किया अंग्रेज़ी में’ जैसे गाने और अंग्रेज़ अफसर हार्डिंग की वो बात कि ‘अगर कभी अंग्रेज़ हिंदुस्तान को छोड़ के गए भी तो ये दुनिया के सबसे करप्ट समाज में से एक होगा।’

The post “रंगून विशाल भारद्वाज की सबसे कमज़ोर फिल्म है” appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

It is easy to speak your mind by typing a set of words and invest a couple of hours to summarise a film in less than 500 words. In the process, quite a lot of writers forget the blood and sweat that goes into making a film of a grand stature. By saying this, I am not asking you to be non-critical about a certain film. Rather, I am favouring a discourse which gives rise to constructive criticism.

Being a Vishal Bhardwaj fan, it is tough for me to accept an unappetising film like “Rangoon” and thus, I decided to rant about it.

A filmmaker risks money put in by producers, believing in the script and the actors performing in the film. But what if one cog in the wheel is weak and on the verge of breaking? It drags the film and ultimately takes the whole vehicle down.

In Vishal Bharadwaj’s grand scheme of things in “Rangoon”, the story and the screenplay were the weakest cogs that sank the ship midway.

Following the story of ‘Fearless Nadia’ – the first female action star in India and a quirky imposition of pseudo-nationalist fervour, Rangoon finds itself nowhere and besmirched. Set in the World War II period, the film claims to encompass Hitler, British regiment, Mahatma Gandhi, Subhas Chandra Bose and the choices of freedom fighters but fails to do justice to any one of them.

Kangana Ranaut, playing the role of Julia in the film, is clearly inspired from the 1930s famous female-action diva Nadia, aka, Fearless Nadia. Julia is an actress working for Rusi Bilmoria (played by Saif Ali Khan), which again is inspired from Wadia Movietone owned by Homi Wadia and his family.

Another major character in the film Jamadar Nawab Malik (played by Shahid Kapoor), was a result of collaboration between three writers – Vishal Bhardwaj, Matthew Robbins and Sabrina Dhawan to keep the plot going. The sad part is that none of the writers were sure about how to draw the character graphs of the three actors.

While Rusi’s character dwindles between the patriarchal archetypes of the Indian society to that of a crazy lover, Nawab Malik finds it tough to maintain his masochism throughout, giving in to the pressure of being ‘bali ka bakra’ (scapegoat) at the end of the film. To fit into the narrative that is supposed to be woven around Julia, Kangana too had to struggle a lot. It takes another man for her to liberate herself and be more like the tough, beasty, male-bashing ‘Hunterwali’ character she plays on screen.

But wait! Was it at all liberating? Frankly speaking, no.

Julia gets her heroic moment only once in the whole film after the interval, when she has to save her lover Nawab, running on top of a train jumping from one carriage to the other, only to end up being saved by him… again!

With all the rona dhona’ and drama that Julia was subjected to in the second half of the film for following her heart and ditching Rusi for Nawab, it was nowhere close to being liberating.

Nawab Malik, although portrayed exceedingly well by Sahid Kapoor, finds himself difficult to fit into this love triangle.

However, “Rangoon” scores with Vishal Bhardwaj’s suave moments, like a British officer practising raagas on his Harmonium or a stage actor masqueraded as Hitler struggling hard on stage to find a proper country to drop his ‘pee’ on!

Pankaj Kumar enthrals with his cinematography, capturing the very best of Arunachal Pradesh on screen along with some beautifully lit screens. This is the only category where “Rangoon” has surpassed the cult status already set by “Haider”.

Music, as in very Vishal Bhardwaj film, has traversed the narrative in style, providing the much-needed breather every once in a while. While I don’t see myself fit to criticise Gulzar, I would say he is the saving grace, penning songs like “Tippa” and “Yeh Ishq Hai” in an otherwise dull and directionless film.

Anurag Kashyap once said that he plans his film in a way that it looks like he is making it big without having a lavish budget to bank on. Bhardwaj tried the same with choppy visual effects but failed miserably. The editing of the film is also choppy and abrupt.

Although the art direction and befitting costumes designed by Dolly Ahluwalia helped the film get its desired look, it failed when it came to visual effects. Rather than making it look like a bigger film, it made Rangoon seem like a shoddy B-grader.

The climax makes or breaks a film as it leaves the audience with a final impression. When compared with Bhardwaj films, “Rangoon” will look as though someone else has minced his thoughts, shattering the whole plot.

Passing the focus from Julia to Rusi was the last thing that we as audience members would have wanted. The tardy rope walk across a bridge by Rusi with Maharaja’s sword to help the Subhash Chandra-led army oust the British from the country is the biggest letdown in the film.

It seemed Bhardwaj, who is responsible for carrying the baton of meaningful cinema, is walking a tightrope to save the cinema he believes in.

The post Captain Vishal Bhardwaj Sinks The ‘Rangoon’ Ship Midway appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

Yes, you read it right. An ‘ideal’ Indian woman, also known as a sanskari woman, is supposed to be asexual. In other words, they must not ever speak, hear, think or even feel anything which has to do with her sexuality. However, she can be the recipient of a sexual act so that men can be pleased and babies can be born.

That’s a load of bullshit, right? Yes, but it is not so for the Central Board of Film Certification (CBFC). They seem to actually believe in this. The reasons they cited for the refusing to grant a certificate to a movie called “Lipstick Under My Burkha” suggests this fact. Their letter reads: “The story is lady oriented, their fantasy above life. There are contanious sexual scenes, abusive words, audio pornography and a bit sensitive touch about one particular section of the society.”

For those who don’t know, the film in question deals with four women from different age-groups and different sections of society, their sexuality and sexual fantasies. The Censor Board deems this subject unsuitable for a film. Yes, it’s the same Censor Board which has no problem with films and songs objectifying women, normalising molestation as the wooing of a woman and vulgar comedies dealing with similar subjects about men. To many, this decision was a shocker despite the trend of absurdity that the CBFC usually shows, especially in recent times. However, if you think about this decision, you will realise that it is actually in sync with our society’s viewpoint.

We are a sexually-repressed society. The established norms expect us not to even talk about sex, sexual fantasies being a different matter altogether. In any patriarchal society, men get to express their sexuality more freely and even impose it over their partner. On the other hand, women always have it worse. For them, even acknowledging their sexuality is considered to be almost sinful. The notion that women can want and enjoy sex is not perceived and thought of well in our society. We have derogatory terms for women who do so. In order to protect themselves from such shaming, women bury one of their natural instincts deep within themselves. This gives rise to another big problem – that of consent.

In a society where sex is considered to be a one-way act in which women are merely recipients, it’s hard for people to understand the very concept of consent. Besides, most women think that a sexual act is a duty and not something in which they need to play an equal part. This is the reason why marital rape is not even close to being a serious issue in this country yet.

The Censor Board, due to its very structure, is a figure of authority which takes the society into account in their decision-making. Even though I’m not absolving them of their misogyny and absurdity, they will not change until the society does.

This post was first published here. It has been published on YKA by the author’s permission.

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Image Source : Lipstick Under My Burkha/Facebook

The post Women Can Have Sexual Fantasies Too? Well, The Censor Board Doesn’t Agree appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

Alankrita Srivastava’s new film, “Lipstick Under My Burkha”, may be in the dock for being a “lady oriented film“, but those against undue certification, have finally got something to cheer about.

After four long months, Delhi-based musician Sharif Rangnekar has finally won the battle against the Central Board of Film Certification (CBFC), over a music video that was previously rejected by the Board for its same-sex storyline.

The video, “Miss You”, by multi-member band Friends of Linger, gained considerable popularity online. However, when Rangnekar approached the CBFC, the video was given “A” certification, for adult content. Rangnekar had taken the issue to the Board’s review committeecomittee saying the video did not have adult content.

Rangnekar, who wrote the song, and appears in the video, tells YKA, “At that point, the video didn’t matter as much as my rights, and the rights of our community.”

Shocked by the CBFC’s decision, Rangnekar went up to the Film Certification Appellate Tribunal (FCAT) on January 25, to make his case. Once there, things took an unexpected turn.

“Honest to God, I was pleasantly surprised by the way things were conducted,” he says, recalling that tribunal members Shekhar Iyer and Poonam Dhillon had turned around and questioned the CBFC’s reluctance to certify the video. “I overheard them say that this is socially relevant, and they didn’t see anything wrong with it, and that maybe it could be ‘U/A’, but it should go out. Then they said ‘We’ve read the appeal, and we’re completely with you,’ and then they started dictating the order.”

A copy of the order has been emailed to Rangnekar, and a ‘U/A’ certificate from the CBFC is expected soon, after which, he will approach MTV to air it nationally.

Now, you might ask why Rangnekar went through all this trouble, when he could just as easily reach people through the internet. After all, our smartphones and laptops are a world of their own, right?

“But that’s not the only world,” Rangnekar reminds us. “There is a lot that is influenced by traditional forms of media like television.”

Further, he says, sticking to mediums like YouTube and Facebook means “accepting what is denied to you.” “There are so many spaces to influence minds, and educate people that are completely controlled by a heterosexual patriarchal system. Why should all these spaces be used and misused by one section, when we are not allowed to tell our stories?,” he asks.

“The CBFC have taken their job too seriously,” says Rangnekar. “They believe that they have to censor, they don’t believe they have to certify.”

At a time when CBFC head Pahlaj Nihalani makes grand proclamations about preserving Indian culture, upgrading how certification happens is going to be a massive fight. But for now, small but significant victories – like a TV release of “Miss You” – is all kinds of affirming.

The post Musician Challenges Regressive CBFC, Wins Case To Air Same-Sex Music Video appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

At a time when women are still grossly under represented in mainstream movie industries, be it Hollywood or Bollywood, Indie cinema is, as ever, proving fertile ground for fresh perspectives and experimental endeavors from women creators. And the 13th IAWRT (International Association Of Women In Radio And Television) Women’s Film Festival, to be held from March 2-4, is all set to showcase the works of Asian women from all over the world on subjects as varied as burlesques and schizophrenia. It looks to be genuinely refreshing for those suffering from Bollywood fatigue. Just take a gander at these 10 films, grouped according to three broad categories:

Celebrating Women

1. Velvet Revolution (Cameroon/India/Philippines/UK/USA)

Spearheaded by Nupur Basu, this collaborative documentary featuring six female directors from the aforementioned countries, attempts to chart the lives and works of female journalists in a world that is constantly hostile to both women and journalists. What does it take then to be a woman willing to speak truth to power? What drives these women? The film features journalists who have operated in conflict zones and risked their lives, like Zaina Erhaim from Syria, Kimberlie Ngabit Quitasol from the Philippines, and Bonya Ahmed from Bangladesh (who is also the wife of slain Bangladeshi blogger, Avijit Roy). With a name that evokes the velvet revolution of Czechoslovakia that deposed the one-party Government in 1989, this is bound to be an important, even revolutionary documentary for (and of) our times.

2. League of Exotique Dancers (Canada)

Directed by Rama Rau, this documentary is a unique ‘backstage tour’ of the golden age of Burlesque, through the lives of the colorful women who gave its sparkle and dazzle. With some of the most iconic figures striptease performers being the tour ‘guides’, the film attempts to cut through all the myths and misconceptions to take a deep, nuanced, and emotional look at the rise and fall of the Burlesque – at the sexism, the racism, the stigma, and the trials and tribulations of the working class women who bonded together to make this quintessentially American institution what it was – and thus, investigate how it reflects the changing society of mid-20th century America.

3. Inja Sandaliha Khalist/ Here The Seats Are Vacant (Iran)

This film, directed by Shiva Sanjari, tells the story of Shahrzad, Iran’s first female director, who was sold by her father when she was 12 and forced to dance in a cabaret in Tehran. Through conversations and clips, the film charts the journey of Shehrzad from being an award winning actress to becoming an acclaimed director, and subsequently being sent to Evin prison (and institutionalized in a mental hospital upon release) by the new Government after the Islamic Revolution of 1979. The camera follows the now 72-year old Shehrzad, living her life in a small Iranian village, as she speaks candidly about her experiences and the injustice of how she and her works have been almost completely erased from public memory by the Government.

4. Lissa Aisha (Jordan-Lebanon)

This bold documentary by Asma Bseiso is the story of 27-year old psychology graduate Aisha, who was abandoned by her parents and raised as an orphan in a society where family name and status are paramount. The film shows how she dealt with the lifelong stigma, and the consequent trials and tribulations as she struggled to be accepted by society. Following her journey from 2010 to 2014, this intimate film is an inspiring and captivating portrait of a charismatic, funny, and fiercely persistent woman, determined to find her place in life – in a country where her rights are anything but guaranteed.

Celebrating Difference

5. Crossing (Israel)

Centred on Elias, Aviram, and Oz – three Jerusalemite drag queens who dress up as their own mothers and perform together in underground queer parties called ‘Jerusalem is Burning’ – this ‘political-comic’ documentary directed by Inbar Horesh explores the tensions between drag performance and public life, expressed through the lives and conflicts of the three queens as they prepare for their last show together. Touching upon an aspect of culture from Jerusalem, which is not often explored, this film is poised to be an intriguing exploration of the divide between the stage and the ‘real world’.

6. Calalai In-Betweenness (Indonesia)

The Bugis culture of South Sulawesi, Indonesia, have always believed in the existence of five genders – one of them being ‘Calalai’ – an ‘in-between’ identity between man and woman. This documentary, directed by Kiki Febriyanti explores the question, “who is Calalai?” by talking to Calalai people, investigating their own ideas and psychology as well as the importance of gender diversity and the position of Calalai people in Bugis culture – and how a Calalais see themselves in an increasingly westernized world with binary conceptions of gender. In a world grappling more and more with questions of gender and queer identity, this could be an essential film.

7. Schizophrenia (Japan)

This dialogue-less, 10 minute short by Yuri Muraoka is a ‘self-portrait’ of the director in her 7th year of treatment for schizophrenia. Told through absurd mise-en-scene, hallucinogenic still images, and a maudlin soundtrack, this film provides a unique first person viewing experience of reality falling apart – growing slowly in intensity and threatening to destroy the creator’s sense of self.

Immigration/ Identity/ Belonging

8. In Between (Spain)

Documenting the story of Bangladeshi immigrants in Madrid, this film directed by Paromita Dhar follows four characters – Bobby, a singer who tells his stories through his songs; Titly, a young mother who got married over phone and subsequently left behind her home and family in Bangladesh, only to discover the gulf between her dreams, and reality; Sattar, an airport worker who interacts with immigrants every day, even as he wishes to become a legal, documented Spanish citizen; and Somon, a beer seller who drives the crew of the film and tells his story through how he navigates this vibrant, ancient city.

9. Soz – A Ballad of Maladies (India)

Art has always been a vital form of resistance – fostering, documenting and channelling revolutions and revolutionary ideas. This documentary by Sarvnik Kaur and Tushar Madhav looks at how art is used as resistance in one of the worst militarized zones in the world – Kashmir. Moving from traditional Kashmiri art to modern folk, rock, and hip-hop, and featuring artists like MC Kash, Showkat Kathju, and Anees Zargar, the film depicts the transformation of the collective consciousness of an entire people, and how Kashmiri culture has come to manifest these voices of resistance to brutal, unceasing state repression – shattering stereotypical notions of Kashmir as a beautiful ‘paradise’ and forcing us to confront reality.

10. Flood of Memory (India)

The devastating 2006 Rajasthan floods are well-known, courtesy of the extensive media coverage. However, what is far less known is how the Barmer district villagers were left to truly come to terms with the enormity of the tragedy – with their grief and loss – once the cameras departed and the incident faded from public memory. Director Anitha Balachandran attempts to create a document of this time – of the collective memory of the villagers, of their struggles – in a truly unique manner: through a combination of live footage and charcoal and sand animation that evokes the desert. What emerges is a powerful and haunting depiction of loss, regrets, helplessness, and a collective struggle that the nation forgot.

If you’re in the city, be sure to catch these amazing films from March 2-4, 2017 at the India International Centre, and let us know what you think! For more information, head here.

The post 10 Amazing Films By Asian Female Directors For Those Suffering From Bollywood Fatigue appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

The past couple of years have seen a turbulent rise in issues concerning universities around the nation. However, there has been no authoritative study of the common grounds that all these significant college movements share. If anyone decides to explore the current state of student politics on the national platform, they would be battling with the sheer dearth of ‘unbiased reporting’ and factual evidences, particularly from mainstream media.

When one looks at the current state of student politics in India, it comes out as both inspiring and bleak, depending on the perspective. On the one hand, we have the ‘Hokkolorob‘ movement from Jadavpur University and Pinjra Tod. On the other hand, we also have dogmatic student wings of prominent national political parties which sweep through consecutive elections, without adding anything substantial to the campus culture and the environment of learning.

The Delhi University Students’ Union (DUSU) can be a case in point. The DUSU is the prominent student leaders’ forum of elected candidates who are entrusted with the responsibility of fighting for students’ rights, and making sure that the campus remains a place of healthy engagement and development. However, one can easily notice that the picture is not so rosy as it seems.

Every election season, free movie tickets and visits to amusement parks are handed out to students (focusing primarily on first year undergrads who are yet to take sides in the mockery of democracy), and no one bats an eyelid because it is all kept hush-hush. Having studied in DU for five years, I have closely observed all its elections during this time. Every year, the campaigners would visit our hostel. The next day, students would be treated to a lavish lunch/dinner or an opportunity to go watch a movie. This wasn’t the case solely in a private girls’ hostel. This used to happen at any place where there was even a slight chance of influencing votes.

Who is doling out the funds for these activities? This is an issue that no one ever takes up, because it will open up a can of worms which might have potentially disturbing consequences. Despite being the most talked-about university in India in the recent past, elections in Delhi University are hardly investigated or explored.

Having said that, it would be a gross injustice to say that other students’ union elections around the country get in-depth coverage and attention. None of them do. So no one gets to know what kind of student leaders our next generation is picking up. What about their political leanings? What is relevant to the student community that does not find its place in the agendas of populist political parties and their student wings? Unfortunately, there is hardly any answer.

Right Versus Left: A Futile Attempt At Carving A Black And White Niche That Is Never Going To Work!

When the infamous Jawaharlal Nehru University (JNU) row happened in 2016, it became a ‘Left vs Right’ clash within no time at all. This was because the mainstream media painted the two sides in this manner for its own ease of narrative and interpretation. It was certainly easy to create a ‘bipolar brouhaha’, as it split popular opinion (thereby making it easier to fuel TV debates). However, it also crested a mayhem in which the ‘grounds of debate’, that was supposed to take the centre-stage, was completely lost.

The charm of  a ‘Us vs Them’ portrayal lies in its easy appeal, because it deals with binaries which are distinctly identifiable. However, it also runs deeper than this facade. As we delve into the ‘popular culture’ of debates surrounding the nation, it becomes painfully obvious that nuanced and healthy discussions have gone for a toss. This may well be a matter of concern in drawing-room discussions of seasoned voters during every election season, while also attracting media coverage. However, the development of student leaders in the country is an issue that gets relegated to the sidelines in such portrayals.

This is one of the major reasons why it was so easy for the media to paint the JNU row as a ‘Left vs Right’ fight, and subsequently, as a ‘National vs Anti-National’ combat. The hooliganism, violence and fraud attributed to the popular Right-wing is not misplaced and is in fact backed by ample evidence. And this is how it works! Anything which has to do with ‘political correctness’ looks good only on paper, because varsities in India are witnessing cases of political vandalism almost everyday. One is forced to think that the Left would come up as a practical option to students who do not want to indulge in Right-wing politics. However, it is disheartening that the idealism of the Left does little to provide solutions to the rising grievances of students across the nation.

What The Media Doesn’t Portray Regarding Universities

There are only a few mechanisms in place which cater to the needs of more than 70 colleges and 85 departments, and this is just talking about the Delhi University. Many colleges do not have proper hostels. The ones which do have hostels often cannot provide accommodation to all the students. This gives rise to the organised exploitation of out-station students by Paying Guest (PG) facilities and apartment owners. In private hostels, there are four, sometimes five, students crunched into a single middle-sized room. Many areas surrounding such PGs are not only exorbitantly priced, but also unsafe for female residents. ‘Off-campus’ colleges, the colleges which do not fall among the neatly organised North and South Campuses, are often overlooked and can often be found in deplorable conditions.

Such issues are almost never taken up either by the mainstream media or by political parties contesting for power. The only time universities make news these days are when events happen that can potentially polarise popular opinion and appeal to the emotions of people. The cold, hard facts of our day-to-day existence remain buried underneath.

The student movements in different universities are a proof that the future is not bleak. Voices of concern and dissent are trying to find their place. But when dissent is forcibly portrayed not as ‘dissent’ but as a ‘betrayal of mass beliefs’, it becomes hard to counter the upheaval of emotional blackmail that inevitably follows. This deepens the schism between the actual reality and what we are forcibly made to perceive.

The future of any country is not solely dependent on who wins the posts in students’ unions, or any other post of power, for that matter. It is also based on the ‘culture’ that the majority party perpetrates in  circles where it has failed to gain any foothold.  If one condemns the actions of hooliganism and violence, one also needs to be similarly aware of the silent mistreatment and delusions imposed upon the student fraternity in the name of stagnant ideologies. Until this gets dealt with, every year a batch of starry-eyed freshers will keep getting wasted and will become completely indifferent, just because no one listened to their demands and aspirations. This should not be so unfair, should it?

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Image Source : Twitter

The post Media: The Strongest And The Most Misused Tool In Students’ Politics appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

बहुत फिल्में होती हैं जो आपके आसपास की घटनाओं के लेकर बनाई जाती हैं। यानी जो भी समाज में उस दौर की समस्याएं होती हैं फिल्में उन्हें मनोरंजन के माध्यम से हमारे सामने लाती है।

कुछ फिल्में विवादों में आती हैं और रिलीज़ हो जाती हैं। कुछ फिल्में सेंसर बोर्ड की कैंची की धार में ऐसी फंसती है कि निकलते-निकलते फिल्म की धार ही खराब हो चुकी होती है। प्रकाश झा और उनकी विवादित फिल्मों का मेल जोल बहुत ही पुराना है।

हाल ही में प्रकाश झा प्रोडक्शन की फिल्म ‘लिपस्टिक अंडर माय बुर्का’ रिलीज़ होने से पहले ही विवादों में आ गई है।

‘लिपस्टिक अंडर माय बुर्का’ को अलंकृता श्रीवास्तव ने डायरेक्ट किया है और प्रकाश झा इसके प्रोड्यूसर हैं। इस फिल्म का टीजर अक्टूबर में रिलीज किया गया था। यह फिल्म मुंबई फिल्म फेस्टिवल में ‘बेस्ट जेंडर इक्वालिटी’ फिल्म का ऑक्सफेम अवार्ड जीत चुकी है। टोक्यो इंटरनेशनल फिल्म फेस्टिवल में इसे ‘स्पिरिट ऑफ़ एशिया प्राइज’ से नवाजा गया था। इसके अलावा कई फिल्म फेस्टिवल में इस फिल्म ने तारीफ़ बटोरी हैं।

लेकिन सेंसर बोर्ड ने इस फिल्म पर पूर्ण रूप से रोक लगा दी है। सेंसर बोर्ड का कहना है कि ‘यह कुछ ज्यादा ही महिला केंद्रित फिल्म है। यह समाज के एक विशेष तबके के प्रति अधिक संवेदनशील है।’ फिल्म के यौन दृश्यों और भाषा पर भी सेंसर बोर्ड ने आपत्ति जताई है। जिस फिल्म को इतनी सराहना मिली उसको सेंसर बोर्ड ने “असंस्कारी” बताकर रिलीज होने से रोक दिया है।

प्रकाश झा की इससे पहले भी बहुत सी फिल्मों ने रिलीज होने से पहले ही सेंसर बोर्ड के कड़े फैसलों का सामना किया है। 2016 में रिलीज हुई फिल्म ‘जय गंगाजल’ को सेंसर बोर्ड ने यह कह कर यू/ए सर्टिफिकेट नहीं दिया था कि इसमें “साला” शब्द का प्रयोग किया गया है और इसके कुछ दृश्य आपत्तिजनक हैं। सेंसर बोर्ड ने इसे ए सर्टिफिकेट दिया था।

2010 में रिलीज हुई फिल्म ‘राजनीति’ को भी सेंसर बोर्ड ने एडिट करने के निर्देश दिए थे। जैसे कि ईवीएम् मशीन के गलत इस्तेमाल व राजनीती में सक्रीय महिलाओं का अभद्र चित्रण।

2011 में आई फिल्म ‘आरक्षण’ को यूपी, पंजाब और आंध्र प्रदेश में छोड़ कर पूरे भारत में रिलीज किया गया था। कुछ समय बाद विवाद खत्म होने के बाद इसको इन राज्यों में रिलीज करने के निर्देश दिए गए।

इस फैसले के बाद फिल्म जगत प्रकाश झा के समर्थन में उतर आया है। सभी सेंसर बोर्ड की निंदा कर रहे हैं। प्रकाश झा अपनी फिल्मों के द्वारा समाज में व्यापत समस्याओं एवं भ्रष्टाचार पर सीधा प्रहार करते हैं। जिसको कभी कभी राजनीति के कारण रोक दिया जाता है।
क्या सेंसर बोर्ड की पांच से छः सदस्यों की पीठ का निर्णय व नजरिया पूरी सवा सौ करोड़ जनता का नजरिया हो सकता है? सेंसर बोर्ड ये बोल कर फिल्मों को रोक देता है कि इससे हिंसा भड़क सकती है व दंगे हो सकते है। लेकिन फिल्म रिलीज हो जाने के बाद नाही कोई दंगा होता है और नाही दर्शकों में किसी प्रकार की कोई नाराज़गी होती है। बल्कि दर्शकों द्वारा फिल्म को सरहाना मिलती है।

(सोशल मीडिया फोटो और कवर फोटो आभार- Prakash Jha Productions Pvt. Ltd.)

नोट- ये रिपोर्ट  Youth Ki Awaaz के इंटर्न रोहित सिंह(बैच- फरवरी-मार्च, 2017) ने तैयार की है।

The post प्रकाश झा की फिल्मों और सेंसर बोर्ड का है पहले का नाता कोई appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

She is feisty, he is subdued. She is an opportunist; he doesn’t mind grabbing a good opportunity when he sees one. She is all heart and a little bit of mind, they are both mind but all heart when they are with her. Welcome to the mad, chaotic and complex world of love, lies and betrayal in Vishal Bhardwaj’s latest film “Rangoon”. One woman, two men, patriotism and a lot of heartache sum up this drama set in the backdrop of World War II.

Whether the movie is one of Vishal’s best or weakest is up for debate amongst critics and trade pundits (it has got mixed reviews), but at the core of this attempted sweeping saga is a throbbing love story that is absorbing and frustrating in equal measure. Absorbing, because it is handled delicately and enacted brilliantly, with love being portrayed as a glorious emotion that’s deliciously compound yet achingly simple. And frustrating, because you don’t feel the passion and the pathos of the lead characters as they meander through the jungles of Rangoon and the dictates of their heart, the way you want to.

However, there are many moments to cherish. After all, emotions of the heart and the actions they lead to – whether in the allegedly idealistic 1940s or the so-called materialistic 2000s – aren’t all that different. There are relationships of convenience as seen between Julia (Kangana Ranaut) and her mentor Russi Billimoria (Saif Ali Khan), and there are relationships that are organic, as played out by Julia and the soldier-with-a-secret, Nawab Malik (Shahid Kapoor).

Julia and Nawab’s story is fairly linear – he rescues her and it doesn’t take long for them to fall in love. It is also a classic case of opposites attracting under extreme circumstances. She is haughty, chatty and naughty; he is silent, roughed-up and no-nonsense. But it’s the Julia-Russi convenience story that is more layered. He ‘owned’ her when she was 14, groomed her and made her a star, she says at one point. She needs him. Her ticket to stardom and her security blanket in a world where she is alone and ‘untouchable’ to boot. But at least initially there is love or a strange version of it, on her side.

It’s a need-based relationship and what is love but a need? But when love becomes a want, that’s when it blossoms without trying. Julia and Nawab share a kind of bond resulting from a few days of passion. It’s difficult to say whether she truly loves him, for once the rescue mission is over, she promptly goes into Russi’s arms – convenient and familiar. However, her heart begins to beat for Nawab again. If only the movie had delved more into her confused state of mind, we could have had a far more nuanced love story!

It’s Russi who adds complexity, even as events beyond anybody’s control unfold. He falls in love with her, perhaps realising what he almost lost when she went missing. And that love turns to jealousy when he realises her feelings for Nawab. It’s in these portions that “Rangoon” really comes alive and the interplay between Julia, Nawab and Russi makes for some riveting scenes, like when the latter first begins to suspect that his muse isn’t quite his own.

However, for all its brilliance, there is an overwhelming sense of déjà vu in Rangoon.

Real passion versus forced feelings is always a fascinating theme to explore, but one wishes the movie had penetrated the depth of the human mind, especially that of the woman torn between the comfort zone offered by her benefactor and the wild unpredictability of her lover. After some time, it becomes easy to anticipate their actions, primarily because in the context of patriotism and larger world issues, one knows to which tune the hero and the heroine will sway – not that of their heart but that of duty.

What if the characters had truly followed their heart? What if, instead of a patriotic-romantic-historic saga, “Rangoon” had remained focused on navigating the varying emotions of Julia, Nawab and Russi? What if Julia had been as headstrong in her actions as she was in her words? What if we discovered what motivated Russi to behave the way he did – a hurt ego because his golden goose in a cage yearned to fly alone or the awakening of true love? A few of these questions answered, and not just left to our imagination, would have made this period romance an epic romance.

This article was written by Lekha Menon and was first published on Bonobology.com.

The post ‘Rangoon’ Could Have Been An Epic Romance But This Is Why It Fails appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

It all started when my mother switched on an all-time favourite, much-hyped broadcasting channel one afternoon and I decided to sit through her session of so-called daily “entertainment”.

A teaser followed the regular dose of weird antics spoon fed to countless naïve house-wives and grand-mothers who are anxious to see whether the mother in-law wins or the daughter in-law while the sister in law makes ridiculous comments demeaning her own gender.

And the came, a flawless rip-off of the teaser of Game of Thrones season 5.

Was it a necessary element in the story that explained the story-line? No.

Did the so called “fans” realise it? No.

Did it make any sense at all? No.

Do I need to name the show? No.

Other than devastated GoT fans all over India, embarrassed that an iconic plotline of the series was misused, a bunch of hilarious tweets and Youtube rants (that was one way the creative directors brought their serial into focus), there was absolutely nothing that made a difference.

That was followed by the soap Udaan. The show swooped from being about a struggling athlete and student with a possible bright future to being a whining melodrama of a girl suffering the torment of a “dictator” chief of a village who is obsessed with bandhua majdoor (debt-bonded slaves). For the whole of 15 years of the time leap, the dictator “chief” then enslaves his own son because he is “evil”… (ehhh… Maketh no sense!)

Do they not know this is 2017? Are they stuck in some kind of ridiculous time warp?

While we have the classic evil side-characters, we also have main characters who are turning evil, yeah, big twist ahead.

So the latest attraction called Swabhiman (self-respect) is about a mother who struggles to raise her daughters to be toppers in IIMs only to beg people to marry them, because irony.

So the daughter decided to seek revenge from her in-laws because her mother’s swabhiman got hurt in the process. Did she have no idea her mother had no money? Did she not get employed even after topping IIM? Recession, I suppose. But she will definitely get married to the same guy because… TRP and sanskar.

I still have no idea how further twisted the whole story will get and have absolutely no interest in finding out either.

Another show, I recently came across that caught my eye was Dil Se Dil Tak which was being advertised rather aggressively everywhere on the channel. After a few episodes it struck me that the story was a perfect rip-off of the movie Chori Chori Chupke Chupke. The film was originally a sad mockery at surrogacy (the story still haunts me).

But the TV show version has promise. If tastefully made and properly executed, it can reveal a lot of social issues in India. If not, it can be added to the list of sad attempts like Kasam (Karz and Om shanti om), Shakti (Social melodrama about a girl belonging to the community of transgenders) and Sasural Simar Ka (I guess I shouldn’t even start).

Light At The End Of The TV

But that’s not the end to Indian TV channels. Star Plus recently decided to change the complete format of the shows and the change was strangely refreshing. The regulars stayed the same but the series like Beyhad, Mere Angne Me, P.O.W Bandi Yudh Ke and Ishqbaaz have shown refreshing outlooks.

However, the only show that came up in the light after a long time was Bhabhiji Ghar Par Hain which quickly rose to fame due to it’s weird characters and quirky comedy.

Sab TV was once famous for it’s comedy timing and content, but has now taken a backseat as the quality of comedy keeps going down, Also, a lot of amazing shows were pulled off air and the classics like Tarak Mehta Ka Ulta Chashma have now become a sad drag filled with repetitive forced antics and overtly innocent adolescents trying to act funny.

Not to mention the show Icchapyari Nagin which is a parody of the supernatural show Nagin which preceded Nagin 2, another sad failure. Except for reality music and dance competition shows and the Kapil Sharma Show, there is absolutely nothing decent to watch anymore.

The only channel in this whole mess that has continued to experiment and diversify the content on television is the lesser known Zindagi TV.

It started airing controversial yet realistic Pakistani TV shows, and now has ranged from English, Turkish to South Korean (We are not going to blame them for the bad dubbing, only thankful they didn’t remove the OSTs) has now given us a glimmer of hope that someday Indian shows will shine as much as English, South Korean and Taiwanese already have.

The post Has Indian Television Become A Glorified Recycling Bin? appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

For the past two days, I’ve been encountering posts about the kind of movies that the Indian censor board either bans or doesn’t. Last week, a friend and I were discussing about “Fifty Shades Darker” not getting past the censor. I know that it’s not a very good example – “Fifty Shades Darker” is being panned by critics worldwide as a disappointing movie version of a lukewarm book. But consider this: the censor board let “Mastizaade” through. Of all things, “Mastizaade“!

Then I read about a movie called “Lipstick Under My Burkha” being denied a certificate. I’d not heard of this movie before, though reports say it’s doing well and is beginning to garner appreciation worldwide. Judging from the title, the movie seems to be about female empowerment. As I write this, I am instantly reminded of movies like “Margarita With A Straw” and “Fire“.

The reason for the censor board nixing “Lipstick Under My Burkha” was that it was too ‘lady oriented‘. I’m not sure what their understanding of ‘lady oriented’ is in this case. If you think about it, banning like “Fifty Shades of Grey” and “Fifty Shades Darker” makes a bit of sense (instead of no sense at all) since they contain scenes depicting ‘sex’ and ‘nudity’. But what about a movie like “Mastizaade“?

My theory is that it’s not about the sexual acts that these movies portray. Rather, it’s about the ‘kinds of acts’ that they portray. People who’ve seen any (or both) of the “Fifty Shades” movies will vouch for the fact that they portray sex in ways which are, for lack of a better expression, ‘lady oriented‘. Can this be a reason to deny Indian viewers, who are legal adults, from legally watching these movies out of their own volition?

Now I haven’t watched “Fifty Shades Darker” (which I want to) or “Lipstick Under My Burkha” (which I really want to) or “Mastizaaade” (which I really don’t want to, based on movie reviews and trailers). But it does make one think, doesn’t it? Is ‘sex in movies’ really only OK as long as it focuses on ‘male pleasure’? After all, what’s so uncomfortable about some ‘lady orientation’?

By the way, this was a ‘teaser’ poster for “Kya Kool Hai Hum 3“, another gem that the board let through. Yes, it’s all “couched in metaphor” and “sex is not shown directly” – but do you really not think a child would get the whole message in three seconds:

What do you make of all this, dear reader? Do comment! One of the positive outcomes of all these cringe-worthy news is that people are opening up about the fare we consume as movie audiences. They are also becoming aware of the moral policing that has immutable power over what we are and are not allowed to watch – and most importantly, the way in which we view sexual pleasure.

The post Why The CBFC Wants You To Watch ‘Mastizaade’ But Not ‘Lipstick Under My Burkha’ appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

Set in 2029, the film “Logan” follows a largely dystopian plot. Dr Charles Xavier’s school is in ruins. He and Logan (Wolverine) hide near the Mexican border. Logan does odd jobs in order to keep his body and soul together. Additionally, he seems to have aged greatly as his healing has begun faltering. Gabriela, a nurse, asks Logan to escort a girl named Laura to a place called ‘Eden’ in North Dakota. Things turn nasty when Reavers come into the picture. Would Logan be able to safely escort Laura to North Dakota? The answer isn’t that hard to find.

Story

The film’s story keeps you hooked and guessing. It has that element of suspense attached to it. Logan and Laura’s journey through Mexico unfolds a lot of secrets. James Mangold keeps the story tight and gripping. You won’t find flaws in the overall storyline. It’s fast-paced, adrenaline-pumping, deep and packed with a lot of punches. There’s a lot of bloodshed (thanks to Logan’s claws). Above all, the film does absolute justice to the ‘Wolverine’ mythology. Mind you, it’s not for the faint-hearted.

Rating: 4/5

Performances

You don’t really need a review to tell you that Logan (Huge Jackman) is the star of the show. Logan is Jackman’s last film as the iconic Wolverine, and the actor has packed a solid punch. Jackman has got under Logan’s skin. Well, it can be said that Jackman saved his best for the very last. Dafne Keen as Laura has done a splendid job. The 11-year-old actress has complemented Jackman really well. Keen comes out as one of the many bright spots in the film. A sense of rawness on her face adds to the girl’s charm. Sir Patrick Stewart as Charles Xavier plays a vulnerable old man in his 90s. He has been given limited screen space but has made the most out of that. All in all, Logan rests heavily on Jackman’s stunning portrayal of Wolverine.

Rating: 4.5/5

Music

Marco Belrami, known for composing music for this film called Max Payne, has collaborated with Mangold yet again, and the collaboration has delivered the goods. Music plays a huge role in adding to the overall excitement. The film’s music pumps up your adrenaline and leaves you spellbound. Logan’s music has that element of mystery and darkness attached to it. All in all, it’ll leave your heart hopping and jumping. Well done, Mr Belrami.

Rating: 4/5

Direction

The director is the actual star of the film. James Mangold knows how to direct a solid action flick, and the stakes are always high when Jackman plays Wolverine. It takes a lot of skill to direct a high-class action film, and “Logan” is perhaps one of the best examples of how to direct an action film. The action sequences are just about perfect. There is a lot of blood, a lot of action, a lot of excitement and a lot of entertainment on offer. The way Logan’s deep, dark persona has been brought to light speaks volumes about the director’s ability. Great job Mr Mangold, you’re too good.

Rating: 4.5/5

Verdict

So, to top it all, Logan’s a winner, undoubtedly. Jackman’s stellar performance leads from the front. You don’t need to be a die-hard Wolverine fan to enjoy this one. The action sequences leave you astonished. Logan breaks a lot of bones, sheds a lot of blood and delivers a lot of promise. Wolverine’s fans can’t afford to miss it. Watch it for all the excitement it has in store. The bottom line is: Logan is a fitting farewell to an actor of Jackman’s stature.

Overall Rating: 4.5/5

The post ‘Logan’ Is A Fitting Farewell To Hugh Jackman As Wolverine appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

फाग़ के दिनों में राजेन्द्र सिंह बेदी की फिल्म ‘फागुन’ याद आती है। फागुन, गोपाल (धर्मेन्द्र) एवं शांता दामले (वहीदा रहमान) पति-पत्नी की कहानी हैं। बेमेल शादी के पहलुओं से परिचित कराती यह कथा प्रेम में तृष्णा की विडम्बना को दर्शाती है। प्यार अंधा होता है। वो किसी बंधन-अवरोध को नहीं जानता। धनवान शांता निर्धन गोपाल से प्रेम करती है, परिवार की इच्छा के खिलाफ दोनों शादी कर लेते हैं।

विवाह बाद गोपाल पत्नी को छोड़ शहर चला जाता है। दिनों बाद होली के त्योहार पर घर पर लौटा है,  रंगों की दुनिया में अपना कोई रंग तलाशने। पत्नी से रंग खेलने की हट में होली के रंग डाल कर नाराज़ कर देता है ।

शांता के व्यवहार से ‘गोपाल’ तिरस्कार का बोध लिए घर छोड़ देता है । पर वह यह नहीं समझ पाया कि शांता ने उसका अपमान क्यूं किया होगा,  पत्नी के खराब व्यवहार की वजह जाने बिना वो चला गया।  बेमेल शादी से दुखी माता-पिता को खुश करने के लिए शांता ने यह नाटक किया था। लेकिन इस कोशिश में पति खफा हो गया। कपड़ा भले ही बहुत कीमती रहा हो लेकिन पति-पत्नी के रिश्ते से कीमती नहीं था। वो अपने प्रेम पर कायम रह सकती थी…

फागुन महीना जिसमें ‘होली’ का त्योहार आता है, वही फाग़ शांता-गोपाल की ज़िंदगी से ‘रंग’ जाने की त्रासद पीड़ा है। सालों से शांता अकेला-बेरंग जीवन जी रही है। बिटिया दामद उसके जिंदगी के साथ एडजस्ट करने की कोशिश नहीं करना चाहते, ऐसे में उस असहाय की जिंदगी में बदलाव मुश्किल नजर आता है । होली जो कि जीवन में ‘रंग’ का प्रतीक है, शांता के लिए बेरंग विडम्बना की निशानी बन चुका है । उसे स्मरण है कि वर्षों पहले आज ही के दिन गोपाल नाराज़ होकर चला गया था ।

साड़ी पर ‘रंग’ डालने के लिए उसने जो पति का तिरस्कार किया था, जब भी होली आई हर बार पति की कमी ज्यादा खटकी । जीवन को पलट देने वाले काले दिन की याद बरकरार रही।  होली का रंग शांता को काफी तकलीफ देता था। फाग़ ने उससे  बैर कर रखा था। जीवन की उमंगों से महरूम होकर जीना एक तपस्या समान होता है। पति के चले जाने बाद वह एकांत व असहाय सी हो गई, उसके जीवन मझधार में जी रहा जीवन है।

शांता के साथ बिटिया- दामद भी नहीं रहना चाहते। जीवन की संध्या बेला पर वह किसी सहारे की जरूरत महसूस करती है। शांता को कमी खटकती रही । जीवन की संध्या बेला में गोपाल अपने परिवार के पास लौट आता है। एक महिला की प्रेम को फिर से प्राप्त करने की परीक्षा का अंत हुआ। हम समझ पाते हैं कि किसी अपने के बिना ‘होली’ ही नहीं बाक़ी जिंदगी भी ‘बेरंग’ है ।

कहानी में फागुन व होली को बैकग्राउंड थीम रखा गया। होली पर्व पर घटी एक साधारण घटना कथा को विस्तार देती है। जीवन में परस्पर निर्भरता स्वाभाविक बात है। जिंदगी अकेली गुजारी नहीं जा सकती। सारा जीवन अकेले होकर भी व्यक्ति किसी का हमसफर हो सके तो जीना बेमानी नहीं लगता। शांता की कहानी से हमें संदेश मिला कि फाग़ हरेक की जिंदगी में रंग लेकर नहीं आता। बेरंग जिंदगी की टीस होली में सबसे ज्यादा होती है।

होली में रंगों की प्रतिक्षा सबसे अधिक होती है। शांता को हर फाग़ में गोपाल का इंतजार रहा, लेकिन वो बरसों तक लौट कर नहीं आया। गोपाल के नजरिए से इस कहानी को देखें तो उसे भी खुशी नहीं मिली। तिरस्कार का बोध लिए वो जीवन के आनंद से दूर रहा। पत्नी का व्यवहार उसे सहन ना हो सका,क्या वो पीड़ा इस कदर गंभीर रही कि बरसों दिल में थी? गोपाल के लिए वो शायद गंभीर थी।

पति-पत्नी की पीड़ा में समानता पीड़ा की वजह में देखी जा सकती है। दुख का धागा दो अलग जिंदगियों को एकाकार कर रहा था। कहानी के प्रकाश में शांता का हिस्सा ज्यादा त्रासद रुप में व्यक्त हुआ है। साहित्य से सिनेमा में आए राजेद्र सिंह बेदी जीवन की एक विडम्बना को तलाश कर लाए थे। फाग के साए में पल रही लेकिन रंग की प्रतिक्षा में बुनी एक कहानी। जीवन निस्सवाद जीने को विवश कहानी। फागुन की बेला जिंदगी में रंग लेकर आती है। शांता-गोपाल के सिलसिले में ऐसा हो ना पाया। होली हरेक की जीवन में खुशियों के रंग लेकर नहीं आती। हर रंग खुद में एक दुनिया समेटे हुआ करता है।

The post होली के बैकग्राउंड पर बनी बेहतरीन फिल्म है ‘फागुन’ appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

A section of playwrights has expressed fury over the suggested 19 cuts in the Marathi play “Jai Bhim, Jai Bharat” in Mumbai. The play, written by Janardhan Jadhav, throwing light on Dalit atrocities through an imaginary conversation between Ambedkar, Gandhi and a Dalit activist, was scheduled to be staged at Kalyan Theatre on February 7, 2016.

According to Mumbai Mirror, Bahmanshahi (Brahmanism), Gandu Bagicha (award-winning poetry collection by Namdeo Dhasal), Hindutvawadi’ were some words in the list of censored items. Also, words like kutra’ (dog) and Mahar’ (caste) were asked to be replaced with alternatives. Apart from this, Kalyan theatre was forced to change names of Khairlanji and Ramabai Nagar – Mumbai localities where police firing had allegedly killed Dalits in 1997. This time, it wasn’t the Central Board of Film Certification’s (CBFC) claws gripping the artistes. It was the hardly talked about state censor board for theatre in action.

Located in a dilapidated structure near a small barrack at Nariman Point in Mumbai, it is better known as the ‘Maharashtra Rangbhoomi Parinirikshan Mandal.’ The board certifies all stand-up performances, theatrical plays, and even performances to be staged in ceremonies.

Under the Dramatic Performances Act of 1876, the government is empowered to “prohibit any dramatic performance” that is likely to “excite feelings of dissatisfaction towards the government.” Passed during Lord Lytton’s viceroyalty, the Act highlights restrictions on “public performances of the play, pantomime, or any other drama” bearing a scandalous nature. The Act further limits performances that might incur disaffection of people against the government; or might “corrupt persons”.

Section 2 (1) of the Act defined “objectionable” as anything which was likely to “be seditious (i) incite any person to commit murder, sabotage or any offence involving violence; or (ii) seduce any member of any of the armed forces of the Union or of the police forces from his allegiance or his duty, or prejudice the recruiting of persons to serve in any such force or prejudice the discipline of any such force; (iii) incite any section of the citizens of India to acts of violence against any other section of the citizens of India; (iv) is deliberately intended to outrage the religious feelings of any class of the citizens of India by insulting or blaspheming or profaning the religion or the religious beliefs of that class; (v) is grossly indecent, or is scurrilous or obscene or intended for blackmail; and includes any indecent or obscene dance.”

Enforcing censorship on theatre started with Calcutta’s National Theatre in 1875 when its growing popularity started garnering dissent from the British as their dramas projected the British government as racist and oppressive. The Act was passed as a direct reaction to the staging of “Sarat Sarojini” and “Surendra Binodini” written by Upendranath Das. Both these plays made public the grave resentment of racial discrimination by the British against Indians.

“It is interesting to note that three people in the censor board read your script and decide whether it will hurt the sentiments of thousands of people who are going to watch the performance,” said Varun Grover, a stand-up comedian in reaction to the 19 cuts suggested for “Jai Bhim, Jai Bharat”.

Amid furore on censorship on films, pressure from the govt and fringe elements on theatre artistes and writers has largely gone unnoticed. It was hoped that independence from the chains of colonial tyranny would free the Indian theatre from censorship, but contrarily, more and more legislations were brought in from different states to suppress freedom in dramatics and theatre.

Another instance of censorship in theatre comes from Odisha. A 110-minute Polish play “Sonka”, produced by Aleksander Wegeirko Drama Theater, performed at the state’s Rabindra Mandap on February 13, 2016, received strings of protests from state women commissions and the government for a scene showing Nazi soldiers gang raping the protagonist ‘Sonka’.

For its performance in National School of Drama (NSD) later that week, the director had to cut out certain parts, including the rape scene and a scene of hungry villagers slaughtering a cow.

Apart from censor board’s interference, the artistes have to face non-state actors, who influence board’s decisions. ‘Socrates to Dabholkar, Kalburgi to Tukaram’ produced by the Maharashtra Andhshraddha Nirmulan Samiti (MANS), also came under the scissors for its alleged scripting of the ‘Rang Nitya’, which was opposed by right-wing organisations.

“We have to go through rounds of inter-departmental screening processes before the final play is staged,” said Dr Danish Iqbal, a well-known theatre director and producer. He further stated that the script has to be submitted to police officers and various department heads even after the venue has been booked. Amitesh Grover, a performing artist and teacher at National School of Drama, in his write up for The Indian Express dated February 22, 2016, titled ‘A Voice, Under 35: The Murder Of A Scene‘ questions the spectatorship of Lord Vishnu’s 10 incarnations performed by Walavalkar Dashavtar Natyamandal of Maharashtra.

He compares the treatment of nudity in the Polish play “Sonka” with the Natyamandal performance. It seemed strange to Grover that only a decade back, a scene where an aroused ‘asura’ by the sight of dancing ‘apsaras’ isn’t able to contain ejaculation, was lauded by the audience while a nude scene in ‘Sonka’ has evoked censorship, exposing contradictions and selective moral policing.

“We didn’t have so much censorship in our times, I have been watching plays since my school days. With so much of moral policing already going on, censorship in theatre will throttle freedom of expression from its roots,” said Delfina Gomes, a sexagenarian theatre enthusiast from Calcutta.

With the evident decline of Indian theatre, it becomes imperative to stir talks on the relevance of the colonial-era Dramatic Performance Act, 1876.

Meanwhile, the state censor has decided to watch “Jai Bhim, Jai Bharat” before taking the final decision on the cuts.

The post The Censorship Of An Indian Play That No One Is Outraging Over appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

Bollywood has its way of reinforcing gender stereotypes, which justify and normalize all kinds of unfairness and violence meted out to women. Some movies, however, also did their bit to reverse this narrative. This women’s day, I am sharing a few movies that have inspired me to set on my own journey of understanding feminism.

1. Queen – Celebrating Her Choices

The movie is about Rani who sets out to her honeymoon alone after her wedding is called off at the last minute. Withstanding a series of cultural shocks that she faces one after the other in the strange new land, she meets people who rejoice in free will and fun. Finally, she emerges unbridled, free and unapologetic for rejecting people who have restrained her choices. Giving back the wedding ring to her fiancé (who dramatically wants her back) and thanking him for calling off the wedding is one of my favourite parts in the film.

2. Chak De India! – Celebrating Her Aspirations

The movie begins with a man wanting to coach the women’s hockey team – an assorted bunch of girls representing India’s diversities. “Chak De India” is about the victory of this team, but more than that, about the aspirations of all these girls who do not follow their coach blindly or put up with his condescension. Each one has her own individuality, her own dream. And when the girl from rural Haryana passes the ball to the rich Chandigarh girl who she previously despised, only because the Chandigarh wali needs to ‘show a man what a woman can do’, we know the movie wins even before the final match ends.

3. Highway – Celebrating Breaking Free

Veera is gagged, bound, kidnapped and forced to travel with her kidnappers and yet experiences joy and freedom that her protected and privileged life could not give her. Her revelation of being a victim of sexual abuse by a ‘trusted person’ perhaps explains her ecstasy in moving away from the hypocrisies of her family and society which had shut down her voice. Her hysteric outbreak towards the end and her brazenly calling out her wrongdoers – the uncle who molested her as well as her parents who remained silent, celebrates freedom from the long suppressed hurt and violence in the most heartbreaking way possible.

4. English Vinglish – Celebrating Her Assertion

Remember Sridevi in “Chalbaaz” and “Nagin”? She physically fought the villains to show them their place. In “English-Vinglish”, only words have sufficed.

Ridiculed by her husband and daughter for not being able to speak English fluently, Shashi (Sridevi) secretly enrolls herself in an English class. Making a common cause with people from different nationalities facing the same prejudice, she forges ties and makes friendships. The film is about her assertion and the self esteem that she rebuilds, not just by learning English but also by understanding her own worth. In the last scene, she graciously asks in English for a vernacular newspaper she has always read; because knowing or not knowing English does not change the choices she has always made.

5. Pink – Celebrating Her Consent

The film has its loopholes, but it cannot be denied that it is still one of the few films that voraciously stand for consent and a woman’s right to say NO at any stage in a relationship. The hallmark of the movie is one of the girls standing in the court of law and shouting, ‘Yes, she is a sex worker, has taken money and then refused her services. Does that mean that she is wrong to allege that she was molested by the guy?’

6. Parched – Celebrating Solidarity

The movie amazingly is all about all of the above, and much more. It is about the bond that women across their differences nurture, which saves each one in the end. Women are always accused of competing with each other, and the film effectively reverses this by showing women supporting each other to gain agency in their own lives.

Can you think of more such films?

The post 6 Bold, Patriarchy-Smashing Films To Watch This Women’s Day appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

‘Women-oriented’ feel good advertisements and stories awaken the ‘inner goddess’ in me. I never realised it until a big giant commercial told me so. This article is thanking all such advertisements.

Diamonds

Thank you for telling me that wearing diamonds symbolises how a woman, just like diamonds under high temperature and pressure, brings out the best in situations. Wearing diamonds at workplace will automatically make me a star performer and giving me a gift of diamonds will make me the happiest woman and validate love like nothing else. It invariably makes diamonds my best friend. Thank you diamonds. Without you, I wouldn’t have known that even if you don’t have any resale value, how incomplete my womanhood would be without you.

Watches

Thank you for telling me that women need a watch not to know the time, but to know that being a woman is a god’s gift which resonates in various field of work, life and motherhood. Thank you for convincing me that a delicate watch is what would bring out the best in me. I have stopped wearing watches with big dials as they are ‘reserved’ for men. I realised that it made me a loser.

Chai

If it weren’t for chai, I wouldn’t have had a conscience. I wouldn’t have known how to stand up for my good and realise that ‘mai bhi kuchh hun‘ (even I’m something). Thank you for never changing the fact that irrespective of how empowered a woman is, she cannot avoid making tea.

Diet Food/Health Drinks

Thank you for making me realise that I am fat and ugly and I really need four weeks of starvation to show my midriff in a party.

Online Shopping

Thank you for showing the wise men in the family telling women how easy it is to order online because I live under a rock to know anything digital.

Soft Drinks

Thank you for the sugar rush and calories and daredevil adventure which follows after it. Without the soft drink, my life is presumably very boring.

Insurance

Thank you for telling me about my insecurities and how I need to be independent even after my father/husband/son dies because I never have my own savings and I am bad with finances anyway.

Chocolates And Ice Creams

Thank you for stereotyping that the path to my heart is through bribing me with a chocolate. You abuse me and gift me a chocolate and we are even.

Fast-Moving Consumer Goods

Thank you for convincing me that if I use the products just like a millionaire film star does, I would get rid of dandruff, my skin would become soft like butter and my toilet would smell like paradise.

Thank you.

#Happywomensday

Image source: YouTube

The post A ‘Thank You’ To All The Ads That Have Played With My Insecurities appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.

We might still have items songs that position us as tandoori chicken and baby doll, but let’s not lose hope. The web-series culture has brought a whole new trend of refreshing female-centric content. The International Women’s Day theme – ‘let’s be bold for change’ holds completely true for these upcoming web-series. Here’s a list of the web-series you shouldn’t miss out on today.

1. The Good Girl Show – D0pamine Media

Released on March 6, this is a fresh new web-series that you are bound to fall in love with. It’s about four Delhi University Girls living in a PG and you are sure to relate to their characters and see a little bit of you in them. It not only shatters and breaks stereotypes but shows the real independent life of college girls that’s extremely relatable. So get ready for these four DU girls will take you on a ride back to college.

2. Ladies Room – Y-film

As the name suggests, the web-series is based in dirty women’s toilet. It’s about two besties and their hilarious misadventures in six different ladies room. They are ‘girl bros’, messed up and completely unapologetic. Go check it out.

3. Mom, I’m Not A Virgin! – Girliyapa

As the name suggests, this short video will take you to the moment where a girl confesses to her mom that she is no more a virgin. In a society where talking about sex is taboo, this video shows the mother’s reaction. It’s hilarious, heart-warming and extremely relatable.

4. When Girls Go On A Road Trip – The Timeliners

Three girls decide to go on their first road trip, while all their family refuse to support them in this fun journey they find their own way to travel by hiring a car. They take you through their entire journey from Delhi to Agra in a fun and completely relatable manner.

5. A Woman’s Besties – AIB

This is AIB’s unique approach to shattering taboos in the most non-preachy way possible. It rightly portrays the battles inside a woman’s mind when she has unprotected sex. AIB portrays a women’s besties with a slapstick sense of humour in a rather catchy screenplay.

The post 5 Hilarious Female-Centric Web Sketches You Need To Watch Right Now appeared first and originally on Youth Ki Awaaz, an award-winning online platform that serves as the hub of thoughtful opinions and reportage on the world's most pressing issues, as witnessed by the current generation. Follow us on Facebook and Twitter to find out more.