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ഗൾഫ് മാധ്യമല�ോകം

വരവേറ്റ പര്യടനം

Journalism after # Me Too

sk]v-äw-_À- HtÎm-_À 2018

1

അഭയം തേടി

മദ്ധ്യ അമേരിക്കയിലെ ഗ്വാട്ടിമാലയിൽ നിന്നുള്ള അഭയാർത്ഥി സംഘത്തിലെ 38 കാരനായ www.keralamediaacademy.org റ�ൊസെൻഡാ ന�ൊവീഗ തന്റെ മകൾ ബെലിൻഡ ഇസബെലിനെയും മുതുകിലേറ്റി പ�ോകുന്ന കാഴ്ചയാണിത്. മെക്‌സിക്കോയിലെ സാൻഡിയാമഗാ നിൽടെപെക് എന്ന സ്ഥലത്തുനിന്ന് കഴിഞ്ഞ ഒക്‌ട�ോബർ 30ന് റ�ോയിട്ടേഴ്സ ‌ ് ഫ�ോട്ടോഗ്രാഫർ യൂസ്ലെയ് മാർസെലിന�ോ എടുത്ത ചിത്രം. അമേരിക്കയിലേക്കുള്ള അഭയാർത്ഥി പ്രവാഹത്തിൽ നിത്യം 2400 കുട്ടികൾ ഇങ്ങനെ കാരവനിലും മറ്റുമായി അതിർത്തി കടക്കുന്നു എന്നാണ് യൂണിസെഫിന്റെ കണക്ക്. ഇവർക്കാവശ്യമായ ശുദ്ധജലമ�ോ സാനിട്ടേഷന�ോ ചികിത്സയ�ോ ഒന്നും ലഭിക്കുന്നില്ല എന്നാണ് സംഘടന മനസ്സിലാക്കുന്നത്.

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മ

ല കയറിയ പെൺകുട്ടികളവർ എവിടെപ്പോയ് വാർത്ത തരാതെ?

അവർ തന്നൂ കത്തും വാർത്തകൾ മുറിവുകളുടെ ജീവത് ഭാഷയിൽ. ആ വാർത്തകൾ കാലത്തിന്റെ ചുവർപത്രങ്ങളിൽ നിവരുന്നൂ; ആ വാർത്തകൾ ഇടിമുകിലുകളിൽ പുതു ശരണദ്ധ്വനിയാകുന്നൂ. എൻ. പി. ച�ശേഖരൻ

sk]v-äw-_À- HtÎm-_À 2018

3

www.keralamediaacademy.org

ISBN 2395 -1370 SEPTEMBER - OCTOBER 2018 Vol 05 Issue 12 Price `20

08

ഗൾഫ് മാധ്യമല�ോകം വരവേറ്റ പര്യടനം പി.പി.ശശീ�ൻ

Editor in Chief R. S. Babu Editorial Board Fr. Boby Alex N.P. Chandrasekharan C. Narayanan Santhosh George Kulangara Kamal Varadoor Saraswathy Nagarajan P.V. Kuttan Printer & Publisher K.T. Sekharan

13

The Unblinking Eye of the Sabarimala Storm

15

ക�ോടതി വിധി വിശ്വാസഹത്യയല്ല

16

Religion and Women’s Rights Clash, Violently at a Shrine in India

18

പ�ോലീസ് ഇല്ലായിരുന്നെങ്കിൽ

20

ശബരിമലയിലെ അഴിഞ്ഞാട്ടവും മാധ്യമ ധ്വംസനവും

Editorial Co-ordination Sreeja Balachandran Marketing In Charge Shainus Markose Design & Layout Anil Raj Address ‘Media’ Kerala Media Academy Kakkanad, Kochi – 682 030 Phone: 0484 2422275 Email: kmamedia2015@gmail.com mediamag.kma@gmail.com Website: www.keralamediaacademy.org

M. Sarita Varma

ഡ�ോ. എം. ലീലാവതി

By Suhasini Raj and Kai Schultz

എന്നെ ക�ൊന്നേനെ... സരിതാ എസ്. ബാലൻ

പി.വി. മുരുകൻ

22

കേരളത്തെ സ്‌നേഹിച്ച സ്‌നേഹയ്ക്ക് കിട്ടിയത്‌

24

സമീപചരിത്രത്തിലെ ഏറ്റവും വലിയ മാധ്യമവേട്ട

25

പേടിച്ച് മലയിറങ്ങിയപ്പോൾ

സി. നാരായണൻ

സന�ോജ് സുരേ�ൻ

tIcf aoUnb A¡m-Zan `c-W-k-anXn AwK-§Ä sNbÀam³ : BÀ.-Fkv _m_p (tZim-`n-am-\n), sshkv sNbÀam³ : Zo]p chn (tI-cf Iuap-Zn) AwK-§Ä : Iam hc-ZqÀ ({]-kn-Uâ v, sI.-bp-U-»yp.-sP), kn.-\m-cm-b-W³ (P-\-d sk{I-«-dn, sI.-bp-U-»yp.-sP) , ^m.-t_m_n AeIvkv a®w-¹m-¡Â (Zo-]n-I), F³.-]n.-N-{µ-ti-J-c³ (ssI-cfn Sn.-hn), Fw.-sI.-Ip-cym-t¡mkv (a-e-bmf at\m-c-a), Pb-Ir-jvW³ \cn-¡p«n (tZ-im-`n-am-\n), Fkv.-_nPp (G-jym-s\äv \yqkv), Fw.-hn.-t{i-bmwkv IpamÀ (am-Xr-`q-an), sI.-sP.-tXm-akv (tZ-im-`n-am-\n), t__n amXyp (Po-h³ Sn.-hn), kt´mjv tPmÀÖv Ipf-§c (k-^mcn Sn.-hn), tPm¬ ap­-@¡bw (a-e-bmf at\m-c-a), H.-A-_vZp-d-Òm³ (am-[yaw Zn\-]-{Xw), cmPmPn amXyp tXmakv (P-\-bp-Kw),]n.-Fw.- a-t\mPv (tZ-im-`n-am-\n), Fw.-Pn.-cm-[m-Ir-jvW³ (G-jym-s\äv \yqkv), kc-kzXn \mK-cm-P³ (Z lnµp), Zo]Iv [À½Sw (A-arX Sn.-hn), sI.-]n.-tam-l-\³ (P-bvlnµv Sn.-hn), jm\n {]`m-I-c³ (a-t\m-ca \yqkv), H.-BÀ.-cm-a-N-{µ³ (am-Xr-`qan) ]n.-hn.-Ip-«³ (ssI-cfn Sn.-hn) Ub-d-IvSÀ (C³^Àta-j³ &]»nIv dnte-j³kv hIp-¸v), sk{I-«dn (C³^Àta-j³ &]»nIv dnte-j³kv hIp-¸v), sk{I-«dn ([-\-Imcy hIp-¸v) sa¼À sk{I-«dn : sI.-Pn.-k-t´mjv (sk{I-«dn, tIcf aoUnb A¡m-Zan)

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ശബരിമലയിലെ സ്ത്രീപ്രവേശനം വിലക്കിയ ചിത്രത്തിന്റെ കഥ

27

മറക്കാനാകാത്ത ആ ദിനം

30

വേണം അപകീർത്തിക്ക് ഒരു മീ ടൂ വ്യാഖ്യാനം

32

Me Too Loud and Clear

34 36

നിഖിൽ പ്രമേഷ്

ഡ�ോ.സെബാസ്റ്റ്യൻ പ�ോൾ

Barkha Dutt

Journalism after # Me Too Meera Srinivasan & Ananth Krishnan

കാലം മാറിയിട്ടും മാറാത്ത കാലംചെയ്യൽ

68

The concept of cartoon journalism tribute to R.K. Laxman

പ്രിൻസ്

Shoma A. Chatterji

As a young journalist in India, I was raped by M.J. Akbar.

Here is my story

By Pallavi Gogoi

42

കേ�ത്തിന്റെ സൂപ്പർ സ്‌ട്രോക്ക്

48

പത്രസ്വാത�്യത്തിനു വേ�ി മരണംവരിച്ച ജമാൽ ഖഷ�ോഗ്ഗി

52

66

ഇരയായത് പുണ്യ പ്രസൂൺ സാജൻ എവുജിൻ

70

ചരിത്രത്തിലെ റിപ്പോർട്ടർ എൻ.ഇ.സുധീർ

72

ചിത്രം, കാലം പി.മുസ്തഫ

എൻ.പി. രാജേ�ൻ

Censorship undermines DEMOCRACY A.S. Panneerselvan

54

‘ദേശേർ കഥ’യെ നിശ്ശബ്ദമാക്കുമ്പോൾ

56

പ�ോസിറ്റിവ് മീഡിയ

60

കമലാ സുരയ്യയുടെ ഓർമച്ചിത്രങ്ങളുമായി റസാഖ് താഴത്തങ്ങാടി

വി.ബി. പരമേശ്വരൻ

കെ.എൽ. മ�ോഹനവർമ്മ

ബി. ച�കുമാർ

sk]v-äw-_À- HtÎm-_À 2018

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The Unblinking Eye of the

Sabarimala Storm M Sarita Varma

“I

will rape you” battle-cry is the key shibboleth of social media-abuse barraged on active women journalists, almost everyday. Consider getting trapped within a super-animated mob that is baying for your blood, not online, but, actually staring at you, eyeball to eyeball.

This was something of the friction that cropped up in Sabarimala in mid-October, where a Supreme Court verdict removed the taboo on women of menstruating age getting darshan in the temple of the hill deity Ayyappan. Besides the State-units of BJP, RSS, VHP and AyyappaSena, Congress was also among the protestors.

Though most of them professed to remain “Gandhian” in protests, the air was so rife with conflict, that one could cut it with a knife.

Tempers surged against all women pilgrims, suspected to be of taboo age group, even 20 km or more from the temple. In the melee, women reporters were not spared.

It started as seemingly innocent vehicle checks. The protestors, including large groups of Ayyappabhajan-chanting women, went about on unauthorized vehicle checks, peering in to see if there are young women inside.

“Bash up her womb, that’s the polluting piece,” someone in the crowd shouted, immediately after the speeches of Rahul Eashwar and Sasikala, two leaders of the protestors at Nilakkal.

Within hours, TV crews were attacked by a mob carrying sticks and stones. Vehicles were damaged and camera equipment smashed. Moushumi Singh of India Today, Pooja Prasanna of Republic TV, SarithaBalan of The News Minute, Radhika Ramaswamy of CNN-News18, NDTV’s Sneha Mary Koshi and Libi CS of Newsgil were attacked

by men and women, masquerading as devotees. Rajesh of Reporter TV suffered injuries.

“One man hurled a bottle at me. Another kicked me heavily on the spine,” says SarithaBalan, who had to be hospitalized and undergo therapy for a fortnight. The protesters were furious at TV crew, for showing visuals of them stopping buses, carrying out checks and pulling out women. “They vented their anger at us,” says Sneha Mary Koshi.

Except Libi CS, no women reporter had any intention of entering the temple. They were just doing their job. They were wearing coloured work clothes, distinctive from the black robes of the Ayyappa pilgrims to mark their identities. And all of them were atleast four kms away from the temple, when they were attacked on October 17.

Even if they went to the temple, it would have been well within their legal rights. It would have been the participant-observer method of reporting. Protesters have no right to attack anyone, devotee or reporter.

After all, the SC verdict allowed women pilgrims of all ages to have darshan at the temple. So, on October 18, it was left to Suhasini Raj of NewYork Times to test the waters. Escorted by a large police contingent, Suhasini and her male colleague Kai Schultz managed to weave their way uptoMarakkootam, a couple of kms near the temple. At this point, the mob suddenly multiplied. Several hundred men yelled “go back”, hurled rocks at them and pummeled two dozen police officers. To defuse tension, Suhasini and Schultz decided to give up and go back.

Its time for Kerala to throw the country’s literacy topper trophy on its mantelpiece to the closet in shame, if one reads what the international newspaper has to report on

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the State’s gender-discriminatory stance.”Though Indian women are leading campaigns to dismantle discriminatory rules on access to religious sites, and courts are ruling in their favor, the grip of tradition is still ironclad in places like the Sabarimala Temple,” writes NewYork Times.

Worldwide, as if in tacit agreement, media women had been, by and large, spared from direct violence, at war and conflict zones.Usually, even feuding countries seemed wiser to the fact that shooting the messenger could kill their own cause. In India, even during the riots following Babri Masjid demolition, women reporters had not been physically attacked. The dubious distinction of breaking this record now goes to Kerala, famed for its secular credentials.

In India, across the years, journalism has been revealing its dark underbelly, betraying itself as a sexist territory.

Women reporters, on high-stress beats like conflict-reporting, have been facing pseudo-protectionism, lewdness and condescension from their workplace rivals and even public at large. Even when they encounter sexual violence, they are discouraged from complaining about them, so that their work-lives are not affected.

The good news is that the numbers have improved. Over the last three decades, women have fanned out to all media domains - print, visual and digital.

Surprisingly, even as the women media presence has firmly defined itself, an ugly gendered censorship is rearing up, leaving a telltale stain of social decay.

Recall the fatal bullet, on the sly, on Gauri Lankesh in August 2017. The message was that courage and intellect cannot be tolerated in a woman. This gendered censorship is no longer, sneaking and prowling, but out there, leviathan-large and looming, as you encountered in the 14

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Sabarimala mob behavior.

What a woman journalist needs basically is support from civil society, to enable coverage of any controversial issue, without fear, observes Network of Women in Media India (NWMI), in its statement, condemning the attacks.

However, the progressive Kerala society, once showcased in United Nations and sung paeans by the likes of Amartya Sen for its HDIs (Human Development Indices) , seems be falling into a bottomless abyss of misogyny. After the black October 17, the chief question to journalists - from the TV chatterati, the social media graffiti, your neighborhood gossip, your know-all cousin - has been the same.

“You invited that attack. Why didn’t you send a male journalist to cover the opening of Sabarimala temple?”

Sorry, Mr. Mallu, it’s too much of a question-begging question. Why don’t you realize that journalism is not a question of womb or no-womb? Why don’t you appreciate the phenomenal self-respect that a woman journalist garners, when she reports from the ground? Why don’t you just respect a woman’s right to work?

We live in a world where plenty of women report on terror, politics, law and business, without getting heckled or tossed around by morality papas and mommas. We live in a changing world of rainbow-plurality, which even nurtures all-women news organizations.

Equations are not so asymmetric these days, after all.

High time the 62-year old Kerala gulped down its patriarchy- gripes on gendered censorship and woke up to the brave new world around.

(Saritha Mohana Varma is Assistant Editor, The Financial Express, Delhi and is stationed in Kerala)

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Religion and Women’s Rights

Clash, Violently at a Shrine in India

By Suhasini Raj and Kai Schultz

N

EAR SABARIMALA TEMPLE, India — As a woman and a man climbed a steep trail on Thursday leading to one of Hinduism’s holiest temples, a mob multiplied with frightening speed.

people, where progressive court orders issued in New Delhi are abstract, or optional, in rural parts of India, and communities are intensely organized around religion.

From a point farther up the path, several hundred men screamed at the woman, insisting that she immediately turn back from visiting the Sabarimala Temple, a centuries-old shrine in southern India. When the pair of visitors, both journalists for The New York Times, decided to descend, the crowd rushed at them, hurled rocks and pummeled two dozen police officers.

Though Indian women are leading campaigns to dismantle discriminatory rules on access to religious sites, and courts are ruling in their favor, the grip of tradition is still ironclad in places like the Sabarimala Temple. “In India, the people’s belief is more important than any law,” said Devidas Sethumadhavan, a district officer in Kerala for the Rashtriya Swayamsevak Sangh, a right-wing Hindu nationalist group.

“Madam, you don’t be afraid, O.K.?” Habeeb Ullah, one of the police officers, told one of the journalists, a bit too late.

For as long as anybody can remember, caretakers at the Sabarimala Temple, which hosts millions of pilgrims every year, have obediently enforced a de facto ban on women

For centuries, women of childbearing age were prohibited from entering the temple, which is perched on a lush hill in the coastal state of Kerala. Last month, after India’s Supreme Court struck down that ban, saying that barring women from the temple infringed on their constitutional rights, thousands of protesters pledged that women who dared to visit the temple would be punished.

On Wednesday, when the temple opened for the first time since the ban was scrapped, it quickly became the latest battleground in a long-running conflict between India’s modern, liberal court system and deeply conservative elements of its ancient culture. Protesters, many of them women, assaulted several journalists, smashed vehicle windshields and tried to rip a 22-year-old woman who planned to visit the temple from a bus.

“Hooliganism reigns in this place,” the woman’s father, Manoj, who goes by one name, told the Indian news media. “It’s almost as if these people view women as terrorists.”

By late Wednesday, the Kerala government had deployed hundreds of heavily armed police officers near a river bed at the base of the trek, and dozens of people had been arrested. Manoj Abraham, a police officer in the area, said, “Every devotee will be allowed safe passage.”

But the dispute is about something much broader than access to a temple: whether Supreme Court rules can be enforced in a spectacularly diverse country of 1.3 billion 16

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From a point farther up the path, several hundred men screamed at the woman, insisting that she immediately turn back from visiting the Sabarimala Temple, a centuries-old shrine in southern India.

When the pair of visitors, both journalists for The New York Times, decided to descend, the crowd rushed at them, hurled rocks and pummeled two dozen police officers. and girls who menstruate, defined by temple officials as those between 10 and 50 years old. The restrictions are rooted in the belief that the presence of menstruating women, who some Hindus believe are impure, would distract Lord Ayyappa, the deity the shrine is dedicated to, because he is celibate.

But in September, the Supreme Court overturned a 1991 decision by the Kerala High Court, which had upheld the ban. The Supreme Court ruled 4 to 1 that preventing menstruating women from visiting the shrine violated the country’s Constitution and was similar to the ostracism faced by India’s lowest castes, formerly known as “untouchables.”

“This denial denudes them of their right to worship,” Chief Justice Dipak Misra, who has since retired, wrote in his opinion.

In a concurring opinion, Judge Dhananjaya Y. Chandrachud wrote: “To treat women as children of a lesser god is to blink at the Constitution itself.”

Around Kerala, the ruling brought a wave of anger, particularly among far-right Hindu nationalists affiliated with India’s governing Bharatiya Janata Party, or B.J.P., which rose to power in 2014 with the election of Prime Minister Narendra Modi.

Members of the B.J.P. and other political parties have demanded a review of the court’s order. But Kerala’s chief minister, Pinarayi Vijayan, who accused fringe Hindu groups of backing Wednesday’s attacks, said the state government would do everything in its power to uphold the Supreme Court’s ruling.

“Those who want to pray cannot be stopped,” he said.

For the Times journalists, the problems started before the trek had even begun. Early Thursday morning, when they walked toward the starting point, a group of young men asked where they were going, where they were from, and if the woman, 46, had an identification card.

Later, with cameras from several local television stations surrounding the journalists, a group of men started chanting “Go back!” and “Leave!” in Malayalam, a local language, and English.

Along the trek, framed by views of thick forest and

cubbyhole restaurants selling lemon soda and snacks, the intensity of the attacks grew more acute and better organized. After a bare-chested man, muttering under his breath and wearing a saffron scarf, a politically charged symbol for Hinduism, pointed his cellphone camera at the woman, a long line of men began doing the same, and then they followed her.

Past the halfway point, a larger crowd higher on the hill started screaming, raising fists in the air and jumping on the trail’s side railings. When the journalists decided to turn back, the protesters, apparently emboldened, started chasing them.

Police officers braced for the impact, swatting the air with wooden batons.

Several of them insisted that it was still safe for the pair to continue, even as they struggled to hold the crowd back.

At one point, a group of men broke through the clasped hands of the officers, who had formed a ring around the woman, and threw rocks at her. She was struck on the shoulder but was not wounded.

At the bottom of the hill, heavily armed officers ushered away the two journalists, who were escorted from the area in a caged bus.

The police said that no woman had gotten so close to the temple in more than two decades.

Officers said they were not sure what would happen in November, when traffic to the temple picks up enormously, and when pilgrims often wait 10 hours just to start the hike. In previous years, women under 50 might have gone unnoticed in the crowds, the police said, but this year, with tensions raised, greater scrutiny is expected.

Still, there were a few small signs of encouragement. As the female journalist neared the bottom of the trail, an angry group trailing her, a small man pushed past a police officer, stuck out his hand and smiled.

“I want to congratulate you,” he said.

(A version of this article appears in print on Oct. 19, 2018, on Page A12 of the New York edition with the headline: Violent Clash of Faith and Women’s Rights at a Hindu Shrine)

Courtesy : The New York Times Online Editon

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A-Y¿ c-½¤-¨T k-Ȭ-¨h¼¤« A-lt d-sº¤. A-©¸¡w S¡u l¢-O¡-j¢µ-Y® ±d-m®-c« d-j¢-p-j¢µ¤,

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A-Y¢-¨k¡-j¤ o®-±Y£-i¡-X©¿¡ J¤-¸¢i¤« ¨J¡-Ù® F-¨¼ A-T¢´¡u l-¼Y®. l-c¢-Y¡ h¡-b¬-h±d-lt-·-J-j¡-X©¿¡ C-©¸¡w d-k-i¢-T·¤« J¥-T¤-Y-k¤-¾Y®. d-Ù-¨·-©¸¡-¨ki¿. b¡-j¡-q« o®-±Y£-Jw Cª j«L-·® C-¼¤ J-T-¼¤-l-j¤-¼¤Ù®. S¡u c¢-jl-b¢ Ì-k-¹q¢v s¢-©¸¡t-¶® ¨O-à¡u ©d¡-J¤-¼-Y¡X®. c-½w ¨Oà¤-¼ ¨Y¡-r¢-¨k-É¡-¨X-¼® Cª ©O¡a¬« ©O¡-a¢-µ-lt-´® A-s¢-i¢¿. C-¹-c-¨· ±d-m®-ch¤-Ù¡-J¤-©Ø¡w H-j¤-d-È« d¢-T¢-µ® l¡t-· ¨J¡-T¤´¤-¼ d-±Y-¹-¨qi¤« O¡-c-k¤-J-¨qi¤« l¢-m§-o¢-µ® c-T-´¤¼-l-j¡-X®.

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C-¼® O¢-k ©h-K-k-J-q¢v, ±d-©Y¬-J¢-µ® C-k-J®-©±T¡-X¢-J® h¡-b¬-h-¹q¢v o®-±Y£-Jw d¤-j¤-n-¨c¡-¸©h¡ A-Y¢¨c-´¡-q¤-©h-¨s©i¡ d-Æ¡-q¢-·«

SEPTEMBER - OCTOBER 2018

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B-O¡-j-¨d-j¤-©Æ¡-k-¹w l-c¢-Y¡ ©Qt-X-k¢-ͤJ-¨q Y-Tº-Y® m-f-j¢-h-ki¢v h¡-±Yh¿. H©¼¡ j©Ù¡ l-c¢-Y-Jw-´® h¡-±Y-©h A-l¢-¨T F-·¡u d×¢-i¤¾¥. h-פ-¾l-¨j l-r¢-i¢-k¡-X® Y-T-ºY®. m-f-j¢-h-k ©È-±Y·¢v h¡-±Y-h¡-X® o®-±Y£-Jw-´® ©c-j-¨· l¢-k´¤-Ù¡-i¢-j¤-¼¤-Y®. F-¼¡v, Y-T-i¡-c¤-¾ oª-J-j¬-·¢-c¡-X® ©d¡-k£-o® d-Øi¢v l-µ® d-·¢c¤« A-Ø-Y¢-c¤-h¢-Ti¢v ±d¡-i-h¤-¾ o®-±Y£J-¨q Y-T-º¢-j¤-¼Y®. m-j«-J¤-·¢ l-¨j-¨i-Æ¢k¤« l-c¢-Y¡ h¡-b¬-h-±d-lt-·-Jt-´® ©l-X-¨hÆ¢v

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©d¡-J¡-c¤-¾ o§¡-Y-±É¬« ©c-j-¨·Y-¨¼ D-Ù¡-i¢-j¤¼¤.

Bj¤« ©d¡-i¢-j¤-¼¢-¨¿-¼¤ h¡-±Y«.

A-Y® h¡-b¬h-¹w o§-i-©ht¨¸-T¤-·¢-i¢j¤-¼ c¢-i-±É-X-·¢-¨Ê g¡-L-h¡-i¢-j¤¼¤. C¼¤« d-j-Ø-j¡-L-Y h¡-b¬h-¹w h¡-h¥v-±d-J¡-j« A-Y¤ Y¤-T-j¤¼¤. F-¼¡v, C-k-J®-©±T¡-X¢-J® h¡-b¬-h-¹q¤« c-lh¡-b¬-h-¹q¤« B c¢-i-±É-X-µj-T® ¨d¡-¶¢-¨µ-s¢-º® l-c¢-Y-J-¨q m-f-j¢-h-ki¢v s¢-©¸¡t-¶¢«-L¢-c® A-i-´¤-J-i¡-i¢-j¤¼¤. f¡«Lë¥t ©J-±z-h¡-´¢ ±d-lt-·¢-´¤-¼, h-k-i¡-q¢i¡-i ±m£h-Y¢ bc¬¡ j¡-©Q-±zu c-T·¤-¼ H¡x-¨¨ku c¬¥-o® ©d¡t-¶-k¡-X® ‘ a c¬¥-o®-h¢-c¢-×®.©J¡«‘. A-Y¢-¨Ê ©J-j-q J-s-o®-©d¡-ÙÊ¡-i h¢-o® o-j¢-Y¡-f¡-k-c¡-X® l¬¡-Q-g-Ç-j¤-¨T ¨J¡T¢-i ht-À-c-·¢-ji¡-i B-a¬ ©Qt-X-k¢Í®. h¤-Ø® ©J-j-qJª-h¤-a¢-i¢k¤« Cɬ¡ T¤-©V-i¢k¤« Cɬu F-J®-o®-±d-o¢-k¤« ©Q¡-k¢ ¨O-i®-Y¢-¶¤¾ oj¢-Y b£-ji¡-i

©Qt-X-k¢-Í¡X®. l-c¢-Y¡ m¡-Ç£-J-jX-·¢-c¤-©l-Ù¢ ±d-lt-·¢-´¤-Ji¤« ¨O-à¤-¼¤. F-¼¡v, c¢-k-i®-´-k¢v A-lt ©d¡i-Y® o-h-j« ¨O-à¡c¿.

Y¨Ê ©Q¡-k¢-i¤-¨T g¡-L-h¡-i¢-¶¡X®. m-f-j¢-h-ki¢v o®-±Y£J-¨q ±d¡-i-©g-a-¨h¨c¬ J-i-×-X¨h-¼ o¤-±d¢«-©J¡-T-Y¢-i¤-¨T D-·j-l® c-T-¸¡-´¤¼-Y® o«-f-Ü¢-µ l¡t-· ©k¡-J-¨· A-s¢-i¢-©´Ù-Y® o-j¢-Y-i¤-¨T ¨Y¡-r¢-k¢-¨Ê g¡-L-h¡X®. d©È, o-j¢-Y-©i¡-T® l¬¡-Qg-Çt J¡-¶¢i-Y® o®-±Y£-Y§-¨· A-d-h¡c¢-´-k¡-i¢-j¤¼¤. o-j¢-Y-i®-´® J¢¶¢-i O-l¢-¶¢-¨c´¡w g£-J-j-h¡-i¢-j¤-¼¤ c¡-q¢-Y¤l-¨j ©J-¶¢-¶¢¿¡-· d¤-q¢-µ ¨Y-s¢i¤« J¥-´¢-l¢-q¢-´-k¤«. o«-Md-j¢-l¡-s¢-¨k ‘J¤-k-o®-±Y£-Jw’ ´¤« C-¨Y¿¡« l-r-¹¤-¨h-¼® ¨Y-q¢º¤. ©k¡-J-±d-m-o®-Y a¢-c-¸-±Yh¡-i ‘c¬¥-©i¡t-´® ¨¨T«-o¢’¨Ê C-ɬ-i¢-¨k ±d-Y¢-c¢-b¢-Jq¢-¨k¡-j¡-q¡-X® ±m£-h-Y¢ o¤-p¡-o¢-c¢ j¡Q®. o¤-p¡-o¢-c¢ H-j¤ o-p-±dlt-·-J-c¤-¨h¡-·¡-X® m-f-j¢-h-k l¢-b¢ c-T-¸¡-´¤-¼-Y¢-¨c¸-×¢ ©k¡-J-¨· A-s¢-i¢-´¡u m-f-j¢h-k-i¢-¨k-·¢-i-©¸¡-r¤Ù¡-i A-c¤g-l« ©J-j-q-·¢-¨Ê ©d-j® ©k¡-JQ-c-Y-i®-´¤ h¤¼¢v c¡-X-©´-T¤Ù¡-´¤-¼-Y¡-i¢. g-Ç-j¤-¨T ©l-nh¢-¶ A-±J-h¢-Jw J-¨¿-s¢-º¡-X® o¤-p¡-o¢-c¢-¨i H¡-T¢-µY®.

A-¸¡-µ¢-©h-T® l-¨j ©d¡-k£-o® o¤-j-È-©i¡-¨T o¤-p¡-o¢-c¢ F·¢. ©d¡-k£-o¢-¨Ê A-c¤-h-Y¢-©i¡-¨T-i¡-X® c¬¥-©i¡t-´® ¨¨T«-o® ±d-lt·-Jt m-f-j¢-h-k-i¢-¨k-·¢-iY®. d-Øi¢v l-µ¤Y-¨¼ ±d-Y¢-©n-b´¡t Y-T-¨º-Æ¢k¤« ©d¡-k£-o® C-T-¨d-¶® Al-¨j h¤-©¼¡-¶¤-¨J¡-Ù¤-©d¡-i¢. ±d-Y¢-©n-b-´¡-¨j l-¨j Y-¨Ê ¨F-VÊ¢-×¢ J¡t-V® J¡-X¢-µ¡-X® o¤-p¡-o¢-c¢ h¤-©¼¡-¶¤-©d¡-iY®. o¤-p¡-o¢-c¢ A-¸¡-µ¢-©h¶¢v F-·¢ l¢-±m-h¢-´¡-c¢-j¤¼¤.

A-©Y¡-¨T C-j¤-c¥-©s¡-q« ©dt ±d-Y¢©n-b-l¤-h¡-¨i·¢. h-k-i¡-q·¢v A-o-g¬-lt-nl¤« ¨ni¢« H¡x i¥ F-¼® C«-Lë£n¢v m-J¡-j-lt-nl¤« c-T·¢. C-Y¢-c¢-¨T C-j¤-h¤-T¢-¨´-©¶É¢-i H-j¤- g-Çu o¤-p¡-o¢-c¢-¨i J-©à-׫ ¨Oà¡u ±m-h¢µ¤. ¨d¡-k£-o® lk-i«

©g-a¢-µ¤-J-i-s¢-i¡-X® A-±J-h¢ J-©à-×-·¢-c® ±m-h¢-µY®. Y¤-Tt-¼® o¤-p¡-o¢-c¢i¤« o-p-±d-lt-·-J-c¤« Y¢-j¢-µ¤-©d¡J¡u Y£-j¤-h¡-c¢µ¤. o¤-j-È D-s-¸¡-´¡-¨h-¼® Dit-¼ ©d¡-k£-o® D-©a¬¡L-Ìt D-s-¸¤cv-J¢-¨i-Æ¢k¤« o«-Mt-n« D-Ù¡-©´-¨Ù-¼¤ J-j¤-Y¢ A-lt Y¢-j¢-º¤-c-T-¼¤. A-©¸¡r¤« A-±J-h¢ o«-M« l¢-¶¢¿. O£-·-l¢q¢-J-q¤-h¡-i¢ A-lt d¢-ɤ-Tt¼¤.

O¢-kt J-¨¿-T¤-¨·-s¢º¤. H-j¤ J¿® o¤-p¡-o¢-c¢-i¤-¨T ©Y¡q¢v ¨J¡-¨Ù-Æ¢k¤« d-j¢-´¤-d-×¢-i¢¿.

J-r¢-º a¢l-o« Cª ©kK-Ju o¤-p¡-o¢-c¢-¨i ©e¡X¢v f-Ü-¨¸-¶¢-j¤-¼¤. s¢-©¸¡t-¶¢«-L¢-¨Ê g¡-L-h¡-i-Y¢c¡v Y-c¢-´® lk¢-i a¤:K-¨h¡-¼¤-h¢-¨¿-¼¤ d-s-º Alt ‘C-¨Y-¨É¡-j¤ c¡-T¡-¨X-¼®’ ©O¡-a¢-´¤-Ji¤« ¨O-i®Y¤. g-Ç-j¤-¨T A-±J-h-o§-g¡-l-¨· A-lt C-J-r®-·¤-Ji¤« ¨O-i®Y¤. b¡-j¡-q« Ì-k-¹q¢v ©d¡-i¢-¶¤-¾ A-lt-´® m-f-j¢-h-k A-c¤g-l« H-j¢-´k¤« h-s-´¡-c¡-l¢-¨¿¼¤« d-sº¤. h¨×¡-j¤ a¤-j-c¤g-l« D-Ù¡i-Y® Fu.V¢.T¢.l¢-i¢-¨k o®-©c-p¡ ©J¡-m¢-´¡X®. A-l-¨ji¤« J-d-Tg-Çt A-d-h¡-c¢-µ¤-l¢-¶¤. ©Jj-q« ±d-q-i-·¢-k¡-Ù-©¸¡w Y-¨Ê O¡-c-k¢-k¥-¨T B-s¤-h-X¢´¥t c£-Ù ¨T-k¢-©·¡-X¢-k¥-¨T d-·¤-©J¡-T¢ j¥-d o-h¡-p-j¢-µ¤-cvJ¢-i h¡-b¬h-±d-lt-·-J-i¡-X® o®-©c-p.

A-lt´¤« s¢-©¸¡t-¶® ¨O-à¡-c¡-l¡-¨Y h-T-©¹-Ù¢-l¼¤. c¢-k-i®-´k¢v l-µ® A-lt l-¼ l¡-p-cl¤« B-±J-h¢-´-¨¸¶¤.

Cɬ¡ T¤-©V-i¤-¨T hª-n®-h¢ o¢«L®, s¢-¸-fë¢-J® T¢-l¢-i¤-¨T d¥-Q¡ ±do-¼, o¢.Fu.Fu– c¬¥-o®18 ¨Ê j¡-b¢-J¡ j¡-h-o§¡h¢, c¬¥-o®-L¢-k¢-¨Ê k¢-f¢ o¢.F-o® F-¼¢-lj¤« B-±J-h¢-´-¨¸¶¤. s¢-©¸¡t-¶t T¢-l¢-i¤-¨T j¡-©Q-n®, eë-©l-r®-o® 24 T¢-l¢-i¤-¨T c¢K¢v ±d-©hn®, o§¡-Y¢-J¦n®X F-¼¢-l-j¡-X® B-±J-h¢-´¨¸-¶ h-פ h¡-b¬-h-±d-lt-·Jt. (h¡-b¬-h-±d-lt-·-Jc¤« A-Ú¬¡-d-J-c¤-h¡-X® d¢.l¢. h¤-j¤-Ju)

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±d-q-i-J¡k-·® O¡-c-k¢-k¥-¨T B-s¤-h-X¢´¥t c£-Ù ‘p¡-n® C-É©e¡t ©Jj-q’ F-¼ ¨T-k¢-©·¡x d-j¢-d¡-T¢-i¢-k¥-¨T j¡-Q¬-¨h-Ø¡T¤« c¢¼¤« b-c-o-p¡-i« o§-j¥-d¢-µ® cv-J¤-J-i¤-Ù¡i¢. Cɬu T¢-l¢ O¡-c-k¤-J-q¢-¨k A-d¥t-l« J¡-j¤-X¬-dj¢-d¡-T¢-i¢-¨k¡-¼¡-i¢-j¤-¼¤ A-Y®. ‘l¡µ®, ¨V¡-©X×®, s£-f¢v-V®’ F-¼¡-i¢-j¤-¼¤ h¤-±a¡-l¡-J¬«. d-·¤©J¡-T¢-©i¡-q« j¥-d-i¡-X® o®©c-p A¹-¨c o-h¡-p-j¢-µ¤ cv-J¢-iY®.

o®

©c-p¡ ©hj¢ ©J¡-m¢ Fu.V¢.T¢.l¢-i¤-¨T J-s-o®-©d¡-ÙÊ¡-X®. m-f-j¢-h-k-i¢-¨k o®-±Y£-±d-©l-m-c-l¤-h¡-i¢ f-ܨ¸-¶ J¡-j¬-¹w j¡-Q¬-¨· A-s¢-i¢-´¡-c¡-X® ¨¨k-l® Dw-¨¸-¨T ¨O-à¡-c¤-¾ o-¼¡-p-l¤-h¡-i¢ A-lt F-·¢-iY®. H-¸« J¬¡-h-s¡h¡u F-o®. d¢. f¡-f¤l¤« D-Ù¡-i-¢-j¤¼¤. Al-¨j A-±J-h¢-o«-M« O£-·-l¢-q¢-µ® H¡-T¢´¤-J h¡-±Y-h¿, J¬¡-h-s d¢-T¢-µ¤-l¡-¹¢ c-m¢-¸¢-´¤-Ji¤« ¨O-i®Y¤. d-Øi¢v l-µ¡-i¢-j¤-¼¤ AY®.

Cª o«-g-l-¨·¸-×¢ o®-©c-p ©J¡-m¢ d-s-º-Y® C-¹¨c: ‘’ d-Ø¡ ©f-o®

കേരളത്തെ സ്‌നേഹിച്ച

സ്‌നേഹയ്ക്ക് കിട്ടിയത്‌

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J¬¡Ø¢v c¢-¼¡-X® S-¹w s¢-©¸¡t-¶® ¨O-i®-Y¤-¨J¡-Ù¢-j¤-¼Y®. ¨d-¨¶-¼¡X® h¤-¸-©Y¡-q-h¡-q¤-Jw ©j¡-n¡-J¤-k-j¡-i¢ h¤-±a¡-l¡-J¬-l¤« l¢-q¢-µ¤-¨J¡Ù® ¨l-¾-·¤-X¢i¢v ¨d¡-Y¢-º H-j¤ ±T¡-Jés¢v l-¼-¢-s-¹¢-iY®. A-lt H-µ-l-µ-©¸¡w S-¹w J-j¤-Y¢ o®-±Y£-J¨q-i¡-¨j-¨i-Æ¢-k¤« Y-T-i¡-c¡-i¢-j¢´¤« F-¼¡X®.

AY¤ m-j¢-i¤-h¡-i-¢-j¤-¼¤. H-¼¤j-Ù® o®-±Y£J-¨q J-Ù¡-X® A-±J-h¢-´¥-¶« fp-q« l-µY®. S-¹w A-Y¤ O¢-±Y£-J-j¢-´¡u ±m-h¢-µ-©¸¡w A-±J-h¢-Jw S-¹-q¤-¨T ©c-¨j Y¢-j¢º¤. d-Ø ©È-±Y-·¢-¨Ê 200 h£-×t C-¸¤-s-·¤-c¢-¼¡-X® S¡u s¢-©¸¡t-¶® ¨O-i®-Y¢-j¤-¼Y®. Bw-´¥-¶« S¹-¨q l-q-i¤-Ji¤« F-¨Ê ±d¡-i-·¢-k¤-¾ H-j¤ o®-±Y£-´® C-l¢-¨T c¢v´¡u d¡-T¢-¨¿-¼® d-s-i¤-Ji¤« ¨O-i®Y¤. F-¼¡v, o¤-±d¢«-©J¡T-Y¢ l¢-b¢-¨i-·¤-Tt-¼® F-c¢-´® C-l¢-¨T c¢v´¡u F¿¡ A-l-J¡-m-¹q¤-h¤-¾-Y¡-X-©¿¡. f-p-q-·¢c¤« g£-n-X¢-Jw-´¤-h¢-T-i®´¤« S¡u s¢-©¸¡t-¶¢«-L® Y¤-Tt-¼¤. Y¤-Tt-¼® A-lt J¬¡-h-s¡-h¡-c® ©c-¨j Y¢-j¢º¤. n¥-¶¢«-L® Y-T-i¤-Ji¤« J¬¡-h-s d¢-T¢-µ¤-l¡-¹¤-Ji¤« ¨O-i®Y¤. D-É¢k¤« Y-¾¢-k¤«¨d-¶ S-¹w d¢-É¢-j¢-º¤. A-©Y¡-¨T Bw-´¥-¶« l¢-Q-i¡j-l« h¤-r´¢.’’ o®©c-p¡ ©J¡-m¢ d-sº-Y® h-×® l-c¢-Y¡©Qt-X-k¢-ͤ-Jw-´¤Ù¡-i a¤-j-c¤g-l« l-µ¤-©c¡-´¤-©Ø¡w Y-c¢-´¤-Ù¡i-Y® F-±Y©i¡ c¢-oæ¡-j-h¡-¨X-¼¡X®.

Fu.V¢.T¢-l¢-i¤-¨T ©J-j-q f¬¥©s¡ O£e¡-i o®-©c-p¡ ©h-j¢ ©J¡-m¢ J-r¢-º ±d-q-i-J¡k-·® O¡-c-k¢-k¥-¨T B-s¤-h-X¢´¥t c£-Ù ‘p¡-n® C-É©e¡t ©Jj-q’ F-¼ ¨T-k¢-©·¡x d-j¢-d¡-T¢-i¢-k¥-¨T j¡-Q¬-¨h-Ø¡T¤« c¢¼¤« b-c-o-p¡-i« o§-j¥-d¢-µ® cv-J¤-J-i¤-Ù¡i¢. Cɬu T¢-l¢ O¡-c-k¤-J-q¢-¨k A-d¥t-l« J¡-j¤X¬-d-j¢-d¡-T¢-i¢-¨k¡-¼¡-i¢-j¤-¼¤ A-Y®. l¡µ®, ¨V¡-©X×®, s£-f¢v-V® F-¼¡-i¢-j¤-¼¤ h¤-±a¡-l¡-J¬«. d-·¤©J¡-T¢-©i¡-q« j¥-d-i¡-X® o®©c-p A¹-¨c o-h¡-p-j¢-µ¤ cv-J¢-iY®. h¡-b¬-h-±d-lt·-Jt J¡X¤-¼ J¡-r®O-Jw c¡-¶¤-J¡-¨j A-s¢-i¢´¤-J h¡-±Yh¿, a¤-j¢-Y-h-c¤-g-l¢´¤¼ h-c¤-n¬-j¤-¨T J¥-¨T ©Ot-¼¤ c¢v-´¤-J-i¤« ©l-X¨h-¼ o-©z-m-h¡-X® o®©c-p cv-J¢-iY®. B o®-©c-p-©i¡-T¡-X® g-Ç¢-h¥-·® ±g¡É¡-i O¢-kt A-d-h¡-c-J-j-h¡-i¢ ¨d-j¤-h¡-s¢-iY®.

Stop attacks on journalists

doing their job at Sabarimala

T

he Network of Women in Media, India (NWMI) vehemently denounces the attacks on journalists, including several women journalists, at Nilackal/ Sabarimala. Saritha S Balan of The Newsminute, Pooja Prasanna of Republic, Radhika Ramaswamy of CNN-News 18 and Maushumi Singh of India Today were attacked today while attempting to cover the situation at the entry point to the Sabarimala hill temple, scheduled to open for monthly rituals this evening. Yesterday several journalism students were stopped by protesters, mainly female, who were stopping and screening all vehicles bound for Pampa. It is up to the government to see that more names are not added to the list and that mob frenzy is not allowed to interfere with freedom of expression, the public’s right to information and the media’s responsibility to report on events and issues of public concern.

The opening of the temple today marks the first time after the Supreme Court handed down its verdict allowing women of all ages to pray at the hill temple. Until then girls and women between 10 and 50 years of age were not permitted to pray there. Hundreds of protesters opposing the verdict have been camping at Nilackal over the past few days. On Tuesday they began stopping and checking vehicles, including state-run buses, and forcibly turning back female passengers in the hitherto forbidden age group. Today they turned violent, attacking journalists, including women, who were there to do their jobs.

We demand that the Chief Minister and government of Kerala take immediate action against the agitators who let violent assailants loose on journalists, obstructing them from doing their duty. It is incumbent on the government to create a secure environment for journalists to report from Pamba and nearby areas on an issue that is of interest and concern to the public. The government must immediately ensure the safety of journalists and assure the media that the lives of reporters are not in danger.

NWMI condemns the attacks and urges support from civil society in Kerala to make sure that the media is able to cover this controversial issue without fear and that journalists are not harmed in the process of doing their jobs.

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oh£-d-O-j¢-±Y-·¢-¨k G-×l¤« l-k¢i

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b¬-h¹-¨q ©l-¶-i¡-T¤-¼ o«-Md-j¢-l¡-s¢-¨Ê ±g¡-Éu c-T-d-T¢-Jw Q-c¡b-d-Y¬-©J-j-q-·¢-c® c¡-X-©´-T¡-i¢ h¡-s¢-i¢-j¢-´-i¡X®. o-h£-dJ¡-k ©J-j-qO-j¢-±Y-·¢-¨k G-×l¤« lk¢-i h¡-b¬-h-©l-¶-i¡-X® H-©Jé¡-ft h¡-o« m-f-j¢-h-k ©È-±Y-l¤-h¡-i¢ f-Ü-¨¸¶® c¢-k-i®-´-k¢k¤« d-Ø-i¢-k¤-h¡-i¢ c-T-¼-Y®. c¢-j-l-b-¢ ©a-m£-i-h¡b¬-h-¹-q¤-¨T ±d-Y¢-c¢-b¢-Jw Dw-¨¸-¨T g£-J-j-h¡-i¢ B-±J-h¢-´-¨¸-¶¤. Y¢-J-º o®-±Y£-l¢-j¤-Ú-Y c¢-s-º A-r¢º¡-¶-h¡-i¢-j¤-¼¤ h¡-b¬-h-±dlt-·-J-j¤-¨T ©c¨j. a¢ c¬¥-o® h¢-c¤-¶¢-¨Ê ©kK¢-J oj¢-Y f¡ku, s¢-¸-fë¢-J® T¢.l¢.i¤-¨T ±d-Y¢-c¢-b¢ d¥-Q ±d-o-¼, Fu.V¢.

T¢.l¢. s¢-©¸¡t-¶t o®©cp ©J¡-m¢, B-Q® Y-J®, c¬¥-o® 24 F-¼¢-l-i¤¨T ±d-Y¢-c¢-b¢Jq¡-i lc¢-YJw F-¼¢-lt J-©à-×-·¢c¤« J-©¿-s¢-c¤« C-j-i¡-i¢. oj¢-Y f¡k¨c c-¨¶¿¢-c¢-¶® O-l¢-¶¤-J-i¡-i¢-j¤¼¤.

A-lt´® o¡-j-h¡-i d-j¢´¤ d-×¢ B-r®O-J-©q¡-q« O¢-J¢v-o-i¢v J-r¢-©i-Ù¢-l¼¤. h¡-b¬-h-±dlt-·-J-j¡-¨X-¼¤« m-f-j¢-h-k J-i-s¡u l-¼-Y-¨¿-¼¤ B-lt-·¢-µ® d-s-º¢¶¤« A-¨Y¡¼¤« A-±J-h¢-J-q¤-¨T f-b¢j-Jt-X-¹-q¢v o§£-J-j¢-´-¨¸-¶¢¿. o-¼¢-b¡-c·¤« h¡-b¬-h-¹w g£-n-X¢-´¡-j¤-¨T c¢-r-k¢k¡-i¢-j¤¼¤. Y¤-k¡h¡-o d¥-Q-i¤-¨T A-lo¡-c c¡w A-±J-h« h¤u-J¥-¶¢ h-X-·-s¢-º® o-¼¢-b¡c-·¤ 24

c¢¼¤« ©cj-¨· C-s-©¹-Ù¢-l-¼ o¡-pO-j¬-h¡-i¢-j¤-¼¤ F-¼¡-X® a¦-m¬-h¡-b¬-h-±d-lt-·-Jt o¡-h¥p¬-h¡-b¬-h-¹-q¢-k¥-¨T Y¤-s¼¤-d-s-ºY®. C-Y® F±Y©i¡ g£-Y¢-ah¡-i A-l-Ì-i¡X®, C-Y¢-c¤ h¤-Ø® C¿¡-·-Y¤«. d-j¡-±J-h« o®-±Y£-J-©q¡-T¿ ©l-Ù¥ F-¼® f¢.¨Q.d¢. ©c-Y¡-´w A-c¤-i¡-i¢J-¨q dU¢-¸¢-©´-Ù-Y¤-Ù®. o-h-j-·¢-c® D-©·-Q-cl¤« d¢-ɤ-Xi¤« cvJ¢-i o«-M-d-j¢-l¡t ©c-Y¡-´w h¡-b¬h-¹-©q¡-T® h¡-¸® d-s-i-X«. Y-¹w d-s-i¤¼-Y® h¡-±Y« s¢-©¸¡t-¶® ¨Oà-X« F-¼® B-©±J¡-m¢-µ A-±J-h¢-Jw o-Y¬-¨· g-i-´¤-¼-l-j¡X®.

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ഭിമാനം സംരക്ഷിക്കാനുള്ള ഇന്നത്തെ കാലത്തെ സ്ത്രീ ഭാഷയായി രണ്ട് വാക്ക് മാറി. me too.ഈ ഇരട്ട പദം ഇംഗ്ലീഷ് ആണ്. എന്നാൽ രാജ്യങ്ങളുടെയും ഭാഷകളുടെയും അതിർത്തികൾ ഭേദിക്കുന്ന തരംഗമായി. ഈ ചലനത്തിൽ ഇന്ത്യയും കേരളവും മ�ോചിതമല്ല. വേട്ടക്കാരിൽ ചിലർ വീഴുന്നു. ലൈംഗിക പീഡനത്തിനെതിരായ പ്രസ്ഥാനമായി മാറിയ മീ ടൂവിന്റെ ജന്മയിടം അമേരിക്കയാണ്. അവിടെപ്പോലും ഇന്ത്യയിൽ സംഭവിച്ചതുപ�ോലെ അധികാര കസേരകൾ തെറിച്ചിട്ടില്ല. 2006 ൽ പ്രമുഖ അമേരിക്കൻ സന്നദ്ധപ്രവർത്തക തരാനാ ബുർക്കിന me too സമൂഹ മാധ്യമത്തിൽ ഉപയ�ോഗിച്ചപ്പോൾ അത് ഇപ്രകാരം ഒരു ഭീമാകാരം ആകുമെന്ന് ആരും കരുതിയില്ല. ‘ഞാനുംകൂടി’ എന്ന ഹാഷ് ടാഗ് ഇന്ത്യയിലെ രാഷ്ട്രീയ -ചലച്ചിത്ര- സാംസ്‌കാരിക മേഖലയെ മാത്രമല്ല മാധ്യമ ല�ോകത്തെയും പിടിച്ചുലയ്ക്കുന്നു. ഇന്ത്യയിലെ വനിതാ മാധ്യമപ്രവർത്തകർ ആൺക�ോയ്മ ഉൾപ്പെടെയുള്ള ഹിംസകളെ അഭിമുഖീകരിക്കുന്നുണ്ട്. അത് പ�ൊളിച്ചടുക്കാനുള്ള ഉദ്യമമായി നേരിയത�ോതിലെങ്കിലും മീ ടു മാറുന്നുണ്ട്. വെളിപ്പെടുത്തലുകൾ വർധിച്ചതിനെ തുടർന്ന് പ്രത്യേക അന്വേഷണ സമിതി രൂപീകരിക്കുമെന്ന് കേ�സർക്കാർ പ്രഖ്യാപിച്ചു. പക്ഷേ നടപടി ഫലപ്രദമായിട്ടില്ല. മാധ്യമരംഗത്തെ പത്രാധിപ മേധാവിയായി ദീർഘകാലം വാണ കേ� വിദേശകാര്യസഹമ�ി എം ജെ അക്ബർ രാജിവച്ചത് നിൽക്കക്കള്ളി ഇല്ലാതെയാണ്. ലൈംഗികമായി കടന്നാക്രമിച്ചു എന്ന വെളിപ്പെടുത്തൽ ആദ്യം നടത്തിയത് പ്രിയാ രമണി. തുടർന്ന് 21 വനിതാ മാധ്യമപ്രവർത്തകർ. അക്ബർ എന്ന വേട്ടക്കാരനിൽ നിന്നും രക്ഷനേടി അമേരിക്കയിലെത്തിയ മാധ്യമപ്രവർത്തക പല്ലവിയുടെ വെളിപ്പെടുത്തൽ കൂടുതൽ ഗൗരവമുള്ളതും കയ്യാമം വയ്ക്കാൻ പര്യാപ്തവുമാണ് . സാമൂഹ്യനീതിക്കുവേണ്ടിയുള്ള സമരായുധമായി മീ ടു. ഒരായുധം ല�ോകത്തെ മാറ്റിത്തീർക്കാനും പകരം സമൂഹത്തെ ശിഥിലീകരിക്കാനും ഉപയ�ോഗിക്കാം. ആൺ-പെൺ കള്ളികളിൽ അടച്ച് സങ്കുചിതം ആക്കാനുള്ളതല്ല, ആണുംപെണ്ണും ഒന്നായി നിന്ന് പ�ോരാടാനുള്ളതാണ് മീ ടു എന്ന സമരായുധം.

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Loud and clear 32

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Barkha Dutt

very woman has a #MeToo story.

It could be a stranger on the street, a colleague at work, a cousin in the extended family or even your own spouse. We have all been variously leered at, pawed, harassed, molested and abused. This moment in India that has outed powerful men in politics, cinema and the news media is a historic phase of collective catharsis. Yes, it is disruptive and somewhat anarchic in nature. But that is necessary to fuel its raw courage.

In fact the criminal defamation lawsuit filed by M.J. Akbar, former minister of state for foreign affairs, against Priya Ramani, the journalist who first named him for sexual harassment, is the best evidence of the limitations and failure of due process. A powerful, well connected politician—now accused of misconduct, abuse and molestation by 15 women—hires an army of just as powerful, well-connected lawyers to punish a woman who dared to speak. If Ramani fails to prove her charges in court—always a challenge with endless delays, an environment of toxic coercion and the tilt of the legal system to those with wealth and influence—she could face jail time of up to two years. The audacity and sheer brazenness of the move is a message to millions of other Indian women—be quiet or you will face the same ferocious counterattack from the establishment.

But, women are not backing off or backing down. The criminal proceedings against Ramani did not stop a 15th woman from coming out and sharing her account of harassment at the hands of Akbar.

Politicians and partisans will try and divide this upsurge of fury into camps of left and right. That would be the simplest way to sabotage and subvert the credibility of #MeToo, by reducing

it to the banality of a BJP vs Congress fight.

Women must step in unequivocally and say, we do not care about ideological battlefields; we do not cherry-pick our outrage, nor do we condone a harasser or predator because his political leanings are the same as ours.

In the 1990s, American liberals made this mistake with Bill Clinton. When the news of his affair with the young intern Monica Lewinsky erupted into the headlines, it became a pitched fight between the Republicans and the Democrats. At the time, the world’s understanding of what consent was very patriarchal and rudimentary. No one pointed out the obvious: even when a relationship appears consensual, the sharp power differential—the world’s most powerful man and an intern in her twenties—makes the equation a corrosive abuse of power. Today, when Hillary Clinton refuses to take a position on the Lewinsky issue, liberals in her own country slam her for it.

That is the real gift of the #MeToo movement: it has enabled us to take an unvarnished and expanded look at how men abuse power. It has helped us recognise that our consent is not surrendered just because a man is our colleague, our friend, or our boyfriend.

Indian women will no longer stand for victim-shaming. A dinner, a date, an evening of drinks, a previous flirtation, or a history of romance or sex does not give a guarantee of our consent every time. Our consent has to be sought and confirmed. Yes, every time.

Whatever happens next, one thing has already changed. Women will not be silenced. Women will not be awkward.

And yes, women will be angry, and no longer apologise for it.

(Barkha Dutt is an Indian television journalist and author)

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Meera Srinivasan & Ananth Krishnan

Journalism after # Me Too

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he Indian newsroom must be made safe and equal for women — or it will lose all credibility

Over the last week, Indian journalism has finally been forced to confront what has long been its dirty secret. Going by the numerous agonising accounts of women journalists, about some male colleagues and editors abusing power and crossing the line, it appears that sexual harassment is no media outlet’s exclusive story.

With such prevalence, testified credibly by many of our own, the need for introspection and corrective action is urgent.

Open secrets While the rest of the country may have been left shocked by the disturbing allegations, from at least 10 34

women, aimed at veteran journalist — and now Minister of State for External Affairs — M.J. Akbar, not a single reporter, in all likelihood, batted an eyelid in newsrooms across the country. On Sunday, Mr. Akbar, who returned from a week-long trip to Africa, denied the allegations terming them “baseless” and said he would take legal action against accusers.

A week after a flurry of allegations against him began emerging, the government and the Ministry of External Affairs continue to maintain deplorable silence, casting doubt on the likelihood of any process of inquiry.

For the brave women outing their past and present predator-colleagues or bosses, it cannot be easy. The incidents are bound to revive disturbing memories of being assaulted by power and toxic mascu-

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linity. Among those who have come forward, former Asian Age journalist Ghazala Wahab shared a distressing account from 1997, of being allegedly harassed by Mr. Akbar when she worked for him. Just as troubling was Ms. Wahab’s recollection of how her superiors, including senior women colleagues at the paper, responded to her account, saying it was “entirely her call”. As Ms. Wahab wrote, “I was alone, confused, helpless and extremely frightened.”

Nothing can be more disillusioning than this for a young journalist beginning her career with hope and idealism — and it should worry us that in 2018, across newsrooms, responses to such cases may not be very different. Which is why many women ultimately choose to leave their jobs, or seek employment elsewhere, when

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they confront inappropriate behaviour from their colleagues.

The Editors Guild of India, in a statement, said: “The newsroom in our profession is a relatively informal, free-spirited and hallowed space.

It must be protected.” Many of us, journalists, too like to think of — and perhaps even romanticise — our workplaces as being sacred, liberal spaces unbound by constraints.

Sadly, what these cases have shown is the exact opposite.

Understand the moment Women journalists coming forward to put out their stories — when they have nothing to gain, and much to lose — has now triggered a long overdue self-reflection in Indian newsrooms. However, this is only the start.

Naming and shaming perpetrators could be cathartic for the victims, but may not, by itself, lead to any radical change in the outmoded ways that many newsrooms still function.

Indian news organisations are by no means unique in being slow to crack down on inappropriate — in some instances, criminal — behaviour in their workspaces that still remain hostile for women. Yet newsrooms are faced with particular challenges.

Where do news organisations go from here? An obvious starting point is to implement, in earnest, the Sexual Harassment of Women at Workplace (Prevention, Prohibition and Redressal) Act, 2013, which superseded the earlier 1997 Vishakha guidelines.

Further, we need to broaden our reading of the “workplace”, to include the field when a reporter travels with her colleague on assignment, or even a co-worker’s vehicle. Organisations must provide safe transport for women on late shifts. As the Network of Women in Media, India said in its statement, editors must ensure that stories are not privileged over the safety of their staff.

Second, there is an urgent need for effective internal complaint committees (ICCs). All journalists must be made aware of the ICC and the option to file a complaint there. While

setting up these committees, organisations must be mindful of internal power structures that often load the dice in favour of those wielding more power.

commonplace in many newsrooms.

So is misogyny.

The key word, however, is “effective”.

Workplaces that foster environments that are hostile to women who speak up render an ICC meaningless.

Very often, those who complain about their discomfort are readily branded “troublesome”, “fussy” or “thin-skinned”, discouraging others from raising similar concern. #Metoo is perhaps the antithesis of due process — but conversely, it is by strengthening due process that we can even begin to address this crisis institutionally.

Call out harassment The spate of reactions from some (usually male) quarters to the allegations that have surfaced now, suggesting that the women “trivialise” more aggravated cases of sexual harassment involving physical violence, is a stark indication that we still have a long way to go in understanding what is and isn’t acceptable behaviour. This, despite the fact that sexual harassment — even by law — is defined as not just “physical contact and advances involving unwelcome and explicit sexual overtures” but also “making sexually coloured remarks” or “any other unwelcome physical, verbal or non-verbal conduct of sexual nature”. Harassment comes in many forms and varying intensities.

Dismissing some of it as “harmless flirting” or as “jest” trivialises the issue. Raising it doesn’t.

Without doubt, there is a need for proactive sensitisation, even within the “all-knowing” media. The 2013 Act lists organising regular workshops and awareness programmes as part of the employers’ duties.

But Indian workplaces — not just newsrooms — are utterly inadequate on this front. As journalists with over a decade’s experience in different newsrooms and speaking to journalists across the breadth of the Indian media, our sense is that sensitisation is non-existent. Lewd jokes are

In 2011, the Niira Radia tapes presented Indian journalism with a glorious opportunity to ask itself tough questions about the cosy proximity that mediapersons shared with the corporate world and the government.

It failed to seize that chance. Many of those journalists have continued in their careers, the outrage long forgotten. For organisations, it soon became business as usual. Seven years later, #MeToo is posing an even more difficult question for Indian journalism. It presents an even greater opportunity for critical reflection and radical change.

The newsroom, for a lot of us, is a space for adrenaline rushes, fierce intellectual battles, excitement, learning and unlearning. Some of us inhabiting it shouldn’t have to be preoccupied with being wary and guarded with colleagues. Some of us shouldn’t feel less safe, and most importantly, some of us shouldn’t be made to feel less equal.

Are we going to let constraint and inhibition, caused by everyday anxiety at the workplace, take our collective focus off telling stories that matter and speaking truth to power?

Litmus test We need healthy camaraderie in place of needless caution. Respect, not condescension. We would like colleagues to engage with us, not be patronising. And the fact that we are still having to demand these is telling. We do realise that the media world, after all, despite its many self-righteous claims, is not insulated from the larger, patriarchal world.

But as journalists, if we are fundamentally bothered by discrimination in society, as we should be, there is a lot of cleaning up to do in our own backyards.

(Meera Srinivasan is The Hindu’s correspondent in Sri Lanka. Ananth Krishnan is a Visiting Fellow at Brookings India and was formerly The Hindu’s correspondent in China) (Courtesy: The Hindu)

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Cover Story

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I

t was in her article in Washington Post, that Pallavi Gogoi, Chief Business Editor, US National Public Radio, made her revelations on MJ Akbar. She said that during her tenure in Asian Age, he had physically and mentally abused her and raped her, for months.

Akbar denied it. His wife Mallika Joseph too rushed to his rescue. Mallika’s statement is that Pallavi had a consensual relationship with her husband.She even went on to sarcastically add that “while happily drinking and dining with us”, Pallavi didnot have “the haunted look of victims of sexual assault”.

Pallavi has accused Mr Akbar of sexually harassing women journalists who worked with him over the years.

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As a young journalist in India,

I was raped by M.J. Akbar.

Here is my story

By Pallavi Gogoi Pallavi Gogoi is the chief business editor for NPR.

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ditor’s Note: In a statement, M.J. Akbar said his relationship with Pallavi Gogoi was consensual. “This relationship gave rise to talk and would later cause significant strife in my home life as well,” the statement reads. “This consensual relationship ended, perhaps not on the best note.” He said he’s been the subject of “a barrage of false and fabricated accusations, which I am now addressing.”

The M.J. Akbar I knew — editor in chief of the Asian Age newspaper — was a brilliant journalist. He also used his position to prey on me.

What I am about to share are the most painful memories of my life. I have shelved them away for 23 years.

Two Sundays ago, at my home in the United States, I came upon a story that several journalists had gone public about sexual harassment by Akbar from years ago. Akbar was most recently India’s junior foreign minister, a high-ranking government official who set foreign policy for the world’s largest democracy. He’s still today a member of the Indian Parliament and a member of the ruling party, which prides itself on advancing rights for young girls.

My head started spinning. I called two of my closest friends in India.

Both of them, dear friends who love me fiercely, know from what I shared with them more than two decades

ago the pain and devastation that were wrought on me by Akbar. Around the same time, I also shared my story with my husband. It had been just a few weeks after meeting him, and I remember breaking down in sobs as I narrated it to him.

I was 22 years old when I went to work at the Asian Age, where the vast majority of us were women.

Most of us who joined the outlet were barely out of college. We hadn’t even learned the most basic tools of journalism. Working in New Delhi under Akbar, we were star-struck.

He was famous, an author of two well-regarded political books and a leading editor. In the span of about a decade, he helped launch two hugely successful publications in India: Sunday magazine and the Telegraph daily newspaper. The Asian Age, an international paper, was then his latest venture.

Akbar, who was in his 40s, always made sure we were aware of his superior journalistic skills. He marked our copy with his red-ink-filled Mont Blanc pen, crumpled our printouts and often threw them in the garbage bin, as we shuddered. There was never a day when he didn’t shout at one of us at the top of his voice. We rarely measured up to his standards.

I was mesmerized by his use of language, his turns of phrase, wishing that I could write like he did. So I took all the verbal abuse. After all, I

was learning from the best. Or so I thought.

At 23, I became the editor of the op-ed page at the Asian Age. I would place calls to top columnists, giants of Indian politics and intellectual society, such as Jaswant Singh, Arun Shourie and Nalini Singh. It was a big responsibility at a young age.

But I would soon pay a very big price for doing a job I loved. My friend Tushita can still recall the moments after the first time Akbar assaulted me. It must have been late spring or summer of 1994, and I had gone into his office — his door was often closed.

I went to show him the op-ed page I had created with what I thought were clever headlines. He applauded my effort and suddenly lunged to kiss me.

I reeled. I emerged from the office, red-faced, confused, ashamed, destroyed. Tushita still remembers how my face looked that day. When she asked me what happened, I confided in her immediately. She was the only one I shared this with at that time.

The second incident was a few months later, when I was summoned to Bombay to help launch a magazine.

He called me to his room at the fancy Taj hotel, again to see the layouts.

When he again came close to me to kiss me, I fought him and pushed him away. He scratched my face as I ran away, tears streaming down. That evening, I explained the scratches to a friend by telling her I had slipped

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and fallen at the hotel.

his hotel in Jaipur, far from Delhi.

When I got back to Delhi, Akbar was livid, and he threatened to kick me out of the job if I resisted him again.

But I didn’t quit the paper.

In his hotel room, even though I fought him, he was physically more powerful. He ripped off my clothes and raped me. Instead of reporting him to the police, I was filled with shame. I didn’t tell anyone about this then. Would anyone have believed me? I blamed myself. Why did I go to the hotel room?What was worse was that after that first time, his grip over me got tighter. I stopped fighting his advances because I felt so helpless.

He continued to coerce me. For a few months, he continued to defile me sexually, verbally, emotionally.

He would burst into loud rages in the newsroom if he saw me talking to male colleagues my own age. It was frightening.

I used to arrive to work at 8 a.m., before most newspaper journalists.

My aim was to get the op-ed pages ready by 11 a.m., when the rest of the staff came in. That way I could go out reporting as often as I could to escape the office. Soon after the Bombay incident, one story took me to a remote village a few hundred miles from Delhi to cover the appalling saga of a young couple who were hanged by members of the village because the lovers were from different castes. The assignment was to end in Jaipur. When I checked back, Akbar said I could come discuss the story in 38

Why didn’t I fight him then? I was

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always a fighter in all other aspects of my life. I cannot explain today how and why he had such power over me, why I succumbed. Was it because he was so much more powerful than I was? Was it because I didn’t know how to handle a situation that I never imagined possible with someone who was not supposed to do that? Was it because I was afraid of losing my job?

And how to explain that to my honest parents, who lived far away? I just know that I hated myself then. And I died a little every day.

I continued to look for reporting assignments that would take me far away. I remember with such pride covering the December 1994 elections. I crisscrossed the state of Karnataka, far away from Delhi. I interviewed big-name state politicians, attended rallies, talked to villagers.

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In his hotel room, even though I fought him, he was physically more powerful.

He ripped off my clothes and raped me. Instead of reporting him to the police, I was filled with shame. I didn’t tell anyone about this then. Would anyone have believed me? I blamed myself.

evening, he hit me and went on a rampage, throwing things from the desk at me — a pair of scissors, a paperweight, whatever he could get his hands on. I ran away from the office and hid in Hyde Park for an hour. I remember telling my friend Tushita the next day. I spoke to my mom and my sister then, but couldn’t bear to share details. It was apparent to them how distraught I was, and they wanted me to come back.

I was in shreds — emotionally, physically, mentally. I knew I had to get out of London. Besides Tushita, I shared all this with another close friend, Suparna. I told them I was going to run away from the misery.

The experience was my first time seeing the fruits of shoe-leather political reporting, because I was the one reporter who correctly predicted the outcome of the elections that year. After that, Akbar said he would send me overseas to either the United States or the United Kingdom as a reward. I got work visas for both countries. I was thrilled. And I thought that finally, the abuse would stop because I would be far away from the Delhi office. Except the truth was that he was sending me away so I could have no defenses and he could prey on me whenever he visited the city where I would be posted.

I recall the time he worked himself into a rage in the London office because he had seen me talk in a friendly manner to a male colleague.

After my colleagues left work that

I had a visa to be a foreign correspondent to the United States.

There were at least a couple of senior editors at the same publication that I could work with, I thought. But Akbar was obviously still in charge and summoned me back to Bombay immediately.

I left. This time for good.

I got a job as a reporting assistant, working on the overnight shift at Dow Jones in New York.

Today, I am a U.S. citizen. I am a wife and mother. I found my love for journalism again. I picked up my life, piece by piece. My own hard work, perseverance and talent led me from Dow Jones to Business Week, USA Today, the Associated Press and CNN. Today, I’m a leader at National Public Radio. I know that I do not have

to succumb to assault to have a job and succeed.

Over the years, I have not brought up Akbar in conversations. I’ve always felt that Akbar is above the law and justice doesn’t apply to him. I felt he would never pay the price for what he had done to me.

Two weeks ago, Akbar resigned from his post as minister of state for external affairs. He has called these allegations “baseless and wild,” and has filed a lawsuit against one of the journalists who have spoken out. It doesn’t surprise me. He feels he is entitled to make up his own version of “truth” today, just like he felt entitled to our bodies then.

There’s nothing for me to gain from speaking out now. In fact, it is heart-wrenching because people I am close to will feel my pain. Akbar has threatened to sue other women who come forward. And maybe there are implications that I haven’t thought of.

But I am writing this because I know what it is like to be victimized by powerful men like Akbar. I am writing this to support the many women who have come out to tell their truth. I am writing this for my teenage daughter and son. So they know to fight back when anyone victimizes them. So they know never to victimize anyone.

So they know that 23 years after what happened to me, I have risen from those dark times, refusing to let them define me, and I will continue to move forward.

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External Committee to Probe Nishtha Jain’s

Complaint Against Vinod Dua received

from Ms Jain yet. The Wire has informed Ms Jain that at The Wire‘s request, four persons have kindly agreed to be members of an external committee to investigate/examine her complaint in a timebound manner. These four persons are a retired justice of the Supreme Court, a retired justice of a high court, a retired Indian Foreign Service officer and a retired professor.

O

ver the last one month, as the #MeToo movement has gained ground, Indian women from the media, film industry, comedy scene and other professional areas have been sharing stories of sexual harassment at the workplace.

Filmmaker Nishtha Jain accuses Vinod Dua of sexually harassing, stalking her in 1989. Mrs. Jain has alleged that Dua would be waiting for her outside the office when she worked late hours and tried to kiss her once.

Dua has denied the charges.

In a Facebook post, Jain said that in June 1989, she went for a job interview for a new political satire-based show with Dua, then the anchor of the show Janvani. “Before I could settle down he began telling a lewd sexual joke in that soft voice, barely opening his mouth.”

“He explained the job and asked me what my expectations were and I quoted an amount that most graduates were getting at the time– 5,000 rupees. He looked at me and said, ‘Tumhari aukat kya hai?’ I dont know what had hit me. I was stunned.

What was this about? I had faced sexual harassment early in life but this sort of humiliation was a new

40

experience.”

A few months later, Jain has said, she got a job at Newtrack, India Today’s video news magazine. Jain has alleged that Dua learnt of this and would wait for her outside the office when she was working late, and once tried to kiss her after she agreed to talk to him, expecting an apology.’’

Dua, a well-known TV personality who has anchored shows on several channels, has said that he categorically denies the allegations levelled against him. “If mud is thrown at a person, what option does he have other than to protest his innocence,” he said. Dua also said that he would be suspending ‘Jan Gan Man ki Baat’ to give The Wire time to look into Ms Jain’s charges.

The following is a note issued by The Wire on October 17, 2018.

On October 15, 2018, the Internal Complaints Committee of The Wire took note of an allegation posted on Facebook by Nishtha Jain against its consulting editor Vinod Dua and contacted her to request she send a formal complaint so that it could be processed. No complaint has been

SEPTEMBER - OCTOBER 2018

An external committee has been set up to obviate issues of jurisdiction of the ICC with regard to an incident that may be seen as beyond its remit, and also to ensure that the proceedings are conducted by persons of unimpeachable integrity and impartiality. Once we have the consent of both parties, we will make the names of the external committee members public.

Founding Editors The Wire

T

he newsminute had reported the resignation of C. Gauridasan Nair, Kerala Chief of The Hindu in the case of Me Too. Report says: ‘C Gouridasan Nair has resigned from his post of Resident Editor, The Hindu, Kerala. N Ram, The Hindu Group chairman, has tweeted: Gauridasan Nair has resigned with effect from October 17, 2018, and his resignation has been accepted with immediate effect.

N Ram’s tweet is also pretty much the gist of his mail to Yamini Nair, a Delhi-based journalist, whose blog post from a few days ago, appears to have led to the resignation.’

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‘മീ ടൂ’: കുടുങ്ങിയത്

പത്രാധിപന്മാർ മുതൽ എഴുത്തുകാർ വരെ ©p¡-q¢-l¤-V¢-k¡X® ‘h£ T¥’ (S¡c¤« ¨¨k«L¢J¡Y¢±Jh·¢c® Cji¡i¢ F¼® AtZ«) ±dÌ¡c« Bj«g¢µY®. c¢t-½¡Y¡l® p¡tl¢ ¨li®uo®¨¨×¨Ê ¨¨k«L¢J¡Y¢±Jh¨·´¤s¢µ® c¬¥©i¡t´® ¨¨T«o® ±do¢Ú£Jj¢µ l¡t·i¡X® CY¢c¤ Y¤T´h¢¶Y®.

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H¡w Cɬ fJ®-©O¡a® F¼ T¢.l¢. dj¢d¡T¢´® Y¤T´« J¤s¢µ Yuhi¢ g¶®, L¤j¢n®h¡u JØ, cTu jQY® Jd¥t, L¡cjOi¢Y¡l® lj¤x ©±L¡lt F¼¢lt¨´Y¢©ji¤« B©j¡dXh¤it¼¢¶¤Ù®.

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d¤X¬ ±do¥x

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tI-{µ-¯n-sâ kq-¸À kv-t{Sm¡v

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l¡t·¡h¥k¬h¤¾ s¢©¸¡t¶¤Jw cvJ¡u FV¢×th¡t ±mh¢µ¡v O¡ck¢¨Ê DTh¨i l¡t·¡l¢YjX h±É¡ki·¢vc¢©¼¡ ±db¡ch±É¢i¤¨T H¡e£o¢vc¢©¼¡ fܨ¸T¤«. ©J±zot´¡t 106 dÚY¢Jq¡X® ±dK¬¡d¢µY®.

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-h¡v K-©n¡L¢ A-l-o¡-c« F-r¤Y¢-i J¤-s¢-¸¢v Ot-µ ¨O-i®Y-Y® H-©j-¨i¡-j¤ l¢-n-i-h¡X®-. d-Ö-¢©h-n¬-i¢v d-±Y-o§¡-Y-±É¬« D-Ù¡i¢-j¢-©´-Ù-Y¢-¨Ê B-l-m¬-J-Y-i-¡i¢-j¤-¼¤ l¢-ni«. h¡-Ú¬-h¹-¨q c¢-mã-fï-h¡-´¡u As-f® g-j-X-J¥-T-¹w c-T-·¤-¼ A-Y¢-±J-h-¹w ¨d-j¤-J¤-J-i¡-X® F-¼-©À-p« D-a¡-p-j-X-¹w c¢j-·¢ l¡-a¢µ¤. “CÊt-¨c-×¢-¨Ê l-j-l®, A-g¢-±d¡-i- o§¡-Y-±É¬-·¢-c¤¾ F¿¡« Y-T-oæ-¹q¤« c£´¤« F-¼¤ l¢-m§-o¢-´-¨¸-¶¢-j¤¼¤.

CÊt-¨c-×® Y-¨¼ Y-T-i¤-J-i¡-X® g-j-X-J¥-T-¹w C©¸¡w ¨O-à¤-¼-Y®. l¢-l-j-©±o¡-Y-oæ¤-J-w c¢-i-±É-¢-µ¤-¨J¡-Ù¡-X©¿¡ A-lt c¢-k-c¢v-´¤-¼-Y¤-Y¨¼.”

A-©À-p« B ©k-K-c-·¢v

48

J¤-s¢µ¤. oª-a¢ A-©s-f¬u g-j-X-J¥-T-·¢-¨c-Y¢-¨j, d-±Yo§¡-Y-±É¬-·¢-c¤ ©l-Ù-¢ ©d¡-j¡T¢-i Q-h¡v K-©n¡Lê¢, A-Y¢-c¤-©l-Ù¢·-¨¼ Q£-l-Y¬¡-L« ¨O-i®Y¤.

Q-h¡v K-©n¡-Lê¢-i¤-¨T ¨J¡-k ©d¡¨k h-¨×¡¼¤ h¡-Ú¬-h-¹-q¤-¨T Oj¢-±Y-·¢v Y¢-j-º J-¨Ù-·¡u ±d-i¡-o-h¡X®. oª-a¢ A-©s-f¬-i¢v c¢-¼¤-¾ d-±Y-±d-lt-·-J-j¢v K-©n¡Lê¢-¨i-©¸¡-¨k ©k¡-J« A-s¢-i¤-¼ h-¨×¡-j¡q¢¿. ©k¡-J±d-m-o®-Y-c¡-i Cª d-±Y¡-b¢d-¨j oª-a¢ A-©s-f¬-i¤-¨T H-j¤ c-i-Y-±É¡-k-i-·¢v l-µ¡-X® ¨J¡-¼Y®. h¤u-J¥-¶¢ B-o¥-±Y-X« ¨O-i®-Y-Y-c¤-o-j¢-µ® o§-É« j¡-Q¬-·¢-¨Ê g-j-X¡-b¢-J¡-j¢-i¤-¨T m-Ø-q-´¡j¡-i D-©a¬¡-L-Ì-Lt A«-f-oæ¢-i¢v ¨O-¼¤ dµ-´¤ ¨J¡¿¤-J-i¡-i¢-j¤-¼¤. A-s¤-

SEPTEMBER - OCTOBER 2018

·¤-h¤-s¢µ® ¨d-¶¢-i¢-k¡´¤-J-i¡-i¢-j¤-¼¤.

17 a¢-l-o-h¡-X® As-f® g-j-X-J¥-T« ©k¡-J-©·¡-T® J-¾« d-s-º¤¨J¡-Ù¢-j¤-¼Y®. H-T¤-l¢v hj-X« o®®-Z¢-j£-J-j¢-µ-©¸¡r¤« A-lt h-¨×¡-j¤ ¨d-j¤Æ-¾« d-sº¤– o¤-j-È¡-gT-Á¡-j¤-h¡-i¢ h¤-né¢-i¤-Ú-·¢-c® Y¤-c¢-º-©¸¡-r¡-X® hj-X« o«-g-l¢-µ-Y® F-¼®. j¡-Q-g-j-X-J¥-T-·¢-¨Ê J-¾-¹w H-¨¼¡-¼¡-i¢ ¨d¡-q¢-º¤-l£-X¤. A-¨¿-Æ¢k¤« B-¨j-Æ-¢-k¤« l¢-m§-o¢-´¤« F-¼ ©f¡-Ú¬-·¢-k¿©¿¡ A-lt J-q-l¤-Jw B-lt·¢-µ¤-¨J¡-©Ù C-j¤-¼Y®.

S¹-¨q l¢-ht-m¢-´¤-¼-l¨j ¨J¡-¨¼¡-T¤´¤« F-¼ o-©z-m« ©k¡-J-·¢-c¤ cv-J¤-J Y-¨¼i¡-i¢-j¢´¡« A-l-j¤-¨T D-©À-m¬«.

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2018–¨k ±e£-V« pª-o¢¨Ê ±e¢-V« Cu a® ©lw-V® s¢-©¸¡t-¶® D-Ú-j¢-µ¤-¨J¡-Ù¡-X® K-©n¡-Lê¢-i¤-¨T A-ɬ-©kK-c« Y¤-T-¹¤-¼Y®. s¢-©¸¡t-¶® As-f® ©k¡-J-¨·-´¤-s¢-µ® H-j¤ J¡j¬« l¬-Ç-h¡-´¤¼¤. o§-Y±É« F-¼¤ l¢-q¢-´¡-l¤-¼ g-j-Xl¬-l-Ì-i¤-¾ H-j¤ j¡-Q¬-©h As-f® ©k¡-J-·¤¾¥. A-Y¤ T¤-X£-n¬-i¡X®. ¨h¡-©s¡-´i¤« J¤-¨¨l-·¤-h¡-X® ¨Y¡-¶® d¢-¼¢v. C-l jÙ¤« d¡-Y¢ o§-Y-±É-h¡-X®. f¡-´¢-¨i¿¡« A-o§-Y-±É-h¡X®. o§-Y-±Éh¡-i A-g¢-±d¡-i-±d-JT-c« C¿¡-· H-j¤ j¡-Q¬l¤« j-È-¨¸-T¢¿. 2011–¨k As-f® lo-É« D-it·¢-i ±d-Y£-È-Jw F-¹¢-¨c Y-Jt-¼¤ F-¼® A-©À-p« l¬-o-c-d¥t-á« l¢-l-j¢-´¤-¼¤Ù®. As-f® j¡-Q¬-¹-q¢v A-g¢-±d¡-i« d-s-º-Y¢-¨Ê ©d-j¢v Q-i¢-k¢k-T-´-¨¸-¶, c¡-T¤-J-T-·-¨¸-¶, J-Ù¤-¨J-¶-¨¸-¶ l¬-Ç¢-J-q¤-¨Ti¤« ±d-o¢-Ú£-J-j-X-¹-q¤-¨Ti¤« d¶¢-J c¢-j-·¤¼¤-Ù® K-©n¡-Lê¢. o-h£-d-J¡k-·¤ d©È, oª-a¢ A-©s-f¬-¨i-´¤-s¢-µ® d-±Y-l¡t-·-Jw cv-J¢-©¸¡¼-Y® l¬-Y¬-o®-Yh¡-i Hj¤ O¢-±Y-h¡X®.

A-l¢-¨T Ì¢-Y¢ lq-¨j ¨h-µ¨¸-¶¢-j¢-´¤¼¤ F¼¡-X® F¿¡-lt´¤« ©Y¡¼-¤-J. A-Y¤ g¡-L¢-J-h¡-i¢ m-j¢-i¤-h¡X®. o-±Y£-Jw-´¤ ¨¨±V-l¢-¹® ¨¨k-ou-o® A-c¤-l-a¢µ-Y¤ h¤-Yv h¤-u-J¡k-·¤ o-Æv¸¢-´¡-u-©d¡k¤« J-r¢-i¡-Y¢-j¤¼J¡-j¬-¹-q¡X® d¤Y¢-i J¢-j£-T¡-l-J¡-m¢ ¨h¡-p½-a® f¢u o¡v-h¡u j¡-Q-J¤-h¡j-¨Ê ‘Lë¡-o®©c¡-o®-Y’¢-k¥-¨T oª-a¢-i¢v o«-g-l¢-µ¤-¨J¡-Ù¢-j¤¼-Y®. d©È, d¤-Y¤-¨l-q¢-µl¤« d-j¢-n®-J¡-j-l¤-¨h¡¼¤« j¡-n®±T£-i«, hY«, ¨J¡¶¡-j«, A-g¢-±d¡-i-o§¡-Y-±É¬« F-¼¢-l¢-T-¹-q¢-©k-´¤ J-T-·¢-¨´¡-Ù¤- l-©j-Ù B-j¤« F¼¤ g-j-X-J¥-T« B-lt·¢-µ® ¨Y-q¢-i¢-´¤-¼¤-Ù¡-i¢-j¤¼¤.

K-©n¡-Lê¢-i¤-¨T ¨J¡-k-i¡-X® A-Y¢-¨k H-T¤-l¢k-¨· o«-gl«.

K-©n¡-Lê¢-i¤-©T-Y® H-×-¨¸-¶ A-c¤-g-lh¿. o-f®-J® F¼c¬¥-o® ¨l-f®-¨¨o-×® c-T-·¤¼ ht-l¡u Fv–h¤-s£-o£ F¼d-±Y-±d-lt-·J-c® C-¨Y¿¡« m-j¢-´¤« A-s¢-i¡-h¡-i¢-j¤¼¤.

A-©À-p-·¢-¨Ê l¢-n-i¹w

A-dJ-T« H-¼¤-h¢¿¡-· m¡-o®-±Yl¤« o¡-©Æ-Y¢-J-l¢-a¬-i¤« h-פ-h¡-i¢-j¤--¼Y¤-¨J¡-Ù® A-©À-p« H¶¤« l¬¡-J¤-k-¨¸-¶¢-j¤-¼¢¿. d-©È, H-j¤ c¡w A-©Àp-¨· Y¢-j-º¤ ¨d¡-k£-¨o·¢. ©j¡-L-f¡-b¢-Yc¡i A-Õ¤ l-i-oæ¤-¾ d¤-±Y-¨c m¤-±m¥-n¢-µ¤-¨J¡Ù® B-o®-d-±Y¢-i¢v -c¢v-¨´ BX® A-©À-p« A-s-Í¢-k¡-l¤-¼-Y®.

Q¥x H-¼¢-c¤ d¤s·¤©d¡-i d-±Y-±d-lt-·-Ju c¡k¤ h¡-o-h¡-i¢¶¤« h-T-¹¢-l-¼¢¿.

A-©À-p-·¢-¨Ê J¤-׫ F-¨É¼-¤ J¤-T¤«-f-¨·-©¸¡k¤« A-s¢-i¢-µ¢¿.

A-b¢-J¦-Yt h¡-Ú¬-h-¹-q¢-k¥-¨T c-T-·¤¼- ±d-O¡-j-X-¹-q-¢v d-Æ¡-q¢-i¡-i¢-¨¿¼--Y¤« F-¨É-r¤Y-X« F--Y¤-o«-f-Ü¢-µ® A-b¢-J¦-Y-j¤-¨T h¡t-L-c¢t-©À-m« ©Y-T¤¼¢¿ F--¼Y¤-« A-©Àp-¨· d¢-T¢-J¥-T¡u J¡-j-X-h¡-¨i¼-¤ d-s-i-¨¸-T¤¼-¤.

G-×l¤« J¥-T¤-Yv ¨ou-ot-n¢-¸® D-¾ j¡-Q¬-¹-q¢-¨k¡¼-¡-X® oª-a¢ A-©sf¬. d-j¢-n®-J¡-j¢-i¤« d¤-©j¡-Lh-c-l¡-a¢--i¤« B-¨X¼- ±d-Y¢Ô¡i d¤Y¢-i j¡-Q-J¤-h¡-ju ©c-T¢i¢-¶¤-Ù¡-J¡«. F-¼¡v, ov-©¸-j® j¡-Q¬-·¢-c¤ d¤-s-·¤-h¡-±Y-h¡X®.

A-J·®, F¿¡Y-j« d-j¢-n®-J-j-X -±d-lt-·-J-¨ji¤« Q-i¢k¢-k-T-´¤¼¤. d-±Y-±d-lt-·-Jt-´¤ ©c-¨j c-T-´¤--¼ A-T¢-µ-ht-·-k¤J-¨q-´¤-s¢-µ® J-½¢-×¢ T¤ ¨±d¡-T-J®-×® ©Q-X-k¢-Í®-o®(o¢.-d¢.¨Q) l¢-m-ah¡-i dU-c-s¢-©¸¡t¶®-® ±d-o¢-Ú-¨¸-T¤-·¢-i¢-¶¤Ù®. g£-Jj-±d-lt·-c« A-T¢-µ-ht-·¤¼-¤ F¼- h-s-l¢-k¡-X® h¡-Ú¬h-±d-lt-·-Jt-´® l¢-k-¹¢-T¤-¼Y®.

A-s-Í¢-k¡-i-l-j¢v c¢-jlb¢ l-c¢Y¡-h¡-Ú¬-h-±d-lt-·-J-j¤« D-Ù®.

l¡t-·¡ G-Qu-o¢-Jw-´¤ J-né-J¡kh¡©i¡? d-±Y-Ì¡-d-c-¹-q¤-¨T c¢-k-c¢v-¸¤ Y-¨¼ l¡t-·¡ G-Qu-o¢-J-¨q B-±m-i¢µ¡-i¢-j¤-¼¤ J¤-s-µ¤-J¡-k« h¤-ؤ-l¨j. d-±Y-¹w-´¤ l¢©a-m Y-k-Ì¡-c-¹-q¢v ©d¡-J¨¶, j¡-Q¬-·¢-cJ-¨· F¿¡ ±d-b¡-c-c-L-j-¹-q¢v-©¸¡k¤« ©k-K-J-u-h¡-j¤-Ù¡-J¡-s¢¿.

C-©¸¡-r¤-h¢¿. ©k-K-J-Á¡-j¢¿¡-· Ì-k-¹-q¢v-c¢¼® A-lt-´® l¡t-·Jw c-v-J¢-i¢-j¤¼-Y® l¡t-·¡ G-Qu-o¢-J-q¡-X®. d-±Y-¹-q¤-¨T ¨ou-±Tv V-o®-J¤-J-q¢v G-Qu-o¢ l¡t-·-Jw Yt-Ò-h ¨O-à¡c¤«

¨d¡-k¢-¸¢-µ® h¡-×¢-¨i-r¤-Y¡c¤« ±d-©Y¬-J V-o®-J® D-Ù¡-J¡-s¤-Ù®. l¡t-·¡ G-Qu-o¢-J-q¤¨T B o¤-lt-X J¡-k« A-o®-Y-h¢-´¤-J-i¡-X® ©k¡-J-¨h¹¤«. A-µ-T¢-¸-±Y-¹w a¤t-f-k-h¡-J¤-Ji¤« CÊt-¨c-×® ot-l-l¬¡-d¢-i¡-J¤-Ji¤« ¨O-i®-Y-Y¡-X® J¡-jX«. l¢-Jo¢-Y j¡-Q¬-¹-q¢-v-©¸¡k¤« d-±Y-¹w -l¡t-·-Jw-´® CÊt-¨c-×¢-¨c-i¡-X® B-±m-i¢-´¤-¼Y®. B-a¬-¨· eë¡-n® J¢-¶¡-©c l¢-n-h-h¤¾¥.

A-Y¤ ©d¡-k¤« ¨¨o-פJ-q¢v-c¢-¼¤ k-g¢-´¤«.

L¥-L®w ot-µ® c-T-·¢-i¡v f¡-´¢ l¢-l-j-¹w k-g¢-´¤«. l¢-m§¡-o¬-Y-i¤-¾ ¨¨o-פ-Jw J-¨Ù-·-X-¨h-©¼ D¾¥. ©k¡-J¨·-Ø¡-T¤-h¤-¾ H¡x-¨¨ku h¡-Ú¬-h-¹w-´¤ J¢-¶¡-· l¢-l-j-h¢¿. G-Qu-o¢ l¡t-·-Jw C-¨¿-Æ¢k¤« d-±Y-h¢-s-´¡« F-¼tÏ«.

1949 h¤-Yv ±d-lt-·¢-´¤-¼ d¢.T¢.¨F B-X® C-ɬ-i¢-¨k B-a¬-¨· c¬¥-o® G-Q-uo¢. C¼¤« ±db¡-c G-Qu-o¢ d¢.T¢.¨F Y¨¼. h¡-Ú¬-h-Ì¡-d-c¹w H¡-p-j¢ F-T¤-·¤ Ì¡-d¢-µ d¢.T¢.¨F ¨i g-j¢-´¤¼-Y® A-l-j¤-¨T ±d-Y¢-c¢b¢-J-q-T¹¢-i V-i-s-J®-×t ©f¡t-V® B-X®. 1961–v Q-Á-¨h-T¤-· i¤-¨¨c×-V® c¬¥o® H¡e®® C-ÉB-X® d-r-´-·¢v jÙ¡« Ì¡-c-·®. MTc¡-d-j-h¡-i¢ C-l Y-½¢v lk¢-i l¬-Y¬¡-o-h¢¿. j-Ù¤ Ì¡-d-c-¹-q¤-¨Ti¤« c¢-k-c¢v-¸® ±d-Y¢-o-Ü¢-i¢-k¡X®. ©lÙ-±Y ©k-K-J-Á¡t C-j¤ J¥-¶t´¤« j¡-Q¬-·¢-c-J©·¡ d¤-s©·¡ C¿. l¢-©a-m l¡t-·¡ G-Qu-o¢-J-q¤-¨T l¡t-·-i¤« O¢-±Y-¹-q¤« J¢-¶¤-¼-Y¤-¨J¡-Ù® ©k¡-J-l¡t-·-J-q¤-¨T J-l-©s-Q® ©h¡-m-h¡-J¡-s¢¿. ©s¡-i®-©¶-r®o¤« F.F-e®. d¢.i¤« ©d¡-k¤-¾ luJ¢T A-É¡-j¡-±né l¡t-·¡ G-Qu-o¢-Jw d¤Y¢-i l-j¤h¡-c-h¡t-L¹w J-¨Ù-·¤-J l-r¢ Ì¢-Y¢ ¨h-µ-¨¸-T¤-·¢-i¢-¶¤Ù®. ©k¡-J-¨·-Ø¡-T¤-h¤-¾ F-»-h-× d-±Y-¹w´¤« A-Y¢-©k-¨s-i¤-¾ CÊt-¨c-×® ©d¡t-¶-k¤-J-w-´¤«, ©e¡-©¶¡-Jq¤« l£-V¢-©i¡-Jq¤« ©n¡t-T® e¢-k¢-h¤-J-q¤«- CÊt-l¬¥-Jq¤« Bt-¨¨´-l® l¢-l-j-¹q¤«

sk]v-äw-_À- HtÎm-_À 2018

49

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hפ« cv-J¡u o«-l¢-b¡-c-©ht¨¸-T¤-·¢-i¢¶¤-Ù®. F-¼¡v, ¨O-s¤J¢-T Ì¡-d-c-¹-q¤-¨T c¢-k-c¢-k®-d® ±d-i¡-o-J-j-h¡-X®. d¤-Y¤-Y¡-i¢ j«-L-·¤-l-¼ F.¨F.Fu.F-o®, F.Fu.¨F ©d¡-k¤-¾ Ì¡-d-c-¹-w l¡t-·J-©q-´¡-©q¨s ©e¡-©¶¡-J-q¢k¤« l£-V¢-©i¡-J-q¢k¤« ±d-©Y¬-J dU-c ©k-K-c-¹-q¢-k¤-h¡-X® Dª-¼¤-¼Y®. j¡-Q¬-¨·-Ø¡-T¤-h¡i¢ c¡-c¤-s¤ h¤-r¤-lu ohi ©k-K-J-Á¡j¤« A-º¥-s¤ o®-±T¢-¹t-h¡j¤« D-¾ d¢.T¢.¨F A-l-J¡-m-¨¸-T¤¼-Y® C-ɬ-i¢¨k ¨h¡-·« G-Quo¢ l¡t-·¡-l¢-Y-j-X-·¢-¨Ê ¨Y¡-»¥-s¤ m-Y-h¡-cl¤« A-l-t ¨¨J-J¡j¬« ¨O-़¤ F-¼¡X®.

F-Æ¢-k¤«, H-J®-©×¡-ft H¼¡« Y¢à-Y¢ d¢.T¢.¨F c-T·¢-i J¥-¶ d¢-j¢-µ¤-l¢-Tv Ì¡-d-c-·¢-¨Ê Ì¢-Y¢ A-±Y g-±a-h-¨¿-¼ o¥-O-c cv-J¢. B-¨J-i¤-¾ 530 d-±Y±d-lt-·-©J-Y-j Q£-l-c-´¡-j¢v 297 ©d-¨j H-×-i-T¢-´¤ d¢-j¢µ¤-l¢-T¤-J-i¡-X® ¨O-i®-YY®. c¬¥Vv-p¢-i¢v h¡-±Y« 77 Q£-lc-´¡-¨j-i¡-X® d¢-j¢-µ¤-l¢-¶Y®. f-p¤-g¥-j¢-d-Èl¤« A-×u-Vt-h¡j¤« ±T¡u-o®-h¢-nu ¨T-J®-c¢n¬-Á¡-j¤-h¡X®. ©l-Q®-©f¡t-V¢-¨Ê Jë¡-oæ¢-e¢-©´-n-c¢v h¤-¼¢v c¢v-´¤-¼ Ì¡d-c« F-¼ c¢-k-i®-´® c¿ mØ-q« d-פ-¼-l-j¡-X® Q£-l-c-´¡t. d¢-j¢-µ¤-l¢-T-k¢-c¤-¾ J¡-j-X-¹-¨q¸-×¢ F-¨É-Æ¢k¤« l¢-m-a£-J-j¢-´¡u Ì¡-d-c-·¢-¨Ê A-b¢-J¦-Y-j¡j¤« J¥-¶¡-´¢-i¢-¨¿-¼¤ d¢-j¢-µ¤-l¢-T-k¢-¨c-´¤-s¢-µ® l¢-m-a-h¡-i ©kKc« d-o¢-Ú-¨¸-T¤·¢-i c¬-o® ©k¡x-±V¢-©V¡-T®-©J¡« s¢-©¸¡t-¶® ¨O-i®-Y¤. o¡-h¡c¬« c¿ c-né-d-j¢-p¡-j-h¡-X® k-g¢-µ¢-j¢-´¤-¼Y®. F-¼¡v, c¿ ¨±T-V® i¥-X¢-iu o¡-¼¢-Ú¬-h¤-¾ Ì¡-d-c-h¡-¨X-Æ¢k¤« A-l-j¤-h¡-¨i¡-¼¤« Ot-µ c-T-·¡u h¡-©c-Q®-¨hÊ® Y-à¡-s¡-i¢-¶¢¿.

H-j¤ d-X¢-i¤-h¢¿¡-¨Y mØ-q« 50

d-פ-¼-l-j¡-X® d¢-j¢-µ¤l¢-T-¨¸-¶-l-¨j¿¡« F-¼¡-X® A-cª-©a¬¡L¢-J l¢-m-a£-J-j-X«. d-±Y-±d-lt-·J-¨j B-¨ji¤« d¢-j¢-µ¤-l¢-¶¢-¶¢¿.

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A-oæ¡u-Q® H-r¢-º¤; l¢-´¢-k£-J®-o¢-c¤ d¤-Y¢-i F-V¢×t l¢-´¢-k£-J®-o¢-k¥-¨T ©k¡-J« A-s¢-i¤-¼ d-±Y¡-b¢-d-j¡-X® Q¤-k¢-iu A-oæ¡uQ®. d-©È, A-©À-p« C-©¸¡w l¢´¢-k£-J®-o® F-V¢-×-s¡i¢ ©l-¨s B-¨q c¢-i-h¢-µ¢-j¢-´¤¼¤. J¡j-X«, B-s¤ h¡-o-h¡-i¢ A-©À-p-·¢-c® CÊt-¨c-×® c¢-©n-b¢-µ¢-j¢-´¤-¼¤.

A-g¢-g¡-n-J-c¤-h¡-i¢ h¡-±Y-©h o«-o¡-j¢-´¡u A-c¤-l¡-a-h¤¾¥. ±f¢-¶-c¢-¨k C-J§-©V¡t A«-f-oæ¢-i¢v A-g-i¡t-Ï¢-i¡-X® A-©À-p« C-©¸¡-r¤«. 2012–v Y¤-T-¹¢-i-Y¡-X® Y¤k¬h¡-i Cª l¡o«. A-©h-j¢-´u ¨¨oc¢-J–j¡-±né£i j-p-o¬-¹-q¤-¨T AX Y¤-s-¼¤-l¢-¶-Y¢-¨c-·¤-Tt-¼® A-©h-j¢-´ l¢-©T-Ù¢ l-¼ A-©À-p« C¼¤« o§-É« c¡-¶¢-¨k-·¢-i¢-¶¢¿.

C-J§-©V¡t c-i-Y-±É¡-k-i-·¢-¨k h¤-s¢-i¢v A-©À-p-·¢-c¤ CÊt-¨c-×® J¢-¶¤-h¡-i¢-j¤¼¤. A-©¸¡w A-©À-p« j-p-o¬-¹w d¤-s-·¤l¢-¶¤-¨J¡-Ù¢-j¤¼¤. B-s¤-h¡-o-h¡-i¢

SEPTEMBER - OCTOBER 2018

A-Y¤ Y-T-º¢-j¢-´-i¡-X® A-b¢-J¦Yt. i¤.F-o® o-½t-À« Y-¨¼-i¡l¤« J¡-jX«. ¨F-o®k¡-Ù¤-J¡-ju ±J¢-ͬu ±p¡-e®-©o¡x B-X® d¤Y¢-i l¢-´¢-k£-J®-o® F-V¢-×t.2010–16 J¡k-·® A-©À-p« l¢-´¢-k£-J®-o® l-Ç¡-l¡-i¢-j¤-¼¤.

A-lt d±Y« l¢-k-i®-´¤ l¡-¹¤-J-i¡X®, ¨l-s¤-¨Y H-j¤ Y-h¡-m-i®´®!

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C-©Y¡-¨T¡-¸« F¿¡-lt´¤« A-s¢-i¤-¼ H-j¤ o§-J¡-j¬l¤« d-s-i¡«. ¨¨J-i¢v d-X-h¤-¨Ù-Æ¢v H-¸« c-¨¿¡-j¤ d±Y« J¥-T¢-i¤-¨Ù-Æ¢v o«L-Y¢ h¤-n¢-i¢¿. d-k J¡-j¬-¹w-´¤« A-Y¤ ±d-©i¡-Q-c-¨¸-T¤«. d-±Y-·¢v A-Y¤-h¢Y¤« -Fr¤-Y¢-µ® Bt-¨´-Æ¢-k¤« O£-·-©¸-j¤Ù¡-´¤-J-i-¨i¡¼¤« ©l-Ù.

A-¹¢-¨c ¨O-à¢-´¤©h¡ F-¨¼¡-j¤ g£-Y¢ D-Ù¡-´¢-i¡v hY¢. H-j¤ d-±YD-T-h-i®´® A-¨Y-q¤-¸« o¡-b¢-´¤-¼ J¡-j¬-h¡X®. (±dh¤-K h¡-b¬-h-±d-lt-·-J-c¤« ©J-j-q h£V¢-i A-´¡a-h¢ h¤u ¨O-ith¡-c¤-h¡-X® Fu.d¢.j¡-©Q±zu)

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ഒറ്റയ്ക്ക് പ�ോയ യാത്ര

പ്രിയ സുഹൃത്തും പി.ആർ.ഡി.ഡെപ്യൂട്ടി ഡയറക്ടറുമായ ആർ. അനിൽകുമാർ ജീവിതയാത്രയിൽ നിന്നും മുന്നറിയിപ്പുകൾ ഒന്നും ഇല്ലാതെ പിൻ വാങ്ങി. പെട്ടെന്നു വന്ന വയറുവേദനയെ തുടർന്ന് അശുപത്രിയിൽ പ�ോയ അനിൽ പിന്നെ പൂർണ്ണ ബ�ോധത്തിലേക്കോ ജീവിതത്തിലേക്കോ മടങ്ങി വന്നില്ല. വിശ്വസിക്കാൻ കഴിയുന്നില്ല അനിലേ... ഇരുപതു വർഷത്തോളമുള്ള ചങ്ങാത്തം, സ്‌നേഹം, പിണക്കം, ആത്മബന്ധം, സഹ�ോദര സ്‌നേഹം... ഒരുമിച്ചിരുന്ന് ഒരു പാട് പ്രസ് റിലീസ് നമ്മൾ എഴുതിയപ്പോഴ�ൊന്നും നിന്റെ മരണവാർത്ത എനിക്ക് എഴുതേണ്ടി വരുമെന്ന് കരുതിയില്ല. എത്ര എത്ര ഓർമ്മകൾ... വാക്കുകളില്ലാതെ ഞാൻ വിറയ്ക്കുന്നു... എടായെന്നും നീയെന്നും പരസ്പരം വിളിച്ചിരുന്ന ഇടത്ത് നിന്ന് ഒരു ‘എടാ ‘ ശൂന്യമായി..... പി.ആർ ഡി.ഡയറക്ടറേറ്റിലെ വിവിധ പ�ോസ്റ്റുകൾ, ഇടുക്കി വയനാട് ജില്ലാ ഇൻഫർമേഷൻ ഓഫീസ്, വനം വകുപ്പ് എന്നിവിടങ്ങളിൽ പ്രവർത്തിച്ച അനിൽ അന്തരിക്കുമ്പോൾ ന�ോർക്ക പി.ആർ.ഒ. ആയിരുന്നു. കേരള മീഡിയാ അക്കാദമി സെക്രട്ടറി ആയും കുറച്ച് കാലം സേവനം അനുഷ്ഠിച്ചിട്ടുണ്ട്. സത്യസന്ധതയുടെ കാർക്കശ്യമുള്ള തനി നാട്ടിൻപുറത്തുകാരനായിരുന്നു. ഒറ്റയാനായി സ്വയം അറിയാനാണ് അനിലിന് പലപ്പോഴും ഇഷ്ടം. പാരലൽ ക�ോളേജ് അധ്യാപകൻ പുര�ോഗമന പ്രസ്ഥാനങ്ങളുടെ പ്രവർത്തകൻ എന്നിങ്ങനെയുള്ള പൂർവ ജീവിതമുണ്ടായിരുന്ന അനിൽ നിലമേൽ എൻ.എസ്.എസ് ക�ോളേജിലെ മാഗസിൻ എഡിറ്ററും ചെയർമാനും ആയിരുന്നു. 49 വയസ്സിലാണ് മരണം കൂട്ടിക�ൊണ്ട് പ�ോയത്. ഇപ്പോഴും പ�ൊരുത്തപ്പെടാൻ ആകുന്നില്ല. മരണ ശേഷം അറിയാതെ ഒന്നു രണ്ടു തവണ ഞാൻ അനിലിനെ വിളിക്കാൻ ഫ�ോണെടുത്തു... മരണത്തിന് മൂന്ന് ദിവസം മുമ്പ് ഉച്ചനേരത്ത് അനിൽ എന്നെ ഫ�ോണിൽ വിളിച്ചിരുന്നു, എനിക്ക് എടുക്കാൻ കഴിഞ്ഞില്ല. അന്ന് രാത്രി ഞാൻ തിരിച്ച് വിളിച്ചെങ്കിലും അനിൽ ഫ�ോൺ എടുത്തില്ല. പിറ്റേന്ന് രാവിലെയാണ് ആശുപത്രിയിൽ ആകുന്നത്. എന്ത് പറയാനാകും നീ അന്ന് വിളിച്ചത്....

ഹൃദയവേദനയ�ോടെ ബാഷ്പാഞ്ജലി... സലിൻ മാങ്കുഴി

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From the Readers’Editor

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Censorship undermines DEMOCRACY A.S. Panneerselvan

T

he cancellation of Registration Certificate issued to Daily Desher Katha could have a chilling effect

All judicial functionaries, starting from sub-divisional magistrates, should be given a copy of John Milton’s 1644 booklet, Areopagitica. It was a passionate plea to Parliament in England to reject censorship.

Milton wrote: “As good almost kill a man as kill a good Book; who kills a man kills a reasonable creature, Gods image; but hee who destoryes a good Booke, kills reason it selfe, kills the Image of God, as it were in the eye.”

What Milton said about books

52

equally applies to newspapers and magazines too. How does one look at the Registrar of Newspapers for India (RNI), the newspaper-licensing authority under the Government of India, invalidating the ‘Certificate of Registration’ awarded to the Daily Desher Katha that it had issued the same day?

Press Registrar K. Satish Nambudiripad, said the certificate was withdrawn after the Sub-Divisional Magistrate of Sadar West, Tripura, cancelled the “authentication as recorded by him over the declaration made in Form 1.”

The Daily Desher Katha — the party organ of the Communist Party of India (Marxist) and the second largest circulated daily in Tripura — was off the stands when the RNI withdrew its registration late night on October 1 based on inputs from the State administration.

This was based on a complaint by one Shyamal Debnath, to District Magistrate Sandeep Mahatme. His contention was that the daily had changed its ownership without informing the RNI. The print-line of the paper read that Samir Paul is the editor, printer and publisher and that the Daily Desher Katha Trust was the owner. However, according to

The RNI order, signed by Additional

SEPTEMBER - OCTOBER 2018

Change in ownership

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the RNI website, Gautam Das is the editor, printer and publisher, and the CPI(M) Tripura State Committee the owner.

According to the CPI(M), this was not the paper’s fault, as all necessary documents have been provided for every change in the management and editorship of Daily Desher Katha.

When the paper came into existence on August 15, 1979, the year after the CPI(M) came to power in the State, it was owned by the Tripura State Committee of the CPI(M), and Gautam Das was the founder editor and publisher and printer of the daily.

In 2012, the party decided that the management of the newspaper should be handled by a ‘society’, and accordingly the Daily Desher Katha Society was formed. In 2015, with Gautam Das getting more preoccupied with party work, the Society decided that it would appoint a new editor, publisher and printer — Samir Paul. In September this year, the Daily Desher Katha Society decided to convert the ownership into a ‘Trust’, and the Daily Desher Katha Trust came into being, with Gautam Das as chairman of the trust.

On October 1, the RNI issued a Revised Registration Certificate, which clearly stated that the proprietor of the newspaper was the Daily Desher Katha Trust and the editor was Samir Paul. This was also updated on their web portal. The District Magistrate apparently summoned the Sub-Divisional Magistrate who had authenticated the papers of Daily Desher Katha, and ordered him to cancel the authentication. He then communicated to the RNI that the authentication was cancelled, and the RNI at around 9.45 the same night emailed the information to the publisher of Daily Desher Katha.

The Editors Guild of India has condemned the decision. In a strongly worded statement, it said: “The Guild is of the view that cancellation of the registration of a publication on the mere finding that there was a mismatch between the information of the editor, printer and publisher is not only a gross overreaction but also a draconian step that throttles freedom of the media.” It has demanded immediate revocation of the RNI order pending further inquiry into the charges of misinformation.

The Editors Guild of India condemns the shut down of Daily Desher Katha The Editors Guild of India condemns the decision of the Registrar of Newspapers for India (RNI) to cancel the registration of Daily Desher Katha, a daily newspaper published from Agartala.

According to media reports, the registration of Daily Desher Katha, a mouthpiece of the CPI-M in Tripura, was cancelled on the ground that there was “unauthorised change of ownership”. According to the letter issued by the RNI to Daily Desher Katha, the registration was cancelled on the basis of a report from the sub-divisional magistrate.

As a consequence, the daily suspended its publication on October 2 for the first time since its inception about four decades ago.

The Guild is of the view that cancellation of the registration of a publication on the mere finding that there was a mismatch between the information of the editor, printer and publisher is not only a gross overreaction but also a draconian step that throttles freedom of the media.

The Guild demands immediate revocation of the order on the cancellation of the registration of Daily Desher Katha, pending further inquiry into the charges of misinformation. It also demands that a thorough inquiry is instituted by the government to investigate whether the decision was politically motivated.

“It also demands that a thorough inquiry is instituted by the government to investigate whether the decision was politically motivated,” it said.

The courts may intervene and restore the newspaper in the days to come. The issue here is not about the final outcome of the legal

battle, but about the chill factor the ruling party can create among news organisations. It is worth remembering Milton’s saying four centuries ago: “Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties.”

Courtesy: The Hindu

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53

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Shoma A. Chatterji

R

.K. Laxman, one of the few internationally renowned cartoonists of India, would have been 97 on October 24 this year. This opens up a window to study the concept of cartoon journalism that appears to be fading away in India with the rise and rise of electronic media and television news. The print media too, does not appear to give much significance to cartoon journalism the way it used to at one time. Or, perhaps, there are less sincere cartoonists today than there used to be. Or, it may also be due to the fact that most of the outstanding cartoonists in the country are also exceptionally good authors and also, journalists in a manner of speaking.

Many young journalists about to step into journalism perhaps have never heard the term “cartoon journalism” as it hardly exists anywhere now in the print media except in some regional language papers and magazines. But one may add that cartoon journalism cannot be a matter of choice for the one opting for it. It needs special intelligence apart from the skill of fine arts like drawing, sketching and painting, a sense of humour, satire and the ability to put all these together within a single idea or concept or comment.

Linus Abraham in his paper, Effectiveness of Cartoons as a Uniquely Visual Medium for Orienting Social Issues (June 1, 2009) writes: “Despite the perception in some quarters that cartoons constitute an important medium for framing social issues, they are often dismissed on the grounds of political absurdity and ideological insignificance.

Cartoons are seen as offering just “passing chuckles” rather than any “deep reflection” on social issues.

68

THE CONCEPT OF CARTOON JOURNALISM TRIBUTE TO R.K. LAXMAN The perception may be related to the cartoon’s discursive spatial limitation and its very nature as a visual mode of communication.” He goes on to elaborate on this. He is right.

The commonly held belief is that visual communication – photographs, cartoons and in some cases, cinema tends to be limited in its communicable messages when compared with its word-centric or audio counterpart such as the written word and television programmes

and news channels. But this is far from true. Cartoons in reality, are distinct and unique forms of visual communication that have a deeper impact and a longer shelf-life than the word or the audio sound bytes.

What is the basic difference between a cartoon and a comic strip?

The cartoon is a reflection, statement, comment on a contemporary issue that is dynamic as it changes from day to day and even from one minute to the next. A comic strip is frozen in time and does not evolve with time. Besides, it is divorced from real life in the sense that it

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is independent of the social and political issues sustaining at a given period of time and remains so till the end of its life. The Phantom is a comic hero while R.K. Laxman’s Common Man is an everyday hero who remains engraved in the minds of those who grew up waiting for that pocket cartoon on the first page of the Times of India much after Laxman passed away and so did his creation, the “Common Man.” Cartoons are political and social commentators but comics are not.

They are the products of imagination as they are fictional.

Comics have a limited readership but cartoons appeal to all who are interested and sometimes, waiting with bated breath for the cartoon to appear the next day. A cartoonist is measured by his talent in offering a satiric or ironic comment on a given situation / event/ character that made news and bases his cartoon for the next day on one of these. Each good cartoon is a story unto itself. Some of these stories remain archived in the memory of those who are ardent admirers of the cartoon, the cartoonist or both.

R.K. Laxman who shied away from any kind of publicity, was as famous as his creation, the Common Man. He once said that he had to scan several newspapers the whole day in his office in the TOI to wait for the right idea / story to catch his imagination and then begin working around it. This underscores that the cartoonist needs to be extremely patient and also, a voracious consumer of news – local, regional, national and international in print or on television or on the Internet to be acutely aware of what is going on around him. A cartoon is expected to convey a lot of information in

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very few words or no words at all.

The emotions behind the political cartoons are genuine and although

ment of Media Studies in Christ University Bengaluru in 2012. Her research is titled – The Importance of Political Cartoons to Newspapers.

According to her paper, “A cartoonist tracks the stories of the day and makes his cartoon accordingly.

Cartoons are often slapstick and exaggerated, yet aim at making a realistic appeal. To some cartoons appear silly and as underplaying the severity of a situation, however it is actually to establish the severity of the same.” Cartoons are generally blatant about their stand on the issue. There have been controversial cartoons like

It was taken away later because thieves and goons had mutilated it beyond repair and a new one would

Many young journalists about to step into journalism perhaps have never heard the term “cartoon journalism” as it hardly exists anywhere now in the print media except in some regional language papers and magazines

harsh, are taken with a sense of humour.

For over a half of a century, the Common Man represented the hopes, aspirations, troubles and perhaps even foibles of the average Indian through a daily pocket cartoon under the imaginatively funny but intelligent title You Said It in The Times of India for many years since it began its journey in 1951. The Common Man featured in a commemorative postage stamp released by the Indian Postal Service on the 150th anniversary of the Times of India in 1988. It became one of the most recognised features on The Times of India the largest-circulation English language daily broadsheet newspaper in the world. A statue of the Common Man was installed in front of Symbiosis Vishwabhavan building in Pune. The statue is 8 feet in height and cast in bronze in 2012.

Another statue of the Common man, created by the sculptor Suresh Sakpal, was installed in 2007 along the sea face on Khan Abdul Ghaffar Khan road, Worli seaface, Mumbai.

the Danish newspaper cartoons lampooning Prophet Mohammed.

The Jyllands Posten cartoon of The Prophet, cartoons of Osama Bin Laden have made headlines. Since there is no law to implicate cartoonists for their expression of ideas, the power of censorship is vested with the artist himself.

replace it. No one knows if this has happened. . The Common Man was the mascot for the low budget airline Air Deccan. Salman Rusdhie, who grew up in Mumbai nourished on a daily breakfast of The Common Man, mentions this character in two of his books — his 1995 novel, The Moor’s Sigh and his autobiography Joseph Anton in 2012. One television serial under the name Wagle Ki Dunia was so popular based on some of the adventures of th Common Man that this led to a sequel.

Laxman once said of his Common Man, “He’s been with me throughout my career. I didn’t find him. He found me... I would say he symbolises the mute millions of India, or perhaps the whole world, a silent spectator of marching time.” Half a century ago, he would draw a Bengali, a Tamilian, a Punjabi and so on to represent Indians. These figures dropped out of his cartoons gradually, until he was left with this lone character.

Meghana M. Lawate has prepared a wonderful paper as part of her MS in Communications from the Depart-

Indian journalism has such a long list of famous cartoonists that a book or two can be written on them and on their creations. Among the unforgettable stalwarts are – Abu Abraham, Bal Thackeray, Bapu, G. Aravindan the famous filmmaker, K. Shankara Pillai also known as Shankar. A milestone filmmaker, Shankar is considered the father of political cartooning in India. He founded Shankar’s Weekly, India’s Punch in 1948. Shankar’s Weekly also produced cartoonists like Abu Abraham, Ranga and Kutty, he closed down the magazine during the Emergency of 25 June 1975.

Others in the list are – O.V. Vijayan, a renowned litterateur, Mario Miranda, Jitesh, Barun Roy and Abid Surti.

Most of these talents are no longer around but they have left their intelligent and creative footsteps on the sands of time forever. Most of these artists have gone yonder but they leave behind their brilliantly observant creations.

The writer is a freelance journalist, author andfilm scholar based in Kolkata.

She has authored 24 books and contributed to many compilations on cinema, family and gender.

Email: shoma.chatterji@gmail.com

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lt-n« h¤-Ø¡X®.

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Q-i-O±zu c¡-it o¡t l¢-q¢-´¤¼¤.

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F-V¢-×-s¡X®. F«.T¢i¤« Fu.d¢-i¤« Y-½¢-k¤-¾ D-×f-Ü« F¿¡-lt´¤-h-s¢-i¡-h-©¿¡. j-Ù¡-h¥-r« d¢-¨¼- d¤-o®-Y-J-h¡i¢.

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കേരള മീഡിയ അക്കാദമി

വിദ്യാഭ്യാസ സ്ഥാപനങ്ങളിൽ

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അക്കാദമി സബ് സെന്റർ ഉദ്ഘാടനം ബഹു. മുഖ്യമ�ി ശ്രീ. പിണറായി വിജയൻ നിർവഹിക്കുന്നു

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Dave Granlund

His cartoons have been published in newspapers like New York Times,USA Today,The Week,Chikago Tribune,Christian Science Monitor,etc.

He was born in Ware Granlunds honours include UPI,New England Press Association,and New England press award.

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Printed and Published by K.T. Sekharan, Secretary in charge, Kerala Media Academy, Published from Kerala Media Academy, Kakkanad, Kochi – 682 030; Printed at Sterling Print House, Kochi; Editor in Chief : R. S. Babu