Democratic World Magazine (May 2012 Issue) by Democratic World

MAY 2012 `25 An MBD Publication RNI No.: 23870/72

D E M O C R A T I C

W O R L D

BUILDING BLOCKS

WILL SINOINDIA TURF WAR SHAKE BRICS’ FOUNDATION? PAGE 28

REEL LIFE

FILMMAKER ANAND PATWARDHAN ON WHAT KEEPS HIM GOING PAGE 42

A maestro of arts, Pandit Birju Maharaj narrates his journey with Kathak thus far... PAGE 14 PLUS:

WAREHOUSE

LOOKING BACK

FOREIGN DESPATCHES

PLATFORM

express

EDIT ORIAL SONICA MALHOTRA KANDHARI | editorial@democraticworld.in

Breaking Boundaries to Create Inclusive Art RIGHT AS WE WERE inching towards a spirited sum-

mer, NCR was soaked by a spate of rain and a spell of pleasantness. Not used to such off-season coolness plus a weekend, citizens headed out to the pretty parts of the capital (Lord knows we have plenty of those). DEMOCRATIC I admit that I sneaked off a bit—every professional is entitled to a day out—and headed straight for a series of dance performances. My experience left me lamenting that I did not do so more often. And it left me nostalgic for the days when my sister and I would train under our gurus, Reba Vidhyarthi and Bhaswati Mishra. I consider myself fortunate for having trained under her at the Kathak Kendra where I was a scholarship-holder. I realise that some people are not big fans of normative structures, especially those which demand (or exhort) obedience. Since my sister and I have grown up in the classical guru-shikshya tradition, a part of me understands the merit of such expectations. It presupposes a certain humility that I increasingly PANDIT BIRJU miss among fellow citizens. Is touching a guru’s feet, MAHARAJ: We have invited artistes a servile act? Or is it one that acknowledges a depth of from non-metro cities to character and humility that is endearing? I will leave perform in Delhi. We are you, my readers, to decide for yourself. Personally, I now getting a bigger see the act as humble, not slavish. audience for dance and I would pay a pretty penny to hear what Pandit musical events—steps Birju Maharajji has to say on this issue. I am confitoward democratic art dent of an answer; after all he is a man of patience has been taken... and passion—a great combination for a guru. And

BYTE

what a guru he has been and continues to be. At his age, Birju Maharajji continues to run from pillar-topost trying to set-up his dance academy, promoting Kathak, raising awareness regarding the form, and teaching tots to teens. What makes him a bigger man is the fact that he has democratised his gharana. What his legendary uncles and father taught him is now available in a book for global learners. He has made an exclusive form, inclusive. Art, whether performed on stage or painted on a canvas, helps us find trueness in our world, reach for the deeper meaning, and importantly, brings joy and inspiration. It should never be within a boundary. Naturally, we at DW, were tempted to take a closer look into the life of this charismatic artist, exponent and man. Read about him on page 14. Our columnists, Ashok Malik and Vivek Bhandari, are back in this issue. We are introducing a new section called Reel Life in which fire-brand documentary filmmaker Anand Patwardhan talks to us about inspiration, and more importantly, his films. Even if the uncharacteristic coolness discontinues, include a little colour, music or rhythm in your lives. Art is after all good for the soul.

MAY 2012

DEMOCRATIC WORLD

TOC

ASHOK CHAKRADHAR A PAGE OUT OF THE LIFE OF THE HUMOUR POET, SATIRIST AND AUTHOR AND THINGS THAT MAKE HIM LAUGH

LIFE OF A POET

| M AY

2 0 12

14 ASHOK MALIK

COVER STORY

14 | Ground Beneath His Feet A tribute to one of the greatest

Manmohan Singh’s Pakistan dilemma

sons of the Kalka-Bindadin Gharana of Lucknow, Pandit Birju Maharaj VIVEK BHANDARI

Please Recycle This Magazine And Remove Inserts Before Recycling

COPYRIGHT Democratic World is published & printed by M Gulab Singh & Sons (a unit of MBD Group) at Gulab Bhawan 6, Bahadur Shah Zafar Marg, New Delhi 110002, India and printed at Perfect Printers Gulab Bhawan 6, Bahadur Shah Zafar Marg, New Delhi 110002, India. Democratic World is for private circulation only. Material in this publication may not be reproduced in any form without the written permission of M Gulab Singh & Sons.

COVER DESIGN BY ANIL VK | IMAGING BY PETERSON | PHOTO BY KHUSHI MISHR A

DEMOCRATIC WORLD

MAY 2012

26 | WILL BILATERAL TRADE CARVE A PATH TO PEACE? Prime Minister

34 | CO-OPERATIVES IN THE ERA OF LIBERALISATION: Why India should pay attention to UN’s vision of a better world

PHOTO BY SUBHOJIT PAUL

TA B L E O F C O N T E N T S

READ MORE ON PAGE 32

28 ISSUE

28 | BEYOND THE ACRONYM:

Will the BRICS nations change the new world order? Experts debate FOREIGN DESPATCHES

12 | DILRUBA Z. ARA

22 SOCIAL AGENDA

22 | Analyse this! and Set up Strategy

Be smart and explore the infinite potentials of social media to change the way your business works

Examines notions of perception, prejudices and alienation REGULARS

GOOD KARMA

WAREHOUSE

REEL LIFE

HITCHHIKER'S GUIDE

36 | A STICH IN TIME

40 | GAGETS & GIZMOS HOT MICROSTANG A drool-worthy hot

42 | THE WIND THAT SHOOK THE BARLEY

46 | A LAYERED CAKE OF CONTRADICTIONS HUSAIN AKBAR on why

In Ela Bhatt and SEWA’s world, political freedom is just a shadow of a person’s economic self-reliance

wheels that one must have, and why

Controversial filmmaker Anand Patwardhan lets his camera do the talking

Japan is more than sushis, gadgets and geishas

MAY 2012

DEMOCRATIC WORLD

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EDITORIAL Managing Editor: Monica Malhotra Kandhari Group Editor: Sonica Malhotra Kandhari Editor: Dr Chander Trikha Features Editor: Rohini Banerjee Sub Editor: Manjiri Indurkar

EDITORIAL CO-ORDINATION Mamta Bhatt

COPY DESK Managing Editor: Sangita Thakur Varma

DEAR EDITOR, IT IS NOT EVERYDAY THAT WE COME ACROSS A MAGAZINE WHICH IS SO COMPLETE. I TEACH UNDERPRIVILEGED CHILDREN WITHIN MY LOCALITY. EVERY MONTH I READ INSPIRING STORIES OF PEOPLE BEHIND NON-GOVERNMENT ORGANISATIONS AND FEEL EMPOWERED TO START SOMETHING OF MY OWN. IT WAS MOTIVATING TO READ THE STORY OF GOONJ AND THE MAN BEHIND IT. YOUR STORIES TOUCH LIVES. KEEP UP THE GOOD WORK.

Sub Editors: Radhika Haswani, Mitia Nath

DESIGN Sr Creative Director: Jayan K Narayanan Art Director: Anil VK Associate Art Director: Atul Deshmukh Sr Visualiser: Manav Sachdev Visualisers: Prasanth TR, Anil T & Shokeen Saifi Sr Designers: Sristi Maurya & NV Baiju Designers: Suneesh K, Shigil N, Charu Dwivedi Raj Verma, Prince Antony, Peterson Prameesh Purushothaman C & Midhun Mohan Chief Photographer: Subhojit Paul Sr Photographer: Jiten Gandhi

SALES & MARKETING

Regards,

Mamta Bhatt, Arjun Sawhney

Sanchi Kathuria, New Delhi

PRODUCTION & LOGISTICS Alok Kashyap, General Manager (Production)

PRINTER & PUBLISHER

POINT OF VIEW

Alok Kashyap

DEAR EDITOR,

We often fall prey to misplaced notions. I always thought that Urvashi Butalia is a talented and somewhat intimidating personality. Reading about her was an eye-opener of sorts. She comes across as a warm and humble person with a strong mind and a great body of work. WARM REGARDS, SHREETI BHATTACHARYA HYDERABAD

WRITE TO US: Democratic World values your feedback. We want to know what you think about the magazine and would love your opinion on issues that you would like us to raise. DW continues to be work in progress and your inputs will make it a truly democratic effort. For additional images, opinion polls and much more visit our facebook page at www.facebook.com/DWzine Send your comments, compliments, complaints or questions about the magazine to editorial@democraticworld.in

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MAY 2012

Democratic World is a monthly magazine published and printed by M Gulab Singh & Sons (a unit of MBD Group). It is published at Gulab Bhawan, 6, Bahadur Shah Zafar Marg, New Delhi-110002, India and printed at Perfect Printers, Gulab Bhawan, 6, Bahadur Shah Zafar Marg, New Delhi-110002, India. The magazine is edited by Dr Chander Trikha, Gulab Bhawan, 6, Bahadur Shah Zafar Marg, New Delhi-110002, India. Material in this publication may not be reproduced in any form without the written permission of M Gulab Singh & Sons. Editorial opinions expressed in the magazine are not necessarily those of M Gulab Singh & Sons and M Gulab Singh & Sons does not take responsibility for the advertising content, content obtained from third parties and views expressed by any independent author/contributor.Â (M Gulab Singh & Sons, Gulab Bhawan, 6, Bahadur Shah Zafar Marg, New Delhi-110002). Email: editorial@democraticworld.in Opinions expressed herein are of the authors and do not necessarily reflect any opinion of M Gulab Singh & Sons, Gulab Bhawan, 6, Bahadur Shah Zafar Marg, New Delhi-110002, India Tel: 91-11-30912345, 30912301 Email: subscribe@democraticworld.in

MAMATA BANERJEE

“Those who call themselves professors, if they do such ugly things, will never be forgiven”

THEY SAID IT

UPtoDATE Maoist rebels free abducted Italian national Laxmipur MLA Hikaka remains captive in rebel den

INTERNAL SECURITY// Maoist rebels released Italian

tourist guide Paolo Bosusco in April 2012. Bosusco was held in the Orissa forests by Maoist rebels. “I am happy being a free man now. I am tired and need some rest,” said the man who remained in Naxalite custody for over a month. His co-prisoner and fellow Italian, Claudio Colangelo, was freed earlier. Bosusco runs an adventure-holiday firm in Orissa while Colangelo is a doctor from Rome. The two were abducted in the Kandhamal district. Bosusco was kidnapped on March 14, 2012, along with Colangelo, who was released after 11 days. The particular kidnap-

DEMOCRATIC WORLD

MAY 2012

ping was the first-of-its-kind where Maoists resorted to kidnapping foreigners. Also on March 24, 2012, rebels kidnapped Orissa Assembly member Jhina Hikaka who remains in captivity with a separate group based out of Andhra Pradesh. In exchange of Hikaka's release, rebels have demanded a ban on tourists visiting tribal areas and an end to the government’s anti-rebel operations. They have also sought the release of several prisoners languishing in different jails across Orissa and Andhra Pradesh. Orissa chief minister Naveen Patnaik agreed to release 27 prisoners while negotiating with the Maoists.

Maoist prisoners have been asked to be freed by the rebels

up-to-date

FROM AROUND THE WORLD //

Spate of Accidents on the Soccer Field SPORTS // In a tragic repeat of Fabrice Muamba’s

Aung Sang Suu Kyi’s party sweeps by-elections NDL wins 40 out of 45 seats INTERNATIONAL POLITICS// Burmese leader Aung San Suu Kyi’s National League for

Democracy (NDL) won 40 of the 45 seats being contested in the April by-elections. The pro-democracy leader said that she hoped that the elections marked a start of a new era in Burma. Despite the win, the Burmese Parliament remains dominated by the Junta-supported USDP, which holds a majority of the 664 seats. Calling the vote a triumph of the people, Suu Kyi added that her goal was to reconcile with other pro-democracy parties. The United States hailed the win as “an important step in Burma’s democratic transition”. The by-elections were held to fill 45 parliamentary seats after the elections of November 2010 which officially ended the Junta rule. Aung San Suu Kyi’s NDL was competing its first elections after 1990, where it had won a land-slide victory but was debarred from coming into power. The NDL had boycotted the 2010 elections and it was one of the 17 parties to have participated in the elections. Suu Kyi who spent years under house arrest has promised to use her voice to continue to push for further reforms and is hopeful that the other parties will cooperate in creating a “genuinely democratic atmosphere in the country.”

collapse on the field, Italian midfielder Piermario Morosini, 25, fell to the ground mid-way through the Italian second division match. Former under 21 international Morosini, who played for Livorno suffered a cardiac arrest. Morosini was taken to the hospital where he was FINAL declared dead an hour later. TRIBUTE The incident took place four weeks after Bolton Wanderers footballer Fabrice Muamba suffered a heart attack during an FA Cup quarter-final against Tottenham Hotspur. His heart stopped beating for 78 minutes, but Muamba made a remarkable recovery. He has now been discharged. The world of sport paid its final tributes to the midfielder in the last weeks of April, while matches were cancelled for a weekend. A minute of silence was observed at major league games, while tennis player Sara Errani dedicated her victory in the Barcelona Open to Morosini.

ENTERTAINMENT

Whenever I feel too arrogant, I go to the US: Shah Rukh Khan On his way to Yale University where he was to deliver a lecture as Chubb Fellow, King Khan was detained for two hours at the airport as his name was flagged in their system. The US later issued an apology for the inconvenience caused. MAY 2012

DEMOCRATIC WORLD

up-to-date

\\ FROM AROUND THE WORLD

Court Rules (left) The verdict being read out to scribes Clean Chit (below) Gujarat Chief Minister Narendra Modi addresses a rally

Clean chit for Narendra Modi

Apex Court clears Modi, Zakia Zaferi vows to continue the fight JUDGEMENT // A special investigations team

(SIT) appointed by the Supreme Court to investigate the 2002 Gulberg Society massacre gave the Gujarat Chief Minister Narendra Modi a clean chit and sought its closure as it found no evidence against him. This report probably came as a relief to Chief Minister Modi, who was accused of criminal conspiracy by the Zakia Zaferi, the wife of Congress MP Ehsan Jafri, who was among the 69 people killed in the Gulberg Society carnage. According to the reports filed by the SIT, no evidence was found against any of the 58 persons listed in Zakia’s complaint. The court later ordered that a copy of SIT’s report and related documents be given to Zakia within 30 days, which would give her the rights to pursue private criminal complaints against Modi and co-accused. The court has to decide whether it will

accept or reject the report filed by the SIT, after hearing the complainant. The court also stated that there was no need to issue an order to Zakia as she had already approached the court seeking a copy. Zakia had accused Modi and 57 other ministerial colleagues of a wider conspiracy in the Godhra Riots in which more than a thousand people had died. Most victims were Muslims. SIT chief Raghavan said that the complainant will get an opportunity to contest the findings, stating that, “We have done our duty to the best of our abilities”, and that the integrity of the team cannot be questioned. The Supreme Court-appointed amicus curiae, Raju Ramachandran hoped that his independent report on the SIT document will also be given to Zakia, who has the right to file a “protest petition” in court. Ramachandran, who has given his “independent assessment” to the report refused

“It is a huge disappointment” — Teesta Setalvad, NGO Citizen for Peace and Justice

DEMOCRATIC WORLD

MAY 2012

to disclose the contents of his report. The SIT report was submitted after a complete inquiry of the incident and after quizzing all the accused including Modi who was quizzed for more than nine hours by the investigation team. After going through the report the SC had asked Ramachandran to file an independent report which he then submitted to the SC. Refusing to disclose the contents of his report, Ramachandran said he has given an independent assessment on the SIT report. The SIT questioned several people, including Narendra Modi, who was quizzed for more than nine hours in relation to the case. The Apex Court, after going through the report, had asked Ramchandran to independently verify the findings. He has also submitted his report to the Supreme Court. In response to the SIT’s closure report, Zakia said she was “pained” but vowed to continue her battle for justice for her husband and others. She also said, “In the court of the Lord above, justice can get delayed but not denied.”

up-to-date

\\ FROM AROUND THE WORLD

INTERNATIONAL

Russian Plane Crash kills 31 passengers in Siberia MISHAP // A plane

crashed in Siberia killing 31 people, while 12 survivors were taken to the hospital immediately after the crash. The ATR72 turboprop aircraft had just left Tyumen and was heading northeast to Surgut when the crash happened. There

were 39 passengers and four crew members on board and the cause of the crash still remains unclear. Earlier the local authorities said 32 people had died, but later the figure was revised to 31. According to the Itar Tass news agency reports the entire crew,

which was made up of two pilots and two flight attendants, died. The flight disappeared from the radars at 05:35 local time (01:35 GMT).UT air the Russian airline said on its website that the pilot had been trying to make an emergency landing.

8.9 Richter earthquake hits Indonesia Tremors felt in India

SALT PEPPER SAURAV GANGULI’S IPL WIN STREAK HAS BEGUN A TWITTER BATTLE OF WORDS. HERE’S WHAT WE HEARD...

“I think even at the age of 75, Dada will be able to come out & play that flowing cover drive for four!” Sanjay Manjrekar | Cricketer

“Dhoni is a very bright student in the School of Captaincy of which #Dada is the principal” Aditya Natha | Twitterati

“PW: Dei. We have Dada. We are always interested in conflict. CSK: Er... We have N. Srinivasan. We are always conflicted in interest” Ramesh Srivats | Entrepreneur

Brave Face: A boy from a family displaced by the earthquake smiles at the camera. The tsunami managed to create quite a panic but it fortunately did not lead to a tsunami

DISASTER // A tsunami warning was issued this April by Indonesia as an earthquake

with a preliminary magnitude of 8.9 hit the waters of Aceh province. Tremors were also felt in Singapore, Thailand, Malaysia and India. The powerful earthquake was centered 20 miles (33 kilometres) beneath the ocean floor around 308 miles (495 kilometres) from Aceh’s provincial capital, said the US Geological Survey. The Pacific Tsunami Warning Centre in Hawaii said that a tsunami watch was in effect for Indonesia, India, Sri Lanka, Australia, Myanmar, Thailand, the Maldives and other Indian Ocean islands, Malaysia, Pakistan, Somalia, Oman, Iran, Bangladesh, Kenya, South Africa and Singapore. The massive earthquake was followed by an aftershock of 8.2 Richter. Indonesia straddles a series of fault lines which makes it prone to volcanic and seismic activity. The giant 9.1-magnitude quake of 2004 which had triggered a tsunami in the Indian Ocean had killed 2,30,000 people.

DEMOCRATIC WORLD

MAY 2012

“A Bengali paper once wrote: ‘God knows who writes the script of Sourav Ganguly’s life.’ True. #Dada story beats Bollywood anytime” Abhijit Majumder | Twitterati “I hereby solemnly declare my allegiance to Pune Warriors India. Dada, I hold you above KKR any day!” Boudhayan Gupta | Twitterati

foreign despatches \\ NOTES FROM THE DIA SPOR A

DILRUBA Z. ARA Sweden

There is a father sleeping in the mind of every child” DILRUBA Z. ARA: The particular morning as I am walking towards my father’s grave, I am thinking of death. As long as my father was alive, he was a shield between death and I. Now that he is gone, death seemed closer. I think of souls and shake the thought out—it is a profane concept in Islam. Babul, the family driver, is walking with me, with a tin of paint and a couple of brushes and scrubbers. Unlike Swedish graveyards, this graveyard in Banani (Bangladesh) is colourful with multicoloured stones and plants. There are shrubs, chirping birds, boughs heavy with flowers, visitors and grave-keepers. Some graves are sparsely covered with incipient grass, a soft shade of green against the dark soil, as is my father’s. As a celebrated author, my father was supposed to be buried in the Government Graveyard in Mirpur. But my mother wanted his final resting place closer home. I had felt depressed on my first visit to the grave. It not only looked undignified with its temporary walls of cane, but too small for my tall Abba. I could not do anything to expand its size but I could do something to improve its cane walls—and that is what I have come to do today. It took me a week to convince Babul to take me to a hardware shop; he told me that as a woman, I should not dream of painting a tomb (white and bright) in a public burial ground. When I wondered why, he refused to drive me anywhere. When I broached the subject again, he feigned illness. When he showed up later, he said he knew nothing of paints—he was a driver, not a mason after all. My Bengali instinct told me that even if I managed to get the stuff, I could not visit the graveyard alone. I threatened to take the car out. Babul figured that I meant what I said and gave in like an exasperated father. My father's grave is along the boundary wall on the opposite end of the cemetery. To reach it we walk along the main pathway dividing the area and then take the last causeway on the right to pick the way between two

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MAY 2012

DILRUBA Z. ARA is a

Bangladeshi author and teacher who teaches English and Swedish in Sweden, writes both prose and poetry, translates and paints. Her novel A List of Offences was recently published in Spain and Greece. She translated and edited Selected Short Stories of Shahed Ali, from Bengali-to-English, as well as a portion of Pippi Longstocking into Bengali from Swedish. She recently finished a collection of stories and is now working on her next novel. She lives in Lund with her Swedish husband and children. The following is an extract of a story which was first published in The Shipwrights Review. The story is a deeply emotional and personal work of non-fiction which examines the notions of perception, reverse prejudices, sensibility and alienation. To read more go to: http:// dilrubazara.com/

rows of graves. We reach a point where we stop to leave the causeway to walk between two graves on our left and climb up to the delta-shaped piece of land along one of the longer sides of Abba’s rectangular sleeping space, and it is just about large enough for us to be able to stand side by side and work. We commence at once. I take up a scrubber and instruct Babul in what he should do. Babul does his work, scowling. He does not speak a word. We have the morning sun on our backs. First, it feels gently warm but after a while I can feel the heat creeping into my flesh through my salwar-kameez. As time passes the heat becomes intense. I see a gathering of a few men standing on the walkway—all bearded and dressed in kameez, topi and trousers which hang above their ankles. Babul whispers, “The elderly one is the Imam! I am sure you have angered him.” I give Babul a murderous look. My brush moves fervently on the slim strips of cane and keeps on sputtering colour on the brick wall behind it. I do not care about the Imam, but I do care about the wall. I should have brought plastic sheets to protect it. When I express my concern, Babul simply states that I am not in Sweden anymore. Behind me the Imam walks back-and-forth with his disciples. I feel their collective scowls and hear their whispers. Done with one frame, I clean the wall and start on another. When I am through, I discover to my dismay that the first one has sucked in much of its new colour. The canes are full of sap. Babul says that we should leave the trellises after giving each a single coat and come back later. For the first time, I agree. We pick our way in between the graves and reach the causeway; I climb on it. The Imam separates himself from his followers and faces me. I arrange the

foreign despatches NOTES FROM THE DIA SPOR A //

“As the car approaches the graveyard, I find the Imam by the gate. Arms stretched out, he is holding the bars of the huge gate...his bearded face sticking out”

edge of my dupatta correctly on my head as I meet his face. He reminds me of my childhood, of Quran lessons in Ajimpura. His body is scrawny, he has a hunch and his face has the confidence that I have seen in Imams everywhere. I know he wants an explanation, but he does not know what to ask. I do not smile. Neither does he. I forget that I am not in Sweden. He remembers that it is his domain. We both keep our heads high. The sun is now in my eyes, I can not keep them from flickering no matter how severely I command them to stay still. The situation begins to infuriate and embarrass me: shall I declare peace by lowering my eyes? I know for certain that his mind is intellectually limited and his behaviour towards me underlies his self-righteous. I wonder what does he see in me? A rebel or an immodest woman? After a minute’s inner dispute, I to walk away without showing any sign of capitulation. I mutter, “It is my father’s grave and none can stop me from painting it.” Babul’s words penetrate my soliloquy: “That is the oldest daughter. She lives abroad.” I walk quickly and do not look at the rows of graves or read the epitaphs or admire their colours. I do not think of life, death or soul. When I climb into the car I keep my silence. I see in the mirror that the Imam is standing in the middle of the gateway to the graveyard, his face set in stone, his eyes following the car. Next morning, when Babul shows up, I ask him to take out the car immediately. I want to have the fences done before the sun gets too hot. Of course I recall the episode from yesterday and feel discouraged. I will finish what I have started. If the Imam is not brave enough to voice his displeasure what can his silence do to me? I steel myself and change into my white salwar and full-sleeved kameez, and wrap my head with the dupatta. As I slip my feet into my sandals, my mother says, “You should consider yourself lucky that we live in this area.” We reach the graveyard early; before the beggars and flowervendors. There are only a couple of pie dogs sitting leisurely. As I enter the gate and walk past the small mosque, I see the Imam. He sees me, too, and gets to his feet neglecting the crowd sitting around him. He follows Babul and me all the way to the dual graves. I resume working as the Imam begins to walk back and forth on the causeway. I wonder what might be passing through his mind. I wished the Imam behaved as properly as a priest in a graveyard in the west. Then, I could be proud

of him. I wanted to be proud of him because he was the Imam at my father’s eternal resting place and he was a full-blooded Bangladeshi. A priest in the west would never neglect his office to pester a daughter. The Imam is now standing still, just opposite me across the twin graves. The blazing sun shines on him, sweat gleaming on his face. Babul wonders if he can offer him a cup of water. I nod to take up the brush again; Babul walks between the graves with a paper cup. The scene repeats itself for a few days. Occasionally, the Imam watches me alone, sometimes with people. But they no longer scowl. Instead they seem to be waiting for the cool water that Babul serves with a broad smile. The fourth day, determined to finish off the work, I go to the graveyard and work doggedly. The cool morning turns warm and then hot as my clothes get drenched. I keep on working, ignoring the escalating heat. I give in only when I realise that I have a splitting headache. I take stock: one more coat and then I will be satisfied. When I reach the aisle, I face the Imam again. His face seems softer. He stands aside. By the evening I come down with a fever. A couple of days later when I find myself somewhat on the mend, I am ready to finish off my work. As the car approaches the graveyard, I find the Imam by the gate. Arms stretched out, he is holding the bars of the huge gate, his white-clad body pressed flat against the grids, his bearded face sticking out from in-between two black bars. He sends me back to Sweden instantly; he reminds of the scarecrows in the wheat fields. This image irritates me. He leaves the bars, pushes the gate and stands aside. It occurs to me that he has been waiting for my return. I give him a nod of recognition and he puts his right palm on his chest and nods. Well-bred men have greeted me in a similar manner. I feel shaken. As I begin walking, I notice that he is not following me but keeping pace. Having given the fences the final coat of colour, Babul and I adjust them around Abba’s grave. The grave now looks better with its verdant grass and white fence. Abba would have been pleased, he loved beauty. We pray in silence for his soul. When we are done, we pick our way back. The Imam, who has been standing, moves. Before we understand he walks past us to Abba’s grave. Babul and I now stand in the aisle looking at him in wonder. He roots himself by the head of the grave and takes out a miniature book. I mistake it for a copy of the Holy Quran, but when he starts reading it aloud, I am shaken. It is a book of poems by the renowned poet Kazi Nazrul Islam. The Imam reads a couplet in honour of my father—my writer father. His voice is warm and deep, drowning all sounds. I listen to him, spellbound. I wait for him. He comes but he does not talk. We walk side-by-side, first on the causeway and then on the broad bricked path that bisects the graveyard. When I am about to climb into the car, I plead, “Please forgive me if I have offended you!” He shakes his head and speaks a line from Kazi Nazrul Islam: “There is a father sleeping in the mind of every child.”

MAY 2012

DEMOCRATIC WORLD

A Legend Unfolds dFkk dgs lks dfFkd dgkos---

Kathak, the story in dance form… Pandit Birju Maharaj, the legend who shaped this tale... Brij Mohan Mishra, the face behind the legend… the story— unparalleled devotion, grit and passion. Kathak (Katha-the story) and Birju (Kathik-the storyteller) entwined by destiny, bound by passion reach the pinnacles of success, riding waves of resistance to renaissance and resurgence, spreading their legend across borders, to the farthest corners of the world. Today, their meteoric rise to glory is engraved in letters of gold in the history of India and the cultural world. We attempt here the most difficult of all tales ever told on the world-stage of Kathak—the story of the Kathik—Pandit Birju Maharaj—the making of the legend. And true to the traditional repertoire format it begins with…

by Sangita Thakur varma photographs by Khushi Mishra

Democratic world

may 2012

cover story

A Legend Unfolds //

may 2012

Democratic world

cover story

\\ A Legend Unfolds

Invocation—Amma & Son “Birju, Birju beta…”—Amma, the graceful, benign, self-effacing and compassionate idol—74-year-old Pandit Birju Maharaj is lost in reverie as he reverts to his nine-year-old self, thinking about his mother. Each of the dance doyen's statements are interspersed with mentions of his mother, an indication of the strong bond that the two shared. Born in 1938, as Dukhharan Nath Mishra (his mother believed he would wipe off people’s woes), Birju Maharaj is the son of legendary Kathak dancer Achchan Maharaj. Later, he was renamed Brij Mohan, after Lord Krishna surrounded as he was by a bevy of female cousins. Birju bhaiyya was everyone's favourite too. But by the time Birju was born into the illustrious family of Maharajs—the famous Kathak dancers of Kalka-Bindadin Gharana of Lucknow, the family coffers were empty. Birju was bred on his mother’s tales of riches, once held in those large, empty chests strewn around his ancestral home. When Birju was just a baby, Achchan Maharaj was a teacher at Sangeet Bharati in Delhi. On January 30, 1948, Mahatma Gandhi

was assassinated. The nation plunged into darkness and turmoil. “The country was assailed by HinduMuslim riots and people were fleeing from Delhi fearing for their lives,” says the guru, whose repertoire includes performances on brotherhood. Birju Maharaj and his family, too, joined the fleeing crowds. “There was a thick envelop of palpable fear. The tongas on the roads moved slowly, only one or two dhibris (lamps) lighting the way. We could hear our hearts beating in the heavy silence when we passed the Lal Quila (Red Fort). It was now a question of survival, of running from Delhi to save lives,” recalls Maharaj. Soon after, the nation also lost Achchan Maharaj, and a young Birju was left to fend for himself and his mother. A nine-and-a-half year old Birju had by then learnt all the gur (expertise) that his father had in Kathak and music, thanks to a persistent mother who would prod a reluctant Achchan Maharaj to take his son on his sojourns to mehfils where he was performing. Unwillingly, Achchan would comply, warning his wife that Birju would trouble him for balloons and what not. What followed were years of struggle in Lucknow and Kanpur. Birju managed to study till Class VI, at the same time eking out a living for his mother and himself through dance performances. Recalling those days Birju Maharaj says: “Though just a child, I wanted to console my mother. I would tell her: ‘Do not worry Amma. Just bless me and I will keep practicing whatever I have learnt from Babu (father).’” Birju was somehow confident that he could do that. For once, Maharaj had overheard his father tell Amma, “‘I have passed on all my skills to Birju. It is upto him how to utilise them’,”Maharaj recalls, adding, “Babu had assured Amma that when I grow up, I would do well.” His uncle Lachchu Maharaj was in Mumbai, busy with films. And though Shambhu Maharaj (my uncle) was in Lucknow, he

“I had a passion for

cars. I would often tell my mother that I would

become a mechanic” —Pandit Birju Maharaj on the struggles he faced as a child after losing his father

Democratic world

may 2012

Salute to Dance Pandit Birju Maharaj was awarded the Padma Vibhushan in 1986

Insight | Saswati Sen

y first impression of Pandit Birju Maharaj was rather negative. I was a young girl, 14 years old. My mother had enrolled me at Bhartiya Kala Kendra to learn Kathak under Reba Vidyarthi. I took to Kathak like a duck to water. What I did not like was this group of young men who I would invariably e n co u n t e r o n ce a week or twice a month on my way to the campus at Mata Sundri Road. I did not know then that the hostel and residential campus of Birju Maharaj was located behind my campus. Often in the evening I would find Saswati Sen this group of young Disciple & Gandadhikari men sitting in the lawns—deep in discussion. Because one of them seemed to be at the centre of this group, seated on a chair or perched on a higher spot, I identified him as the “gang

was busy too. “I was my mother’s only crutch. And she was my support. Whenever I saw her in tears it was heart rending. I felt so helpless that I was just a child and had no formal training.” And yet, Birju bravely tried to wipe his mother’s tears. If his mother had not tried so hard to ensure that Birju carried on the family tradition, perhaps Birju Maharaj would have been a mechanic! “I had a passion for cars and would often tell mother that if nothing came off my dancing, I would become a mechanic and work in a garage.” But the courageous mother persisted, sending her young boy near and far to dance. “From Bareilly to Nepal, she did not hesitate to send me anywhere.” He remembers one wedding in the royal family of Nepal. Some 22 famous Indian dancers were invited, including Kishan Maharaj and Boodhaiya Maharaj. Birju’s mother told him that he must grab this opportunity to showcase his talent. She persisted that Birju accompany his rela-

leader”and gave this motley group the nomenclature of a “gang”. Soon it became obvious to me that I was a topic of discussion. That flustered me to no end and I would rush pass them, scared and nervous. Upon reaching the institute, I would tell Reba Didi about this “gang”. She would stroll out to look for them, always returning to say there was no one outside. This went on for nearly three years, with each day my animosity increasing. I hated the leader and his group, little knowing that the questionable man was Maharaj, and the gang comprised his senior disciples including Pradeep Shankarji and Pratap Pawarji. I also had no inkling that Maharaj was Reba Didi’s guru bhai, as she had been the disciple of his father Achchan Maharaj and uncle Shambhu Maharaj. I was also clueless that the duo discussed me as a talented and promising protégé, who stood first in her class. All this I learnt much later. It was as a reluctant student that I came under Maharaj’s tutelage, as a national scholarship awardee. For three months I just sat out, refusing to learn. He is a man of immense patience. I had a complete

changed of heart after watching how dedicated a teacher Maharaj was! He taught each pupil with a single-minded devotion. He had a keen eye, discovering the weaker points of each student and individually working on her or him to perfect it. He looked at each dancer’s approach. Even today, he pays the same attention to each child. Maharaj ji moulds his pupils much like a potter does his creation on a spinning wheel—gently, with devotion. My association with him is now for 43 years. But even the next 40 years will not be enough to learn what he still has to teach me. Maharaj ji is a perfectionist. He will not rest till he has extracted excellence from his pupils. Even today, he points out errors in my performance. His multifaceted personality never ceases to surprise me. You ask him to write or recite a poem on any topic—he will do so within 20 minutes. We have utilised his talent so often out of necessity, and sometime due to some challenge. He took up painting eight years ago. His daughter and son-in-law, both painters, inspired him. In the past two years, he has drawn hundreds of sketches.

tives (the dancers). “She requested the troupe to take me along hoping that if the king was pleased he would grant us some money,” recalls Birju Maharaj. Even a small sum of `50 which was a huge amount those days. “It meant that Amma could run her household for a few days. Imagine how poor we had become! From owning naulakha haars (nine-lakh chains), trunks full of expensive saris, chadars and shawls received from our patrons, kings and nawabs to empty stories of broken wooden chests and vanished riches—it was an arduous, sad journey indeed.” Amma worried about her son’s future incessantly. “We were now paupers, pawning household goods. We would burn my mother’s Banarsi saris to melt the gold and silver zaris and sell them. That provided our ration for a few days.” Yet, through these hard years, young Birju had a clear goal—to continue his struggle and become famous like his father.

may 2012

“We would burn my mother's Banarsi saris to melt the gold and silver zari and sell it” —Pt Birju Maharaj Democratic world

photo BY subhojit paul

Gang leader turned guru

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\\ A Legend Unfolds

Vilambit Laya; A Struggling Dancer Birju definitely had something extraordinary in him. His first memorable performance was at the age of seven with his father at the court of Nawab of Rampur. “There were no prosceniums or wooden stages. We performed at mehfils or informal gatherings,” says Birju Maharaj. The Nawab appreciated little Birju’s performance so much that he fixed a monthly stipend of `21 for him. But Birju Maharaj waves aside all credit for his achievements. He believes that it was his mother’s and gurus’ blessings that have led him this far. Dismissing his struggles, he says, “I took dance tuitions and gave small performances here and there. But God was benign. My struggles made me determined and I continued dancing.” It was providential that Dr Kapila Vatsayan, the famous scholar of classical Indian dance, art and architecture, chanced upon Birju. “She went to Lucknow and met my mother. She asked her, ‘does your boy do anything?’” recounts Birju Maharaj. His moth-

er replied, “His father is no more. Whatever he taught Birju, the boy remembers a little of that.” It was his Guru Didi (Kapila) who took him to Delhi promising his mother to get him a job at Sangeet Bharati—if the boy proved his merit. Birju Maharaj, now a strapping 13-year-old lad, did more than that. He became the youngest teacher of Kathak at the institute. He was so dedicated that if he happened to be travelling or performing elsewhere, he would head to his classes the moment he landed in Delhi. “I would come with my bag and baggage!”

Druta Laya; Performer and Personae Birju Maharaj’s journey from a struggling dancer to a legend picked up pace in Sangeet Bharati. He was not new to performance, having performed with his father in Kanpur, Allahabad, Jaunpur, Dehradun, Madubani, Calcutta and Bombay. In fact, his father would sometimes let the young boy present a dance before taking the stage himself. Birju Maharaj’s first

Insight | Movies and More

Bollywood Calling

andit Birju Maharaj’s tryst with Bollywood began with the noted filmmaker Satyajit Ray’s award winning film Shatranj ke Khiladi (The Chess Players). “Satyajit dada came and said, ‘I want you to compose music for my film.’” Pandit ji’s first concern was: “Bol kya hain? (What are the lyrics or words)” He went on to compose, sing and direct two classical dance sequences for the film— a group dance filmed on Amjad Khan essaying the role of Nawab Wajid Ali Shah dancing with his begums and the second a solo—both crucial to the film's narrative. Maha—Madhuri Dixit raj still fondly recalls his Dancing to Birju Maharaj's choreography experience with Satyajit Ray: “He was an intelligent director. He told me we will talk of your Kanha and take your Thumri lyrics. It was great fun working with him.” Saswati Sen, who by then was an inseparable part of his

Democratic world

may 2012

core team adds: “Pandit ji had in-depth knowledge of how nawabs and courts functioned—their tehzeeb (mannerisms), nazakat (softness) and indolent lifestyle. Though he hadn’t seen it, he had heard tales of it from his mother and his father had been a dancer at the court of Rampur Nawab. He brought in all these experiences to the table.” Mahraj’s concern for lyrics or words of a song are predominant. When he was approached by Yash Chopra for a dance in Dil toh Pagal Hai, he again questioned: Bol kya hain?” Chopra explained it would be a dance by Madhuri Dixit with Shah Rukh Khan at the drums. “I directed and composed the jugalbandi, but I sent my son”. Gadar — Ek Prem Katha of Sunny Deol was a letdown for Maharaj. “They did not show it with honesty so the enjoyment was missing,” he says. Madhuri Dixit is clearly his favourite actress. He was approached by her for a dance for Devdas and then by Sanjay Leela Bhansali who wanted him to sing

a Thumri based on his own composition. For the song Kahe Chhed Mohe picturised on Madhuri in the film, Maharaj composed the music, choreographed the dance and was the lead male singer. “It is difficult to find a dancer like Madhuri—expressive face, fingers, bhav, abhinaya—she would come after each shot asking about the smallest thing, touching my feet repeatedly,” he says. Talking of his latest film foray, a Kathak dance sequence for Kamal Haasan for his movie Vishwaroopam, Maharaj says: “He danced very well though he is a Bharatnatyam exponent." To future offers from Bollywood he remains cautious: “I will ask what costume will the heroine wear?" Earlier, a dancer was trained to express all feelings through eyes—today it is just the opposite,” he sighs. But he does not believe in ranting and raving against anyone. His philosophy for art as life is simple: "Ram lovers will go to Ram, Krishnaites will seek him. I have my share of audience. I am not a zealot."

major solo was at Manmath Nath Gosh celebrations in Bengal. The show was a success. The car-lover-turned-Kathak teacher had by now also become the proud owner of a bicycle. “I still have it,” he says proudly. “It cost me `125.” Panditji tells the amusing anecdote of his Robin Hood bicycle. “I was earning `50 from dance tuitions when I decided to purchase a cycle from one of the shops around Jama Masjid. It was the first time that I was buying something for myself. There was Hercules brand and Robin Hood brand. I had read the story of Robin Hood in Class V and knew he was a fast runner. So, I decided to buy Robin Hood.” It indeed took him on a drive down the fast lane to success. From Sangeet Bharati, where Birju “worked hard to teach four to five students devotedly,” he moved to Bharatiya Kala Kendra, till the establishment of Kathak Kendra. There he stayed in saddle as the head of its faculty, and later as the director, till his retirement in 1998. “During this period, I travelled the world. I think I visited Russia for a performance as early as 1962,” says Birju Maharaj. “My mother’s insistence that my father let me tag along and watch him, was finally paying off.” But not for a moment did Birju forget his humble beginning. And this reality check still keeps him grounded. There is an ambience of venerated guru-shishya parampara around Birju Maharaj. Panditji, as he is known, is renowned for his pureness of spirit and invokes a deep devotion within his pupils. “It is my desire that my disciples become like me.” He quotes his father to illustrate the point. “My father had once said, ‘knowledge and education increase when you give it away or gift it. If you try to save it or hide it, it goes to the ghats (funeral pyre). The more knowledge you gift, the more your’s will increase.” Birju Maharaj firmly believes that propagating his art enriches his learning. Standing as a testimony to this philosophy, this true guru broke the tradition of handing down the mantle of Lucknow Gharana to the bloodline. He has declared four of his disciples—Pratap Pawar, Munnalal Shukla, Prabha Marathe and Saswati Sen—as Gandabandh Shagirds (Gandabandhan is a ceremony in which a guru ties a sacred thread around the disciple and authorises her or him to carry forth the legacy.) That he has won hearts as a guru, is evident from the way his disciples, young and old, flock to him to seek his blessings. And when they do, Birju Maharaj’s hand rises to bless each one individually.

“Deer, cows, buffaloes & elephants, all walk. In each walk

there lies a hidden rhythm” —Pandit Birju Maharaj on nature being the muse for all art forms—and hence his expertise in different fields

That he is a performer par excellence is as indisputable a fact as that he is an enlightened guru. He received the Sangeet Natak Akademi Award when he was just 28 years old. But more than any award the fact that Birju Maharaj holds all art forms in same regard as Kathak, reveals his worth as a performer. “I won’t talk only about Kathak here. I have received equal love from performers across classical dance forms—Kathakali, Bharatnatyam or Manipuri.

may 2012

Democratic world

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\\ A Legend Unfolds

Lessons from nature

When the eyes can speak they say the unsaid with delightful delicacy...

Why flail your hands and legs and shake your body to talk...

Look at the birds returning home at dusk, they talk to each other...

What are they saying? Their chatter has different rhythms...

I attend all programmes that I am invited to irrespective of their form. If India is my country, then all its dance forms are also mine.” More recognitions have followed over the years: Kalidas Samman, Nritya Choodamani, Andhra Ratna, Nritya Vilas, Adharshila Shikhar Samman, Soviet Land Nehru Award, Shiromani Samman and Rajiv Gandhi Peace Award. He was also awarded honorary doctorates by Banares Hindu University and Khairagarh University. But the highest point of his steadfast, single-minded devotion to Kathak, and a fitting finale to his illustrious career, was when the Government of India conferred upon him the Padma Vibhushan. It was a vindication of his personal and professional struggles. Yet for this indefatigable proponent of classical dance forms, no programme is too small and no audience insignificant. “We were on the last leg of our tour in Italy. The auditorium was huge, but due to inclement weather only 50 people could make it. My troupe was disheartened. Have we come so far to perform before such a small audience? I said to them, think of these 50 aficionados who have braved the rain and storm to watch us perform.” Birju Maharaj wove his magic for one-and-a-half hours over the 50 people. “My father would say that a person who comes to watch us perform, because he genuinely is interested, is our huzoor (lord). Maharaj has the same regard for his many patrons.” He never forgets these nuggets of wisdom his father gave him. You can find Panditji at most functions of Kalashram (his school) playing the drums and singing in the wings for the protégés. Or, sitting in the front row watching performances, singing along, pointing out the good performers or discussing the nuances with his shagirds.

Madhya Laya; Guru, Guide and Philosopher

Their chirpings are like the twinkling of our anklets talking to the earth...

We learn from Nature How can you dance when you can’t hear cuckoo’s call?

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By the time of his retirement from Kathak Kendra in 1998, the transformation of Birju Maharaj to Pandit Birju Maharaj, an institution, was complete. Yet the legend had not lost his verve to teach. Suddenly, he was confronted by the reality of existence in a vacuum—without Kathak Kendra to which he had devoted his life and with which he identified himself. It was his moment of crisis. He was clear though, that he wanted to continue teaching. But there was no extension forthcoming from the government. From his desire to teach, germinated the seeds of Kalashram—his vision of a Kathak school—where kala (art) is venerated through unstinted and honest effort (shram). Panditji explains his vision: “Take kala

may 2012

(art) as the root word. All other art forms are interlinked. If dance is the root, then vocals, instrumental, painting, are also its branches and leaves.” Birju Maharaj is a metaphor of his own vision. If dance is his root—music, art, choreography, composition and poetry are his branches and leaves. His experimentations with group compositions and dance dramas are legendary. He can play all percussion instruments, but is an ace at the tabla and naal. His expertise with string instruments is surprising as he has never trained in them. An excellent singer, he has a steady hold on Thumri, Dadra, Bhajan and Ghazal. With his command of the laya, Birju Maharaj has a gift for composing and gives scores for all his dances. He is also an amateur painter, a poet and an orator, holding his audience’s attention with comic anecdotes. “Through our mudras and the music of our ghungroo (anklets) we recreate the different facets of nature.” Drawing a simile more vivid with his hands mimicking the birds chirping and his eyes darting to indicate their fluid movement, he explains: “Sit down quietly somewhere close to nature at dusk and just soak in the silence. You will hear the birds returning to their nests, chattering. Their chirpings sound like the twinkling of our anklets. We learn from nature. Famous teachers have also drawn lessons from it. If nobody had walked, could time have been there? Deer, cows, buffaloes, elephants also walk and in each walk is hidden a different speed or rhythm. Our gurus tied the different speeds together calling it Ektara

cover story

A Legend Unfolds //

Insight | Lucknow Gharana

House of Adab and Adaab

“I

Taal. Hear the birds talk on a quiet evening. They talk in different rhythms. This is what our anklets do—they start conversations with the earth.” It is this simple yet profound art of conversation—a gur (artistry)—that he wishes to teach his students at Kalashram. “This cannot be achieved where you cannot hear the birds sing. Nowadays, no one pays attention to a cuckoo’s call. I want my students to hear it. For this to happen I need a verdant, open space. For art to flourish, we must connect with nature.” Kalashram is still to get a little green patch “where there will be trees, a talaab (pond) and birds”. That Kathak as a classical dance has come a long way from its days of village minstrels singing for alms, to the royal mehfils, through the ignominy of kothas and mujras; to become a world-renowned art form, is in no small way due to the ceaseless efforts of Birju Maharaj. He has documented the oral, abstract tradition, giving each mudra a name. He has woven contemporary and intellectual subjects into it without playing with the purity of form, making Kathak a vibrant art, taking it all over the world. Talking about the journey of Kathak, Birju Maharaj quotes some incidents from his childhood.“In my family, girls were not allowed to dance. They were married off early and had to maintain strict purdah,” In fact, much later too, it was only after much cajoling that his mother would sing long-lost songs that he today weaves into his compositions. The stigma attached to the professon was such that it even affected his childhood freindships. “I had a friend, now a professor in the US. As a kid he loved to paint.

n everything there must be respect and salutation,” says the doyen of Lucknow Gharana explaining the intricate but critical nuances that differentiate it from the other two prominent Kathak forms—Benares and Jaipur. “When you lift your hands or eyes, they must exhibit respect and welcome,” the maestro continues, adding that a dancer whose expressions exemplify this tehzeeb is hailed as a decent dancer and earns respect. Such a dancer does not throw his hands and feet about and it is said that “he dances”. He illustrates his point with the etiquette of offering a cup of tea to a guest: “without spilling a drop. Lucknow Gharana has similarly brought the dance form, preserving all its purity down the ages and offered it to the world for your appreciation and enjoyment.” He rues that the other dance forms have not been able to preserve their

sanctity. “They are picking up speed, jumping, throwing hands and legs with force, are loud and crass.” Proud of his Lucknow heritage, he points to the Chikankari Kurta he is wearing to further his point, “Like this exceptionally exquisite embroidery, Lucknow Gharana too displays the unique softness, nafazat (delicacy) and tameez (manners).” And quiet flows the river…like Gomti flowing through Lucknow, the laya (rhythm) of Lucknow Gharana passes down generations. “Like baby fish learn to swim upon birth, our children learn Kathak by just soaking in the ambience at home and watching the elders practice and perform,” explains Maharaj. His granddaughters are already being toasted as the scions of Gen-Y Lucknow Gharana. “The temperament is there, now it is up to them how they develop it. We don’t know. Only time will tell,” says Maharaj.

But whenever we would be sitting together in the evenings, his mother, scared of my influence on him, would call out: Bhole. Bhole. Come home. It is getting late. She would tell him: ‘Do not spend so much time with these dancing-singing people.’ Today, when we meet, he thanks me for inspiring him to become a painter.” Recalling the public ridicule he often faced Maharaj says: “I used to wear ear studs and people would nudge and point at me referring to me as the ‘nachaniya’ (dancer). I would often lie, calling myself a cloth merchant.” Years later, the same man is accosted at international airports by ardent fans. “People want to know where I would perform next.” It makes the maestro happy that Kathak is now a respectable, sought-after art form. Undoubtedly, Kathak has travelled far and wide with this Kathik. And what does the grand old man of Kathak want to bequeath to the next generation? Some wise words: “Preserve your gur (talent). Do not think of it as entertainment. It is part of your character. Rhythm balances life. It is another name of God. I tell my audience: When you watch us perform with ekagrata (concentration), together we create laya (rhythm)—that is God.” You believe in his form of devotion.

may 2012

“Preserve your talent. Don't ever think it is just for entertainment. It's part of your character. Rhythm balances your life." —Pt Birju Maharaj

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\\ BUSINESS STR ATEGY AND SOCIAL MEDIA

Analyse this!

and Set up Strategy Be smart and use social media to change the way your business works BY PARITOSH SHARMA

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BUSINESS STR ATEGY AND SOCIAL MEDIA //

PHOTO BY PHOTOS.COM

trategy and basic business logic suggests that a business should either partner with supporting organisations or outsource operations which are not part of its core business solution, service or offering. Outsourcing is a key business decision—one that requires strategic thought as it affects business growth directly. As a practice, marketing has evolved in the past few years. The evolution has impacted decision-making in business in more ways than one as more and more of them are experimenting with new methods of outreach and engagement. Today, businesses have realised that their audience have to

be engaged in a meaningful and engaging communication driven by a proposition. As social media gets more and more recognised as a format of outreach and engagement with clients and customers, and as an object of business value, firms will be seen increasingly adopting the method. Today, a decision before every firm is whether it will outsource their social media management or keep it in-house. There are several schools of thought on this matter. Let us explore this dilemma with some self-assessing, quick-help kits. The first question that a business firm needs to ask is; what stage is its business in? If you are a start-up or a less-than-five member company and assuming that you are not greatly funded, there is no choice but to learn the few relevant tricks yourself. For a small firm, knowing the customer is critical. Honestly, to leverage social media the right way, knowing the audience is crucial. If you are a start-up, ensure that you understand your customer closely. Create a relationship in the real (off-line) world and then keep them engaged online. For businesses that have achieved a certain scale, it is crucial to not go haywire. If your founding team knows the way online, great! Else outsourcing the social media management to a “partner” agency will save the firm frustration. This will allow the firm time to focus on what it is in for. For larger companies, its crucial to map relevant business objectives with what can be achieved on social media and assess risks and rewards. One of the best ways to exercise this is to get a full-time, hands-on business consultant on board, someone who has been in the industry and both on the agency and client ends. Also it would help if the personnel has the experience of working across sectors. Such a person will help a firm establish the right assessments and in training existing in-house teams (e.g.: marketing, human resource) or create a focused team, helping you to reduce wastage. The second question that needs to be raised is regarding business objectives;

TIPS & TOOLS What you could safely outsource? Items such as setting up social media platforms, design (of websites, landing pages etc.), application development and content curation technology — which all fall under the purview of developing applications. Social media implementation by itself drives a business to become smart operationally and be optimal in every sense of the word. For businesses which already have existing marketing teams, what should they do? Growth-stage and large businesses which have existing marketing teams should effectively treat social media as the next stage of learning and value-addition. And not something which is outside the purview of their marketing and communications, HR and customer service teams. Social media has a steep learning curve, which is ever expanding, hence learning and training should be a practice. You could always hire a well-appointed business consultant who would be able to train the existing teams to deliver the desired results. The future is social and it is an imperative for every business to build a solid foundation which is embedded within the businesses processes. It should be supported well with properly-defined and well-laid out numbers, which are well in line with the business expectations.

what are they? Social media can be leveraged to impact several business objectives. It depends upon the business as to how smartly they define them, how they set expectations and map execution steps with the right set of statistics and measurement tactics to really drive ROI. Businesses have successfully leveraged the new media to affect objectives as reducing cost of tal-

MAY 2012

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\\ BUSINESS STR ATEGY AND SOCIAL MEDIA BLOG WATCH

ent acquisition to reducing time to market. If you have your objectives clearly prioritised, you could always take help from experts in creating a working social media structure for your company, i.e. if you are small. For set-ups that are at a growth stage and for larger firms, hiring a consultant will be the optimum solution. It will help maintain costs and reach an optimum solution easily. The other question that needs to be raised is—do you have your processes mapped right? Most smaller companies miss that. Setting well-defined processes right from the start is a tough task. With large companies though, this is far more structured. To ensure a successful social media implementation, businesses must have their KPIs right. The key process indicators go a long way in establishing the success of any social media campaign. Far too much is said about the media bit. Social media is more ‘social’ than the media bit. The ‘engagement’ aspect of social media should really be initiated, built and scaled up, in-house. You can always choose to outsource the technical and recurring aspects to strategic partners. The optimum solution is to have a co-existing model, wherein the firm strategically keeps the crucial customers engaged, also the messaging and communication bit in-house, while parts of the execution—design, buying media etc.— could be outsourced to a partner agency. however, how do you decide what to outsource and what capabilities to build in-house? Based upon experience and working across industries and several international and domestic clients, personally I believe that the capabilities which a business should focus on building in-house are: integrating a strong social media policy across business processes, analytics and statistics, customer service reputation, management and monitoring content creation, messaging and communication. Paritosh Sharma is the Associate Director (Online Initiatives) at TiE, Delhi-NCR. An entrepreneur at heart, marketing is his core expertise, and social media his weakness.

DEMOCRATIC WORLD

MAY 2012

Herd on the Street These are complicated times for Indian cricket. In the good-old days, attitude would swing in accordance to a team’s performance. But, there was always the Erudite fan who believed in analysis. He would point out the technical deficiencies, abominable fitness standards and lack of the “culture of excellence”. He would write an academic paper—starting from pitches and moving to the points system. Nowadays, it’s a little too complicated being an erudite fan. Complicated for those who have to listen to him. Not for him the simple cause-and-effect analysis. He has read Black Swan and swears by Heisenberg. It is more important to him to point out what sort of a fan is he than the team he supports. Chest-thumping-effigy-burning emotions are for fair-weather fans. The ’Erudite’ is no native patriot. And I am stuck feeling lost in the middle, seeking my cue... A conversation between the Erudite (to be referred to as he/him) and moi. I heard him say that India was going to dominate world cricket (on and off the field). I heard him say “MSD is better than Tubby, after Barbados”. I saw him pounce on anyone who dared to question the merits (or the lack of it) of the Dominica farce. “Do you even know what it feels like to be in the middle? You think sitting here in Valasaravakkam, you know more than what Dhoni knew being out there in Dominica?” I heard him say we’ll thrash England 3-1 and chatter about Sachin’s 100th ton. I heard him say we have never played well in the first Test of any series abroad. I heard him say that we were due one bad series after all the successive winning streaks. He just knows. He called the bluff on fair-weather fans and flipped his collar despite a 0-4 drubbing. He refused to buy into the systemic overhaul argument. After all, we won the World Cup and notched a series of test victories abroad with the same system in

Mahesh Sethuraman

place, didn’t we? He shows his finger to anyone who dared to point at the IPL for the Test debacle. Either you are the envious colonised gora or you are the “socialistambimama” who’s lost his marbles since the economy opened up. I heard him say World Cricket would declare bankruptcy if Indian cricket walked out. I heard him say something about free markets and IPL. He delivered a lecture on Capitalism-101 when I ranted about intrusive ads in the cricket coverage. (I went back and re-read Shiller and Bernstein.) Apparently, BCCI’s hyper-inflating financial might is a matter of pride for all countrymen and intrusive ads are but a small price to pay. He just knows. I asked him about the series scheduling against West Indies at home that may eat into the preparation time for the all-important Aussie tour. He murmured something about Australia playing two tests in South Africa and how no one talked about that(!) I heard him talk about resumption of business with the Aussie tour. “Sachin is due for a big one. Has Lax ever failed in Australia? If only we had a fit Zaheer in England, we would have known the real deal. And they lost to New Zealand of all teams.” He just knows. I heard him say something akin to ISI having a stake in Cricinfo. I heard him say “Warnie and Tugga were no friends. So, why this double standard against Dhoni and Sehwag? This whole rift is just a media creation anyway.” Sid Monga would have pocketed a handsome bonus for his story on the rift, I guess. “When the team was doing well, everyone played along. Now, the system is bad; the players are old; IPL is evil; BCCI is an association of thugs, huh?” The world is conspiring against Indian Cricket that’s my only explanation. Oh, Mr Heisenberg, what have you made of us? (To read more go to: http://cornerd. posterous.com/herd-on-the-street)

PLATFORM ASHOK MALIK | Political Journalist

Will bilateral trade mark a path to peace? Prime Minister Manmohan Singh’s Pakistan dilemma

AFTER PRESIDENT Asif

Ali Zardari’s Easter Sunday visit to New Delhi and Ajmer, there is an undeniable sentiment in the government and in strategic circles in the capital that Prime Minister Manmohan Singh’s trip to Pakistan is only a matter of time. As some have pointed out, should Singh complete 10 years in office in 2014 and still not have set foot on Pakistan, it would appear odd if not downright churlish. Pakistan would be about the only major country—from India’s point of view—Singh would not have travelled to. From a broader perspective, that is a persuasive argument. The question is: when is the appropriate time? Pakistan sees national elections in February 2013 and the contours of the government and arrangement in Islamabad after that are unclear. A visit in the second half of 2013, once the dust settles in Pakistan and a new government (or even a re-elected government) has consolidated itself is a possibility. Yet that is too far away and too difficult to predict.

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MAY 2012

As such, there are some who feel September-October 2012 represents the last potential window for Singh to go to Islamabad and to his native village of Gah in Punjab’s Chakwal district. No doubt this will be a personally and emotionally captivating journey. But how much diplomatic and political content will it have? Singh is a sober realist and has said he would be happy to make a “substantive” visit to Pakistan, one that had “solid” outcomes. What are the benchmarks for such a substantive visit? This is both a general query as well as one raised in the particular context of 2012, and given the political capital Singh has left in the second half of his second term. The three main geo-political disputes between the South Asian neighbours are the status of Jammu and Kashmir—more narrowly the Kashmir region of the former kingdom of Hari Singh—the Siachen Glacier and the Sir Creek waterway in the marshlands of the Rann of Kutch (in Gujarat).

ABOUT THE WRITER Ashok Malik has been a political journalist for over 20 years. He is now an independent columnist living in New Delhi and writing for a variety of publications, both in India and internationally. His area of focus is India’s political economy and foreign policy and their increasing intersection

A settlement of the Kashmir dispute was considered a possibility in the 2004-2006 period, when Prime Minister Atal Bihari Vajpayee and then Prime Minister Manmohan Singh engaged in serious conversations with former Pakistan President Pervez Musharraf. Those conversations were predicated on the assumption that Musharraf was keen on de-radicalising Pakistani society, acting on sources of terrorism and had come to realise a compromise on Kashmir, roughly along the Line of Control but with a soft border and inter-Kashmir commerce, was the only feasible option. A strong American presence and engagement in the region was also expected to act as a mutual guarantor of good behaviour. When Musharraf began to face domestic challenges, the prospect of a Kashmir settlement receded dramatically. His successors have denied all knowledge of formulations he had agreed to. General A.P. Kayani started, as every new Pakistani state actor does, with the contention that all of Kashmir could be

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won. And things were back to square one. Today, President Zardari sees merit in settling the dispute but perhaps the best he can do is advocate bypassing or deferring it. Siachen is even more of a nonstarter. The Indian army is well entrenched in Siachen. It enjoys a strategic and altitudinal advantage and has hardly lost men there in eight years. It sees any talk of “demilitarisation” as surrendering hard-won gains. Of course the political executive can overrule it, especially if there is a larger bargain to be made. Nevertheless, given the testy relationship between General V.K. Singh and the government and the overall atmosphere of distrust between generals and the Ministry of Defence, will Manmohan Singh risk being accused of bullying an unwilling army to vacate Siachen? It would be a politically suicidal move. Move now to Sir Creek, the narrow strip of water at the edge of the Arabian Sea and the traditional divide between Kutch (Gujarat) and Sindh. This may seem the easiest dispute to settle but has actually proved extremely taxing. Agreeing to a boundary in the Creek has implications for the boundary in the sea. A small change in the Creek can mean a much wider change in the sea. The international maritime boundary, in turn, would define the economic zone of either country. The Rann of Kutch region is rich in hydrocarbons. That has been known for a long time. India’s oil

There are some who feel that between September and October 2012 represents the last potential window for Prime Minister Manmohan Singh to go to Islamabad and to his native village of Gah in Punjab’s Chakwal district” fields in Barmer (Rajasthan) are in a geologically related area and Pakistan’s gas fields are barely 20 to 30 km from Sir Creek. The potential game-changer has been the emergence of new fracking (hydraulic fracturing) technology in the past decade that has allowed for the exploitation of shale gas and oil deposits in sedimentary rocks. The shale revolution has transformed the energy scenario in the United States. It has also made shale deposits in the Sir Creek neighbourhood far more accessible and valuable than ever before. Many of the postulates that influenced India’s Sir Creek negotiators say that the 1990s may no more be relevant. Energy security concerns could advocate going slow on any Sir Creek agreement until India is certain of what lies beneath and what it is worth. Gujarat sees Assembly elections in November-December 2012, just about two months after the dates being mentioned for Prime Minister Manmohan Singh’s trip across the Wagah Border to theneighbouring country. The Congress would obvi-

ously not want any Sir Creek controversy to become an election issue and give the BJP a talking point. In any case, in a replay of the (West Bengal-Bangladesh) Teesta Episode, the state government of Gujarat has to be on board. Chief Minister Narendra Modi has already raised the issue of exploring hydrocarbons in the Sir Creek region. The upshot of all this is that a ‘substantive’ agenda for a prime ministerial visit to Pakistan is unlikely. Unless minor (but symbolically important) advance in trade is repackaged as a historic move forward Singh may not easily find the excuse for a summit in Islamabad. While there is a near consensus in India that a conventional war with Pakistan is not practicable and not desirable, there is no unanimity on the big agreements that should be reached and when. This constricted domestic-political space will limit what Singh can do on his arrival in Pakistan, should he choose to go this year. (The views expressed in this column are of the author alone.)

MAY 2012

DEMOCRATIC WORLD

issue | A closer look at BRICS

Beyond the Acronym

More than a decade after the acronym BRIC was coined, the concept is appearing to take shape of an idea with Brazil, Russia, India, China and South Africa (latest BRICS entrant), constituting the five pillars of the idea. Together, the plan is to usher in a new narrative and to challenge years of ‘western hegemony’ to dominate political and economic discourses. Can BRICS shape a new world order? BY SANJAY KUMAR

BRICK BY BRICK WHAT IS BRIC?

In 2001, Jim O' Neill, the chief economist at Goldman Sachs, coined an acronym—BRIC—as a part of the economic forecast theory. The idea was to advice international corporate houses on how to expand their business in those nations witnessing rapid economic growth post-globalisation NATIONS: Brazil, India,

China and South Africa. Together they represent around 40 per cent of the world’s population and nearly a quarter of its economic output

DEMOCRATIC WORLD

The hope for BRICS arises from the sheer economic size of the five countries. “Together, BRICS account for more than 40 per cent of the global population, nearly 30 per cent of its landmass and a share in world GDP that increased from 16 per cent in 2000 to nearly 25 per cent in 2010. It is expected to rise significantly in the near future,” reads The BRICS Report, published recently. Naturally, there was significant expectation surrounding the BRICS Summit which was held in New Delhi recently. BRICS proponents hailed the “Delhi Declaration” issued after the meet as the manifesto of “most comprehensive criticism of the failures of the West that has been voiced by any group of countries since the end of the Cold War”. They say it has come out with an alternative world view and offers stinging criticism of the established world order, and its institutions. They argue that it offers an outline of an alternative blueprint for the new emerging world. The Delhi Declaration calls for an end to violence in Syria. It calls for dialogues to bring normality. Similarly, the group suggests resorting to political and diplomatic means to resolve the issues in Iran rather than war, as some “western” countries and allies are calling for. The meeting also agreed to examine the feasibility and viability of setting up a new “Develop-

MAY 2012

ment Bank” for mobilising resources for infrastructure and sustainable development projects in BRICS and other emerging economies and developing countries. The nascent organisation also expressed its commitment to support Afghanistan in eradicating terrorism and extremism, and underscored the need for more effective regional and international co-operation for the stabilisation of the country. However such overt united intent to address the world issues, hides latent contradictions within the BRICS group. According to critics, these “subaltern nations” do not have the cohesion or a united world view to represent a new order. They also point out to how the economic and geo-political interests of the bull in the BRICS shop (China) will come in the way of BRICS emerging as a cohesive and united international front. The argument states that China is not enthusiastic enough on an alternative international order. Rather it is keen to perpetuate the status quo in the institutions, so that it gets to deny India’s entry into the United Nations as a permanent member. Opinions surrounding democracy also divides the group. There are fingers being pointed at China and Russia’s notion of democracy. How can BRICS reconcile with such an in-built contradiction? Critics also pointed out to the political differences and

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A CLOSER LOOK AT BRICS //

OLIVER STUENKEL

Professor, Brazil

Oliver Stuenkel is an assistant professor of international relations at the Getúlio Vargas Foundation in São Paulo, where he co-ordinates the São Paulo branch of the School of History and Social Sciences. His research focuses on rising powers, especially Brazil and India’s foreign policies disputes between New Delhi and Beijing as a stumbling block. These inherent contradictions and lack of trust has proved to be an impediment in the way of the “BRICS Bank”; an idea that was first proposed in the Yekaterinberg Summit held in Russia in 2009. The summit also lead to the criticism that Russia was hoping to promote Renminbi—its currency—at the international level through BRICS. To know both sides of the argument, DW spoke to two leading voices—Oliver Stuenkel, Professor, International Relations Coordinator, School of History and Social Sciences at São Paulo. And Dr Harsh V. Pant, Reader in International Relations, Department of Defence Studies, Kings College London.

OLIVER STUENKEL// The recent BRICS

Summit in New Delhi, India, has shown that BRICS nations are committed to building stronger ties, principally in the economic sectors. However, the consensus is not only at an economic level. The nations have also found common denominators on political issues. I would rate this year’s summit as a positive one which covered a gamut of issues. I believe co-operation and consultation between the BRICS members is taking place at a broader level now. Do not make any mistake. The “Delhi Declaration” is not a “manifesto of dissent” against the West. The BRICS nations do not seek to undermine the nature of the western world order. After all, they have

been the greatest beneficiaries of it. Rather, the declaration shows that global structures need to be modified to reflect the shift of power. And that the BRICS nations symbolise this shift of power away from the United States and Europe towards the “developing nations”. In this sense, they pose a challenge to some nations. Internally, BRICS nations continue to differ on several issues themselves, which need to be resolved so that the world does not move from one version of hegemony to a BRICS’ version of it. Rather, we should be moving towards a multi-polar world in which several powerful actors—both western and non-western—work out strategies together to deal with the most pressing challenges such as climate change and financial volatility. I am aware that critics have been referring to BRICS as “an artificial bloc built on a catchphrase”. However, two things need to be considered before we examine the context. It is true that the BRICS nations differ on a handful of issues. It will be a great challenge for them to find a middle-ground together. This has partly to do with the fact that while India, Brazil and South Africa seek to obtain more decision-making power in today’s institutions, China and Russia are relatively established. This becomes obvious while looking at the debate surrounding the UN Security Council reforms: China continues to oppose India’s inclusion. This shows that China’s national interest continues to matter more than the collective whole. Another problem lies in the composition of BRICS—despite being a group of rising economies, it remains contradictary. There is a deep-seated dissent among member countries India and China. Though the tension is an obstacle, but that is the very reason why the nations need to have more discussions. It is only through strengthening trade ties, co-operating over political issues and conducting multi-level interactions that we can reduce the risk of conflict. While seeking to find common positions on security matters, China and India are in constant conflict. The two are yet to solve the border conflict. India’s political and economical ambitions pose difficulties for China’s

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\\ A CLOSER LOOK AT BRICS

HARSH V. PANT

Professor, Department of Defence Studies, King's College

regional ambitions. The two countries have to find ways to improve relations. But instead of taking it as a reason for BRICS not to exist, I see it as a vindication of why it should. As an expert on international relations, I see the emergence of the BRICS to be relevant to the present global order. The rise of BRICS will impact the future of global order. The member nations' attempts to find a common voice is also an attempt to turn into a global agenda-setter. The BRICS no longer seek to merely participate in debates, they seek to define the topics. China is by far the most important country within the member nations. I take hope in the fact that in the recently-held New Delhi Summit, China showed its inclination to engage the members, particularly India. Rather than dominating, China seems to be getting comfortable being seen as a part of a group of emerging powers. The BRICS Bank project is still in its infancy. Several details need resolution. There is clearly a trend towards stronger economic and financial co-operation between the BRICS countries. For example, China will begin to provide Yuan denominated loans to member countries. The BRICS Stock Exchange will be created. A BRICS Bank would be an important step towards institutionalising ties. Given the compositions of the group, it is not a surprise that the member nations within the BRICS do not agree on several important issues; but there are disagreements between NATO nations or when the G7 Summits are carried on. Germany abstained from the Libya Resolution, while several other nations supported it. Even EU member-countries are often unable to reach a consensus. That does not make such groups self-defeating. Why should we attach too much negativity to the internal divisions within the BRICS over geopolitical questions. It does not reduce the group's potential.

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HARSH V. PANT//

The recently-held BRICS Summit followed its earlier tradition and tried to focus on establishing the group’s credentials as a credible global actor. However, nothing substantive evolved. This year, a proposal to create a joint development bank, which could finance investments in developing nations, was mooted. On their part, BRICS nations have signalled their commitment to becoming a potential counterweight to other multilateral lenders such as the World Bank and the Asian Development Bank. But China’s clout in the proposed venture, and the unease of the other four member-states regarding China’s role, will prevent any concretisation of the plan. On one hand global economic order remains well within western control, while on the other hand the BRICS together are significantly in-charge of the global economic trajectory. So it is natural that the BRICS leadership wishes to change this dichotomy. They are seeking to convert their economic might into a collective diplomatic clout. As for the cry of power through the Delhi Declaration. Do I believe that the declaration is a manifesto of dissent against the west or the beginning of a new Cold War— well, not really. At best the declaration can be viewed as a dissenting note against a type of global economic clout. Everything said and done, the five member nations remain keen on maintaining their ties with the US. However, with the Obama Administration perpetually preoccupied with its internal

Harsh V. Pant teaches at King’s College London in the Department of Defence Studies. He is also an associate with the King's Centre for Science and Security. Pant’s viewpoints have appeared in several dailes across India and outside troubles, and the European Project unravelling, the times as they are, present an ideal opportunity for the new powers to emerge as global players. Whether the five will be able to achieve anything substantial, despite substantial conflicting interests, only time will tell. There are problems galore within BRICS. One problem lies in the significant bilateral differences among the nations. Take Brazil for instance. It is worried about the influx of Chinese investment and cheap imports,

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A CLOSER LOOK AT BRICS //

and has been vocal in criticising China for its undervalued Yuan. It is also wary of China’s growing economic profile in South America—a region that Brazil has come to consider its own. China’s currency manipulation has led to problems for the manufacturing sectors of other emerging powers. India, Brazil and South Africa have expressed their disenchantment with Beijing’s economic policies. Chinese exports have decimated a number of industries in Brazil, South Africa and India. New Delhi even imposed anti-dumping duties on a range of Chinese goods. China’s dominance of the intra-south trade remains overwhelming with other emerging powers struggling to get a share. Problem number two: though Russia and China remain united in their aversion to the US-led global political order, and though co-ordination continues in scuttling western policies (take Iran and Syria for instance), it remains a partnership of convenience. Deep down, Russia is worried about its growing economic disparity with China. The nation is also concerned by its failure to develop the Far East, a failure that has allowed China to get a toe-hold in this strategic region. It has also pushed Beijing into the driver’s seat in defining the Asian security landscape. Russia’s finance minister Aleksei Kudrin has openly warned that if Russia fails to become a “worthy economic partner” for Asia and Pacific Rim, “China… will steamroll Siberia and the Far East.” Even though China is the largest buyer of Russian conventional weaponry, many see this as counterproductive because China

might emerge as the greatest potential security threat to Russia—worse than the US. Closer home, the saga of the decline in Sino-Indian ties is well-known. Despite the two sides deciding to resume defence ties during the Prime Minister’s trip to China, New Delhi remains sceptical. China’s refusal to acknowledge India’s rise, and its apparent lack of sensitivity on core security interests, are leading to pushbacks with the Prime Minister himself acknowledging that “China would like to have a foothold in South Asia and we have to reflect on this reality. It is important to be prepared.” Granted power politics is a murky business. For all the bonhomie exhibited at the annual summit, there are marked differences between most of the five states. There is the structural disparity between China and the rest—China’s rise has been fast and spectacular and its dominance makes the idea of a co-ordinated BRICS something of a non-starter. At the Delhi summit, the five nations agreed to work towards creating a “development bank” on the lines of the World Bank to mobilise “resources for infrastructure and sustainable development projects in

FACT FILE

The growth rates of the three key components of BRICS between 2010-2011

7.5%

Brazil

India

6.1% China

8.1%

BRICS and other emerging economies” and directed their finance ministers to “set up a joint working group for further study and report”. It is difficult to be optimistic about the project as long as the four states remain concerned about China’s clout. India, for example, might be interested in using this project to get capital, but would be wary of seeing the Chinese Renminbi emerging as a global alternative to the US dollar. Also the economic situation in BRICS states is at a crossroads. China’s economy is facing challenges and it is not evident if its political leadership will be able to handle the challenges effectively. The growth rate estimates for all BRICS have been declining. India has already been described as the “most-disappointing” of the nations. It was never obvious why South Africa was added to the group apart from the fact that China wanted South Africa in as it views it as an access point for Africa. Not only is South Africa’s economy much smaller than the others, South Africa’s influence on the rest of Africa remains tenuous. Brazil, South Africa and India are democracies. Values do play a role in nation’s foreign policies. It may be a limited one, but it is important. Given the leverage that China enjoys in BRICS, it should not come as a surprise that Beijing has suggested that IBSA, a grouping of democracies, be shut down in favour of BRICS. I agree with Professor Stuenkel only so far as BRICS together now constitute the strongest aspect of the global economic order. But the grouping remains an artificial construct, nothing more than an acronym coined by an economist at Goldman Sachs, Jim O’Neill. There is not enough complementarity of interests among the stakeholders to make it sustainable. For BRICS to be a NATO or even a G-7, there has to be some semblance of a convergence in so far as the vital interests of BRICS members is concerned. At the moment, they are conflictual apart from their opposition to the west-led economic order. NATO is an alliance that was created when the West faced a common adversary in the form of former Soviet Union. In cases of India, Russia, Brazil and South Africa— China might soon turn out to be their biggest problem, if it is not so already.

MAY 2012

DEMOCRATIC WORLD

looking back

PHOTO BY CHAKRADHAR.IN

\\ A SHOK CHAKR ADHAR

SMILES AND

SIMILES A page out of the life of humour poet, satirist and author, Ashok Chakradhar and what makes him laugh BY MANJIRI INDURKAR

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MAY 2012

looking back

A SHOK CHAKR ADHAR //

DOSSIER

NAME: Ashok Chakradhar PROFESSION: Satirist, author, poet BORN IN: February 8, 1951 POEMS: Boorhe Bachche, So To Hai, Bhole Bhaale, Tamaashaa, Chutputkule, Hanso Aur Mar Jaao, E Jee Suniye, Isliye Baudam Jee Isliye, Khidakiyaan, Bol Gappe, Sochee Samajhee, Chunee Chunaaee, Masalaaraam, Jo Kare So Jokar, Gareeb Das Ka Shunya

2004: Retired from Jamia Millia Islamia University’s Hindi department

his, as my mother said, was the first poem I recited. She tells me that I started talking in riddles and rhymes when I was a toddler. It would not be erroneous to assume that even as a kid, I wanted to be a poet. I was deeply influenced by my father who was one. People tell me that I was precocious—I do not need them to remind me of that. I recall jumping onto the stage to start recitals at the drop of a hat at most family events. Having said that, I never pursued poetry. It was more of a dream which developed while I grew up surrounded by poets. My parents, like any others, wished to see me as a successful engineer or doctor. On my father’s behest, I sought admission into the BSc programme. I did not have an aptitude for either mathematics or science. I knew that I would fail, sooner than later. To save myself the humiliation, I decided to skip tests. There was a water tank near my place. I sat in it for nearly 20 hours, hoping to catch a cold. I fell ill! I sent a victorious telegram to my father informing him of my condition. By the time he arrived, I was bedridden. I not only managed to skip tests, but got to take the year off. The next academic season, when my father mentioned re-admission, I implored him to let me do a BA instead. To my utter surprise, he agreed. Which is how my journey with literature began. As a science student, I was mediocre. In my BA programme, I began topping the class. I did a Master’s and a PhD in Hindi literature to finally take up teaching at Delhi University. That was then— today I am told that there are six to seven PhD dissertations based on my work. Before we jump ahead, let us get back to my so-called glory days— 1970s. Those were exciting times to be a struggling writer. I had moved to New Delhi in 1972 to get my work published. Like several others of my ilk, I began with children’s fiction.

“Chandi ke gilas mein khub uchal ke Chandi ke gilas mein khub uchal ke Hum to doodh piyenge chini daal ke” —Ashok Chakradhar The first children’s short story to get published was called Heeron Ki Chori. My next offering was a long poem based on a medieval manuscript. It was called Suno Kahani Krishna Ki. However, it was not my longer works getting recognised—my short stories were. The breakthrough came with my first, full-fledged book of literary criticism of Gajanan Madhav Muktibodh’s work—Muktibodh Ki Kavya Prakriya. The book received tremendous response—at least I believed it did—and it gave me a “Writer of the Year Award” an encouraging pat on the back for an upcoming writer. A lot of time has passed since then and like every other thing, literature, too, has changed its course. Personally, it seems that literature has become more raw, pedestrian and realistic. I realise that a lot of purists do not approve of this change—what do they know? People who speak of the golden times are holding on to a mirage. They argue that literature has become ‘impure’ because it speaks in mixed tongues. My message to these ‘guardians of purity’ is that, it does not matter if the written word is a hybrid. What really counts is the motive behind a tale. And as Ludwig Wittgenstein had said, “A new word is like a fresh seed sown on the ground of a discussion.” We need fresh seeds to be sown, we need newer forms of writing and novel dialogues to begin with—that is the only way for literature to evolve. Having said that, if there is impurity in the hearts of writers, then their language, words and expressions become inconsequential.

One must want (sincerely with his or her’s mind body and soul) to be a writer. No one becomes a writer just by aspiring to be one. Unfortunately, the art of writing can not be taught. I consider myself fortunate. Fate, circumstances and persistence has allowed me to get to the place I am today. And in this journey I have been touched and inspired by many. My father-in-law Shri Kaka Hathrasi was one of India’s greatest humorist poets. His life’s aim was to put a smile on people’s face. Though no more, Kaka Hathrasi’s poems linger in our collective minds. The purpose behind my writing is different—my poems may seem funny, but I intend to leave my readers with a sense of reality and, dare I say, sadness. The three people who inspired me the most were my father, Gajanan Madhav Mukhtibodh and Charlie Chaplin. I cannot get enough of Chaplin’s satirical eye of the world. He especially manifested it in the Great Dictator. I admire the way he used humour as a tool to narrate some of the most heart-rending incidents of the human history. That is the power of words—wars can be fought and won through them.

Looking Back When she was six, one day I overheard my daughter boasting that, “Had my father been a cobbler, he would have made the world’s best shoes.” Who knows, had I not been a poet, I would have probably been a cobbler—as my daughter pointed out. No matter what, I would have put my whole heart in it.

MAY 2012

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PLATFORM

VIVEK BHANDARI | Historian and Sociologist

Co-operatives in the era of liberalisation Why India should pay attention to the UN’s vision of a better world

THE UNITED NATIONS is celebrat-

ing 2012 as the International Year of Co-operatives with the slogan: “Co-operative enterprises build a better world”. With an environment abuzz with discussions on the need to address the livelihood needs of India’s vast population, the UN’s decision serves as a reminder of an important strand of the democratic tradition. Within India, with its eponymous ‘demographic dividend’ (the fact that the country’s majority are below the age of 30) and accelerated migratory patterns, it is now recognised that the size of a country’s workforce will need to be absorbed in gainful employment in sustainable ways. In the context in which discussions about creating sustainable livelihoods are flying fast and furious, the experience of co-operatives can provide some insights. Over the past decade, the response of policy-makers to livelihood challenges has been to unleash a series of schemes that seek to ‘organise’ what is still the country’s largely unorganised workforce. The Mahatma

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MAY 2012

Gandhi National Rural Employment Guarantee (MNREGA) and the National Rural Livelihood Mission (NRLM) are but two of the manifestations. The Bharat Rural Livelihoods Foundation—announced by Pranab Mukherjee during Budget 2012—is the latest arrival. Far away from the Delhi corridors, a number of entrepreneurs are attempting to develop newer models of manpower training, recognising the potential for growth in the workforce management sector. Now it is a good time to restate that perhaps the most successful experiment in livelihood creation has been the dairy co-operative movement, which has come to be associated with the brand AMUL (an acronym for Anand Milk Union Limited). This is relevant in view of the UN’s ongoing celebration of cooperatives, which affirms the principle that the powers of democratic decision-making, collectivisation and resource aggregation can provide livelihoods and social security for marginalised people. This UN recognition also underscores the

Author

Dr Vivek Bhandari is a noted historian and former director of the Institute of Rural Management Anand (IRMA), a post he took up after spending 15 years in the US. Today he is a keen observer of a dramatically transitioning India

pertinence of a political metaphor: in the same way that a democratic polity attempts to address the aspirations of a large group of citizens by aggregating their views through the electoral process, co-operatives seek to bring the powers of aggregation among producers to the marketplace. At the core of the co-operative organisational form are two fundamental principles—the sovereignty of labour (which is at the heart of the organisation’s management culture) and democratic values (integral to the decision-making processes). Question is: do these types of organisations work in today’s cutthroat environment? Historically, cooperatives have been successful, especially in the agricultural sector. Fonterra Co-operative Group, which began in 1956, is New Zealand’s single-largest company. It is organised as a producer-owned co-operative by 10,500 farmers. The firm is responsible for 30 per cent of the world’s dairy exports with a revenue exceeding NZ$19.87 billion. The US-based co-operative Land O’Lakes Inc.,

platform

VIVEK BHANDARI //

India’s economic landscape is dotted with entrepreneurial ventures seeking scale through producer company model. Among the better known ones are Fabindia and DCM Hariyali”

started in 1921, serves over 300,000 producers and has a footprint in 50 countries. In the non-agricultural sector, Mondragon Corporation, located in the Basque country, is rooted in the co-operative tradition. It is the seventh-largest company in Spain with a history that began in the 1950s. It has a sectoral spread that covers industry, finance, retail and the knowledge economy. Within India AMUL has served as the flag-bearer for co-operative values. It has an inspiring record going back over half-a-century. Despite swirls of political and economic pressures, especially in the 1990s, the AMUL movement has worked hard to remain grounded. This is also true of the SEWA Bank set up in 1976. Despite the sense of doom characterising the microfinance sector, SEWA Bank has remained unscathed with a business of Rs 175 crore and 87,000 members. The success of such enterprises was probably the reason as to why in 2002, the Centre adopted the Companies (Amendment) Act 2002,

commonly described as the Producer’s Company Act. At the core of the design of a producer company is the co-operative principle that members have to be primary producers. The Act draws from the international experience of “new generation co-operatives”, of which a great deal has been written of especially by the likes of International Co-operative Alliance. At the heart of this legislation is an attempt to create livelihoods for India’s burgeoning workforce through an organisational model that attempts to leverage the efficiencies of the 21st Century capitalism without diluting the community-based orientation of co-operatives. Today, India’s economic landscape is dotted with entrepreneurial ventures seeking scale through producer company model. Among the better known ones are Fabindia and DCM Hariyali. Many more are in the pipeline. It is fair to say that even as the Centre continues to unleash new centrally-and state-sponsored schemes on India’s largely youthful

population, these will all be tested. It is gratifying that the UN has placed its belief in the co-operative tradition. It will help recognise the fact that solutions to bigger problems are often found locally and are best managed through appropriate deliberative processes and organisational forms. Sources of livelihood come in all shapes, from governmentsponsored schemes (MNREGA and NRLM), to seasonal employment, to social enterprise. In this mix of good and not-so-good options, it would be useful to remember that the values and processes championed by (producer and consumer) co-operatives continue to exercise influence and have the potential in mitigating economic hardship. The extraordinary story of India’s dairy co-operatives (which made India the world’s leading producer of milk) as well as the plethora of experiments in cooperation mushrooming around the country should serve to reinforce this belief as we look to the future. (The views expressed in this column are of the author alone.)

MAY 2012

DEMOCRATIC WORLD

good karma \\ EL A BHAT T

Mentorâ&#x20AC;&#x161; ElaBhatt

NAME: Self Employed Women's Association or SEWA STARTED: 1972

WHAT IT IS: An organisation of poor, selfemployed women workers, who do not receive regular salaried employment with welfare benefits. They are the unprotected labour force of our country. Constituting 93 per cent of the labour force. Of the female labour force in India, more than 94 per cent are in the unorganised sector SPREAD OVER: Nine states WEBSITE: http://www.sewa.org/

A STITCH

IN TIME 36

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MAY 2012

As far as SEWA is concerned, the fight for economic freedom has just begun

good karma EL A BHAT T //

Once Ela Bhatt’s scooter was stopped

abruptly at a traffic section by a constable, as was a push-cart being drawn by a husband and wife. While Bhatt managed to stop on time, for the husband and wife the maneuver proved tricky. They collided and fell, sustaining serious wounds. Bhatt, who volunteered to take them to a nearby health clinic, found that once stitched and bandaged, there was nothing more she could do for them. As migrant workers (two among the lakhs of citizens working in the unorganised labour sector), the husband and wife were not entitled to off-days, compensation, rest or recuperation like the rest of the world. It was not the first time that Bhatt was forced to confront this disparate mini-India of rightless human beings. Neither was it going to be the last. However, the incident did leave an indelible impression on her resolve to do something. Thanks to an active family dedicated to socio-developmental causes, the incident moved Bhatt. Her father had quit a perfectly sound medical practice to join the Freedom Struggle, while her mother was also active in Gandhi’s struggle. Thus, it is no surprise that Bhatt herself attached a deep meaning to the words freedom and dignity. “The times that we grew up in, azaadi (freedom) was the keyword. It was there on the streets, in private spaces, in India’s hearts. However, our version of azaadi was not a narrow vision, but a wholistic one which encompassed the economical, social and political. As Gandhiji made it clear through his khadi movement, political freedom was just a shadow of economic freedom,” asserts Bhatt. Despite her sensitivity to people’s plights, the time to do ‘something’ arrived late in her life—later than she thought. Bhatt went on to receive a Bachelor’s of Arts degree and a gold medal in law. For a bit, she taught

at SNDT, Mumbai, till the turning point— working for the legal department of the Textile Labour Association (TLA) in Ahmedabad. During the push-cart incident, Bhatt was still with the TLA. The incident made her to think—could she do something? She believed she could. And in 1972, the Self Employed Women’s Association (SEWA) was born as an off-shoot to the TLA. Simply put, SEWA was an organisation for and of self-employed women workers, who earned a living through their own labour and/or small businesses. SEWA began with a premise—when their work or labour remains invisible, the workers themselves are rendered invisible. Till today, Bhatt draws inspiration from India’s Freedom Struggle. SEWA is tied to four Gandhian pillars; satya (truth), ahimsa (non-violence), sarvadharma (integrating all faiths, people) and khadi (propagation of local employment and self-reliance). The group’s goal is to organise women for full

employment—with work, income, food and social securities (think health care, child care and shelter). SEWA organises women to ensure that every family obtains ‘full employment’. “By self-reliance we mean that women should be self-reliant; individually and collectively,” explains Bhatt. Thus, SEWA organises workers to achieve their goals of full employment and self-reliance through twin strategies—struggle (against the constraints and limitations imposed upon them by the society) and development (activities meant to strengthen women’s bargaining power and offer them new alternatives). The organisation is thereby divided into unions and cooperatives and they work in tandem. Describing SEWA is tricky—it is both an organisation and a movement. It is a movement because it combines labour, cooperative and women’s rights causes. It is also a movement of self-employed workers with women as its leaders. With globalisation, liberalisation and economic changes, there are newer opportunities and threats to traditional areas of employment. “I do not believe that globalisation is a threat. Our members are ready to face the challenges. And globalisation and capitalism, if these terms are responsible, constrained, then it results in a bigger market. “They know that they must organise to build their own strength and to meet challenges. There are still millions of women who remain in poverty, despite long hours of hard labour. They must be brought into the mainstream, so as to avail of the opportunities that are developing with regard to jobs. Also there is much to be done in terms of strengthening women’s leadership and bargaining power within and outside their homes and their representation in policy-making,” she says. It is to this end of highlighting women’s issues, priorities and needs that SEWA has been working. It has been supporting its members in capacity-builiding and in developing their own economic organisations. And they are quite the success story. So, it is no surprise that today World Bank wishes to replicate the SEWA model, especial its bank model, in some of the lesser developed parts of the world. As far as Bhatt is concerned, her work is only just beginning.

MAY 2012

DEMOCRATIC WORLD

“Once I have read a story and gotten to know it, I will leave it behind and start from scratch”

READING ROOM

—Late Satyajit Ray

Author

Deep Focus: Reflections on Cinema A compilation of

articles and short essays by Oscarwinning director Satyajit Ray is a serious treat for cinema lovers AFTER A RATHER long gap of 35 years

here is good news for Satyajit Ray admirers. The filmmaker’s second English book on films—Deep Focus: Reflections on Cinema—is in the press and is slated for a December release. Ray’s first book—Our Films, Their Films—was published in 1976. Deep Focus is a collection of Ray’s writings that have been compiled and will be published by Delhi-based HarperCollins (India) in association with the Kolkata-based Society for the Preservation of Satyajit Ray Films, also known as the Satyajit Ray Society. The term deep focus is a photographic and cinematographic technique using a large depth of field, in which the foreground, middleground and background are all in focus. It is achieved through hyperfocal distance use of the camera lens. Deep focus is achieved with light and small aperture. It is also possible to achieve the illusion of deep focus with optical tricks. Deep focus was frequently used in cinema and filmmaking by Orson Welles and cinematographer Gregg Toland. Their film Citizen Kane (1941) is considered to

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be a textbook example of possible uses of the technique. Like its name, the book strives to put in focus several aspects of the filmmaker’s life through his writings. For those uninitiated, Satyajit Ray came from a family of litterateurs. His father, Sukumar Ray, was perhaps the most famous Indian practitioner of literary nonsense and has been often compared to Lewis Carroll. His works such as the collection of poems are considered nonsense masterpieces equal in stature to Alice in Wonderland. Sukumar Ray was the son of famous the children’s story writer Upendrakishore Ray Chowdhury. Coming from such a grand tradition, Satyajit Ray was a prolific writer in his own right. He wrote on cinema, film scripts and screenplays. Ray was also a children’s author, whose short stories and detective novellas are still a must-read for children in Bengal and Bangladesh. Deep Focus is an outcome of an intensive search conducted by the Ray Society for long-lost articles, which lay scattered in newspapers, magazines, film bulletins and publications. Essays that are to be included have tributes

ABOUT THE AUTHOR Satyajit Ray was a filmmaker, fiction writer, publisher, illustrator, graphic designer and film critic. He won 32 National Film Awards and an Academy Honourary Award in 1992 Publisher: HarperCollins

to silent cinema; challenges of adapting literary work to the screen (a topic that Ray has written extensively about); and a look into the experience of being a contestant and a member at film festivals. The book has been edited by Satyajit Ray’s filmmaker son Sandip Ray in association with actor Dhritiman Chaterji who has worked extensively with the senior Ray, Deepak Mukerjee and Debasis Mukhopadhyay. Filmmaker Shyam Benegal has written the foreword. In all probabilities the book will be released in Kolkata. The Ray Society plans to screen Benegal’s two-hour documentary on Ray at the event. All in all the book contains 22 essays and talks, the oldest dating back to 1949, at a time when Ray was still a 28-year-old struggling director, and has been divided into three sections: the filmmaker’s craft, pen portraits and his celebration of cinema. The first section contains essays and talks on cinema, the second his views on other directors as Jean-Luc Godard and Michelangelo Antonioni, Bergman and actor-and-director Charlie Chaplin. An interesting bit

“I’m a really deliberate writer and every word I write is considered and precise”

reading room CRITICS & AUTHORS //

— Justin Torres

is on Bengali actor Uttam Kumar, a Bengali matinee idol who played leads in Ray’s Nayak (The Hero) and Chiriakhana (The Zoo). The third and final section deals with Ray’s experiences of, and views on, film festivals. The book is rich with images like film and production stills, rare por-

traits of Ray, and sketches and photographs by Ray. In addition, the book will contain 24-page photo-inserts printed in art paper. The cover has been designed by Pinaki De, under the guidance of Sandip Ray. The book also contains a detailed filmography of Satyajit Ray, a short piece on

his contributions to films by others, a select list of the honours he received and a note on the Society’s work to restore, preserve and disseminate Ray’s works. The book launch is also a step towards setting up a ‘Ray Heritage Centre’ in the late filmmaker’s hometown.

We The Animals The book is

a fierce attempt by a first-time author. A tale of three brothers, this is Torres’ life told anonymously BY MANJIRI INDURKAR

THE ANIMALS in Justin Torres’s gutsy, debut novel

We The Animals are three brothers, including the anonymous narrator. Like stray dogs, they roam the streets of Upstate New York, stealing, vandalising and merrily making trouble for each other. The book is a coming-of-age novel of three mixed-race boys whose mother (Ma) is Caucasian and father (Paps) is a Puerto Rican man. This sets them apart from the other purely Caucasian children, but the difference surely does not end there. With the setting sun, while other children return to their homes and families, the three brothers stay back on the streets to have their own adventures—flying kites made from trash, wandering and pelting each other with rotten tomatoes as Ma goes to her graveyard shift at a brewery. Paps also does his two bit; taking up whatever comes his way (legal or not) sometimes tagging the children along, where they camp in abandoned flats sleeping on damp and cold floors. It is a viscerally-charged atmosphere in which the boys grow up, hiding while parents battle it out—both verbally and physically—or tiptoeing around the house as the mother sleeps off her graveyard shift. The novel begins with the unnamed narrator’s seventh

birthday. A languishing Ma remembers that it is his birthday, calls him near and asks him to “stay six” forever as growing up means becoming hard: “No softness anywhere, only Paps and boys turning into Paps.” The narrator agrees and kisses his mother’s face, bloated and bruised after severe beatings of days, only to be pushed away. “She cusses me and Jesus, and the tears dropped, and I was seven.” Critics have described the book as an “exquisite, blistering debut novel” of three brothers tearing their way through childhood—following them on the pages as they learn to live on bare minimum, escape the neglect of angry parents. In this unverse, familial life is chaos, heartbreaks and also euphoric. In its novel way, the book reinvents the coming-ofage story making it more gut-wrenching. Written with images which are harsh, honest and stunning, the book is an exploration of brotherhood. There are wonderful bits where the three boys pretend and role play as the Three Musketeers; the Three Bears; the Three Stooges; Alvin and the Chipmunks; and even as the Father, Son, and Holy Spirit.

MAY 2012

ABOUT THE AUTHOR Justin Torres is an American novelist. His work has appeared in The New Yorker, Granta, Tin House, Glimmer Train, and other publications. A graduate of the Iowa Writers’ Workshop, he is a recipient of the Rolón United States Artist Fellowship in Literature, and is now a Wallace Stegner Fellow at Stanford. Publisher: Houghton Mifflin Harcourt ISBN: 978-0547576725 Price: $11.18 Pages: 144

DEMOCRATIC WORLD

WARE

HOUSE

Our pick of the boldest, best and craziest gadgets. Glance through the Warehouse page and check them out. Happy hunting!

HOT!

MICROSTANG (Mustang)

NOT DECIDED

This is what you get when you combine Microsoft and allAmerican auto muscle. Dubbed ‘Project Detroit’, this 2012 Ford Mustang has a touch-screen-based dashboards console, a HUD, a built-in Xbox 360, two Kinect sensors for front and rear for skeletal tracking and live video streams and a swipeable digital instrument cluster powered by a Windows tablet. The code that runs the gadgets on this beast will be made available for free on Microsoft CodePlex.

Microstang

MCINTOSH MC275

McIntosh’s MC275 will make audiophiles go misty-eyed over its smooth and warm sound reproduced by the vacuum tubes. `3,32,000

DEMOCRATIC WORLD

MAY 2012

ARCADE 80S TRUNK

A powerhouse on wheels with a 1080 p screen, a high-definition sound system with iPhone and iPod dock and 60 built-in titles. `8,90,000

warehouse

GADGE TS & GIZMOS //

PORSCHE DESIGN

BlackBerry P’9981

`1,00,000

The Porsche BlackBerry has an interesting angular design that stands out from other smartphones, a faster processor, slimmer profile and is powered by the latest iteration of the BlackBerry OS. Despite this, the specs don’t come anywhere near the best phones in the market today. It’s meant for the rich sheikh who has a spare oil-well lying around.

BMW ENDURO

MOUNTAIN BIKE 2012 `2,30,000

The BMW Enduro 2012 sports a monocoque black aluminium with Fox front forks and concealed rear suspension system. It is fitted with Shimano XT hydraulic disc brakes, entirely redesigned wheels with bright green needles, black and green saddle and Shimano Deore XT components.

SAMSUNG DIGITAL CAMERA

Samsung is considering a digital camera based on the Android. Previously, the company has used Android on its portable media players

GENIUS DEATHTAKER MMO RTS

The Genius DeathTaker MMO RTS gaming mouse has arrived in India, priced at `3,915, with a warranty of three years. Solid! MAY 2012

DEMOCRATIC WORLD

LIFE

PHOTOS BY PATWARDHAN.COM

REEL

Liberty, Equality: Stills from Jai Bhim Comrade and Ram Ke Naam

Wind That Shook the Barley Meet the enfant terrible Anand Patwardhan who lets his camera do the talking BY MANJIRI INDURKAR

few days ago, I was narrating the story of Jai Bhim Comrade, Anand Patwardhan’s latest documentary film, to a friend. I told her that on July 11, 1997, 10 Dalits were shot dead during a police firing at Ramabai Colony near Ghatkoper in Mumbai. She interrupted to say, “Did you mean 100 or 10?” I quickly answered before continuing with the story. But, her question made me think; is 10 not a big enough number? Is there a magic digit that transforms an event to a tragedy? The more I thought, it became clearer that when it came to the margins, even thousands sometimes do not suffice. Perhaps it is this significance of a number and our collective conscience that pushed Anand Patwardhan to make Jai Bhim Comrade. Simply, to introduce us to our own selves. Three days after the Mumbai encounter, poetsinger Vilas Ghogre, also a resident of the Ramabai Colony, took his life in protest. Ghogre, who had earlier worked with Patwardhan in another film of his believed

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MAY 2012

that the “World was not a place worth living in anymore.” After Ghogre’s demise, Patwardhan made Jai Bhim Comrade. The documentary offers brutal, visceral moments of ‘complete truth’ in which Patwardhan successfully makes his audience flinch. Take an instance when a woman lectures Patwardhan on Brahmin pride. In another scene, a woman lets Patwardhan know that Dalits “should not be allowed to celebrate the anniversary of Bhim Rao Ambedkar in public places”. Why? Because they are “very dirty people who create a lot of mess on the roads”. So “dirty” that one can tell them apart just by looking at them. While we still hear Patwardhan talking to

reel life

ANAND PAT WARDHAN //

DIRECTOR OF THE MONTH

the woman in mock seriousness and prodding her for more, our minds beg her to stop. And the camera too moves away from her. But India is a strange ambiguous land of contradictions; there are enough poignant moments where Patwardhan underlines this truth clearly. When quizzed about his caste, a sweet-seller on the streets says: “Samosa, jalebi aur mithai yehi humari jaat hai (the sweetmeats that I sell, symbolises my caste).” The man laughs as the camera stays on him for a while before the scene dissolves and transforms into another. Though it is Patwardhan who asks his subjects difficult questions, he lets his camera do most of the ‘directorial’ talking. Though there are moments of inertia and friction in ways scenes are shot, indicating almost Patwardhan’s judgment of his subject, at the same time the director does give his viewers enough credit and breathing space to make up their minds. It is no surprise that Patwardhan shoots and edits his films. While several documentary filmmakers treat their films as reality checks, Patwardhan sees them as art. So, a question begs to be asked, why not make films which are more ‘palatable’? “I am determined to break the documentary taboo.” He proudly lets me know that his films, too, are “in popular demand”. And he has seen thousands turn up for the screenings. “Why would you want me to give up the unparalleled power of documentaries in exchange for the forgettable entertainment that passes off as fiction?” A pertinent point. Possibly India does not have

Anand Patwardhan is India’s most celebrated documentary filmmaker, who has been making political documentaries for the past 30 years. Always taking on controversial issues, his films have often come under the purview of the censor board. But that has not stopped Patwardhan from making them. He has been an activist ever since he was a student, fighting for communal harmony and human rights

Honest Opinion: (Right) Patwardhan’s Father Son and the Holy War (1995) was adjudged as one of 50 most memorable international documentaries of all time by DOX, Europe’s leading documentary film magazine; though it was shown on India’s National Network 11 years after its making. (Above, left) Stills from Narmada Diary

a big market for documentaries like the West, but things are certainly changing here. And Patwardhan has a lot to do with that change. War and Peace— based on the Pokhran nuclear missile tests during the Atal Behari Vajpayee government—was the first

MAY 2012

DEMOCRATIC WORLD

reel life

// ANAND PAT WARDHAN

Indian documentary to get a multiplex release. It was well-received by the masses and the classes. “I welcome responses as long as the people critiquing are open to my replies,” he says. So even if the Rashtriya Swayamsevak Sangh invites him for a “genuine dialogue” he will be present there. “I would love to be a catalyst for change,” he says. In 1991, a year before the Babri Masjid was demolished, Patwardhan made Ram Ke Naam (In the Name of God) as a warning to a foreseeable storm. The film was based on rising fundamentalism in India. The movie effectively captured on-the-rise militancy in a state that seemed ready to tear down edifices which did not cater to its version of ‘godly’. Having said that, Patwardhan’s films are not lopsided. They are more like open spaces with a scope to explore a topic. If on one hand he focused on the rising fundamentalism in Ram Ke Naam, on the other hand he looked at the secular forces. As is the fate of films that deal with “different” issues—In the Name of God did not pass the censorship scissors. As Patwardhan puts it, “The warning in the film was never heeded.” And Patwardhan often battles to get his films aired on Doordarshan (DD). “DD’s refusal to telecast my films has remained constant. Their stance is broken only when I win court cases against orders.” He is known to court controversies, so I had to ask, how does he choose his subjects? He tells me that he does not choose them. “Left to myself I prefer to relax rather than plunge into one film after the other,” says the man. Then how does he end up making such powerful films? “I make films on stories that need to be told honestly.” Patwardhan’s films are as haunting as the voices within us; the only difference is that he thinks them aloud instead of escaping. Though he has been making films for the past 30 years, he still determinedly funds them because he does not wish to be “influenced” by people who put in their capital. He hates being “pigeon-holed or labelled” as a Gandhian or Marxist. As a young scholarship student in Amer-

DEMOCRATIC WORLD

MAY 2012

Fundamental Fact: (Left) A still from War and Peace (Above and below) A still from Ram Ke Naam and the poster of the documentary film

REEL BYTES

Bloody Truth: Another still from War and Peace

Still Life: A shot from War

and Peace

Snap shot: Patwardhan is known for his activism through social action

ica in the early 1970s, he was inspired by the likes of Martin Luther King and Cesar Chavez and went on to join the American Labour Movement on a wage of $5 per week for six months. A libertarian; Patwardhan is no more just an Indian documentary filmmaker. His films are popular among international critics and he is considered to be one of the foremost filmmakers of our time. His camera and him are travelling across the world asking questions that need to be asked and taking the controversial bull by its horns. When Patwardhan says something, he makes sure that everyone pays attention.

HITCH

HIKER

PHOTOS BY HUSIAN AKBAR

Busy, busy: One of Tokyo’s busiest crossings. (Below) An Australian woman who came to Japan to train as a Geisha (hostess) and made the land her home

A Layered Cake of Contradictions Japan is more than simply sushis, gadgets and geishas BY HUSAIN AKBAR

A few days before Christmas, I landed in Tokyo. Winter had just set in and unlike north India, it meant that the days were sunny and the nights nippy. If you travel to Tokyo in January and do not happen to be a big fan of chill, pack extra woollies. I have been told that it gets cold. This was my second, longer trip to Japan to film a TV programme—yes, I do seem to have some lucky stars—called Vintage Traveller. With a host, a crew and yours truly, our team was on a quest for all things medieval; artefacts and antiques. Tokyo was the one city on our travel map that I was looking forward to the most. There are two aspects of Japan that I enjoy experiencing—its streets and people. On my first visit, I realised that Tokyo’s sense of pragmatism and functionality reverberates across its architecture. It did remind me of Nehru Place (Delhi) a bit. Those unfamiliar with Delhi’s super-busy electronic goods area, it is where the city

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MAY 2012

shops for its latest gadgets. There is an aura of nononsense across Tokyo, both admirable and intimidating. A greater part of the city was bombed out during the Second World War. Newer structures stand testament to the country’s romance with functionality married in small spaces. As one would imagine, you can see every sort of automation in Japan. However, unlike Asian mega-cities, technology is not flaunted in your face. In Japan, my land of contradictions, there is a twist to every tale. For a nation so in love with functionality, there is a whole culture of the ‘cute’ (kawaii). From police mascots to shop and subway signs, Japan has

hitchhiker’s guide JAPAN //

HIKER OF THE MONTH

made everything cuter. As some Japanese people pointed out, the culture of kawaii is often about making taboo items easier to process. As for my favourite bit—the people—Japan really offers the whole gamut. Its citizens are a polite bunch; helpful, bound by traditions, and sometimes quite conservative. Perhaps, it is this side to the civil society which leads to its more eclectic or outlandish ways—perfectly-professional adults walking the streets dressed up as their favourite Manga or Anime character. If you can keep the bizarre aside, there is a profound sense of discipline among the Japanese that Indians could learn a thing or two from. For example loud telephonic conversations are considered rude in subways. Even during rush, commuters manage to maintain a silence which India cannot dream of. It can be a fair challenge to get around on one’s own in Tokyo without knowing Japanese. Though there are more English signboards these days, a majority of the population does not speak English. However, most make an effort. That is Japan for you—cool people. Take Mr Saito for instance. During our hunt for everything vintage, we met this collector of nohintos (Samurai swords). An affable man, Mr Saito was nowhere as dangerous as the swords that he collected. My trip threw up a motley crew—a collector of Godzilla figures. The iconic status of Godzilla underlines the fact that Hiroshima and Nagasaki incidents still resonate in the nation’s psyche. For those rare few who are not familiar with the figure; Godzilla is a creature ‘burdened’ with extraordinary powers after

The avid traveller, Husian Akbar, is back, this time taking the readers to the Land of the Rising Sun. For those who are unfamiliar this Jack of all trades, Akbar has donned several hats; that of a documentary filmmaker, a photographer who has worked with National Geographic and a contributor to the Lonely Planet. An adrenalin junkie he recently got himself inked with an aeroplane tattoo

Bizarre, Beautiful:

(Above) A Japanese flea market and temple. (Below) A wooden box at the flea market. Women dressed up as their favourite characters

getting exposed to a nuclear explosion. There are hundreds of Godzillas on sale at most shops. I may not have found them particularly attractive, but they do sell for a fortune. That’s Japan for you; obsessed with its cartooning tradition. Take Nakano Broadway for instance. It is a mall dedicated to Manga and Anime cartoons. If you believe that reading graphic novels or cartoons is silly and dressing up as them even more so; Japan would be a cultural shock. Look beyond the obvious, there are more layers. It is a land where the traditional co-habits with the postmodern; and Australian geishas walk the streets.

MAY 2012

DEMOCRATIC WORLD

STICKY

A qui ck guide -start to wha fresh, t’s fu worth n & y peek.. of a .

NOTES

LISTEN

ION SULK STATbirthplace of trip-hop and

DARK SHADOWS

the least in Bristol was where it’s thriving (at ‘mellowis c si ru h its mu Bengalu it w , on ti ta S ut album India). Sulk , have released their deb to the p’ dramatic po r. It will take you back With ea e. g pp Till You A op was a ra when trip-h c, the glorious 90s dustani classical musi ! py in co H a of et ase. G shades exciting rele n a is m u alb

WATCH

Based on the 1966-1971 Gothic soap opera of the same name, Dark Shadows managed to create quite a buzz from the time the trailer came out. Directed by Tim Burton, the film stars Johnny Depp as Barnabas Collins, a 200-year-old playboy vampire, who returns to his ancestral mansion on May 11, 2012, at a theatre near you.

MOUNTAIN ECHOES LIT FEST

MOUNT ABU FESTIVAL

ATTEND

Nothing beats a trip to the hills to escape the summer heat. Add to that evenings dedicated to ballads, folk dances and fireworks. Plus, a musical show—Sham-e-Qawwali—by some of the most renowned ‘gawwals’ of India. A perfect mini-break. If you like what you are reading, then book your tickets and head towards Mount Abu between May 4 and 6, to celebrate the Summer Festival.

DEMOCRATIC WORLD

MAY 2012

ESCAPE

If an escape from the bustling city to a quiet paradise where you could relax, read or listen, is what you are looking for, then the Mountain Echoes Lit Fest is the perfect place for you. Enjoy the serenity of Thimpu (Bhutan) and flip through the pages of stories, which keep coming back—as a haunting thought or a reflecting shadow—from May 20 to 24. You’ll be sorry if you miss it!

Urban legend has it that eight musicians, tired of their Delhi lives, escaped to the mountains and started the Escape Festival of Art & Music. With more than 2,000 artists and some 30-odd bands, Escape is an amalgam of various art forms, held between May 18 and 20 at the Lake Resort, Naukuchiatal. See you there!

Food Lounge & Bar