Freeing Films

My Mirror column:

A delightful new online film festival to mark South Asian Women's Day defines feminism as “a politics based on principles of equity, equality, justice and peace”

A still from If You Dare Desire (2017), directed by Debalina.

Anantha Ramanan's short film Ticket Please (Sri Lanka, 2018) begins with an older woman preparing a younger man, who might be her son, on how to get to a particular part of town. “The bus conductor speaks Sinhala only,” she says, speaking from the kitchen where she is washing something at the sink. “Give ten rupees exactly. It's very difficult to get the balance from him... If the conductor asks you again whether you have paid, say “Dhunna”. Dhunna means “I have given”.” Before he leaves the house, she instructs him to carry a newspaper in English, saying it will help. I felt a mild sense of irritation. Wasn't the older lady overdoing the multiple instructions, I wondered? And why force the young fellow to pretend to be something he's not? But from the second the young man got to the bus stop, I started to realise that she had been right. Sometimes when you don't fit in, it just makes it easier to pretend that you do.

The young man in Ticket Please is marked by his inability to understand Sinhala; his being a Tamil speaker is cause for irritation. And yet the strapping young bus conductor, so impatient with him for not knowing Sinhala, is only indulgent and excited when an Indian passenger gets on – speaking bad Hindi, gushing about Salman Khan and singing 'Tujhe dekha toh yeh jaana sanam'.

Linguistic politics in Sri Lanka may not seem, on the surface, to have much to do with feminism. But what is feminism really about? Ticket Please seemed to me to make the point quietly but clearly -- it isn't our differences from each other that are the problem, it's whether we've been brought up to regard that difference as either threatening or inferior.

Organised by well-known documentarian Reena Mohan, Aanchal Kapur of the Kriti Film Club and Sangat (a network begun by veteran feminist Kamla Bhasin in 1998), the exciting new South Asian Feminist Film Festival expands the meaning of feminism to make us think about difference and equality in a variety of South Asian contexts. Among the host of wonderful films and panel discussions at the festival (streaming free on http://www.doculive.in/ until 30 November) are Prateek Vats' brilliant debut feature Eeb Allay Ooo!, Vaishali Sinha's Ask the Sexpert (2017), Saba Dewan's Sita's Family (2002), the Ektara Collective's Chanda ke Joote (2011) and Nirmal Chander's Dreaming Taj Mahal (2010).

A good film festival always lets you connect the dots in expected and unexpected ways. From linguistic differences made visible on a busride, I moved to gender difference made visible on a metro ride in Please Mind the Gap (2018), a wonderful short film directed by Mitali Trivedi and Gagandeep Singh. An affectionate documentary portrait of transman Anshuman Chauhan as he negotiates the Delhi Metro, Please Mind the Gap never rubs in its metaphors. Anshuman is an effortlessly engaging subject, though, bringing his wry, laughter-filled gaze to bear upon everything he speaks of. In one early conversation, for instance, he maps his personal sense of space onto the world of public transport with a marvellous lightness. “I instinctually create a gap and maintain it,” he tells the filmmakers, going on to describe how he keeps a distance from everyone, men and women, choosing for himself the space between metro compartments, where the wall has his back, as it were. “Kisi se touch nahi hoge”.

But no matter how much he may want not to be touched, or even just to pass unseen, it isn't always easy. Men who have mistaken him for a man jump up apologetically when they see his face and think they have accidentally touched a woman. Security queues, public toilets, the metro's own Ladies compartment -- every space seems insistent on compartmentalising by gender.

In If You Dare Desire (2017), Debalina's fictional telling of the lives of real-life couple Swapna and Sucheta, their difference is less visible on their bodies -- but that doesn't make it easier. Swapna and Sucheta committed suicide by consuming pesticide together in Nandigram, West Bengal, in 2011, with Swapna leaving behind a six-page suicide note. As the film puts it, “Only this much is fact in the film. The rest, fiction.” The poetic urban interlude Debalina creates for the two young women is no idyll, but it allows us to see how it might have been for them if they had escaped to the city, how it probably is for the many South Asian women whose love seems invisible to the heterosexual worlds they inhabit. Until it becomes visible, is instantly interpreted as difference, and that difference as grave and present danger.

But sometimes when you don't fit in, you can no longer pretend that you do. 

Published in Mumbai Mirror, 29 Nov 2020. 

Hot, Pink: What The Magenta Line Is Like

I took my first ride on Delhi's newest and shiniest Metro line, thanks to Brown Paper Bag.

The man who boards at Janakpuri West has two bags: one a black laptop backpack, the other an off-white jhola. He plonks them down, props them against each other, and takes a relieved swig of some virulently orange drink. I squint at the bottle as best I can without being obvious; I'm almost sure it's called “Daiquiri.” Then my view is obscured by a man who sits down right next to me, as if he needs an anchor in the gleaming sea of empty seats. I sit for two minutes, then move to the end of the row.

It is 5.30 on a Monday evening, and I am on the newest stretch of the Delhi Metro. Running from Janakpuri West to Botanical Garden, the Magenta Line is the latest addition to the network inaugurated on Christmas day almost sixteen years ago. I remember how it felt to take the Red Line from Tis Hazari to Shahdara in that last week of 2002: families pooling at the bottom of the escalators, their nervous excitement adding to the festivity, as if the city were prepping for a picnic. Those air-conditioned trains gliding in and out of stations without so much as a whistle were, for many Delhi inhabitants, our first excursion into technological modernity.

The Delhi Metro rider of 2018 is a much more seasoned creature: edging past others to get into lifts where there are no escalators, alert to which side the train doors will open, perfectly comfortable telling an errant male rider to leave the women's compartment. Technological sophistication has reached new levels. The new line connects to IGI Terminal 1, making it a much cheaper way to catch a domestic flight than the underused and overpriced Airport Express Line, which takes Rs 60 from New Delhi Railway Station to T3. The speed at which we whoosh out of the long tunnel between Palam and Sadar Bazaar Cantonment makes a Mahipalpur bus on the road below look like it's dawdling. I must confess to a momentary anxiety: the Magenta line is, after all, driverless. No one else seems concerned in the slightest.

Yet a new route can still lead to some confusion, and curiosity. A woman in a mismatched churidar-kurta gets on at Kalkaji Mandir, where the Magenta Line connects to the Violet Line via a long covered walkway. As the train crosses Nehru Enclave, something strikes her. She looks up, searching for the familiar band with a blinking light marking where we are. It isn't there. Instead there's a new square screen, on which the current station's name appears and disappears. All very fancy, but much less stable than the printed line map. Finally she turns to the balding man two seats away from her, “Excuse me, yeh Munirka jayegi?” He shakes his head for no. She clucks in some consternation, and stays standing all the way to the next stop.

The Daiquiri drinker, meanwhile, is swaying contentedly to his headphones when he gets a call. He laughs sheepishly into his cellphone: “Maine nayi line li thhi, socha dekhoon kaisi hai. Thhoda aur time lagega, haan...”. He isn't the only one out on a joyride: the North Eastern family from Dabri Mor turns their chubby baby's face up against the glass each time we emerge into the daylight, the view successfully distracting him from trying to chew on his father's wallet.

At Dashrathpuri station, an ad for a pimple-removal cream (Acne to Flawless Face) seemed to presage the five young women of acne-prone age who got on, standing in a little security huddle close to the door, as if they're afraid to miss their stop. At RK Puram, home of mid-level bureaucrats, is another demographically appropriate advertisement. 'Hair Transplant Now Easy On Your Pocket', it reads, above an photograph of a man's head, bald but for the hair spelling out the letters 'EMI'.

The train continues on its way, a microcosm of the city. IIT Delhi (where a controversy is raging about the station being sponsored by the coaching institute FIITJEE) yields some laptop-wielding young men. Before Hauz Khas, two women move to the door as if in unison, their differences of age and style erased as they pat their hair into shape, twins in the Metro looking-glass.

Hauz Khas is the interchange for the Yellow Line, and the train fills up, emptying again by the time we cross Greater Kailash and through the orderly expanse of Jamia: the MA Ansari Auditorium, the Urdu Department. The India Art Fair will finally have its own station: Okhla NSIC.

The industrial wasteland of Okhla gives way to some of Delhi's last surviving open spaces. As we cross what's left of the Yamuna, a fetid smell creeps into the train. Past Kalindi Kunj, the old floodplain is parcelled into neat little vegetable patches. But the green cover is deceptive. The canal runs poison. At Okhla Bird Sanctuary, I look into the haze, trying to spot a single sign of avian life. None. Then a sparrow cheeps, right next to me. It's the ringtone of the man getting out. I stay on the train. You never know -- there might be birds at Botanical Garden.


Trisha Gupta is an independent writer and critic. She writes a weekly column on Indian cinema for the Mumbai Mirror, and other pieces on films, books, art, photography and the city for other publications. She blogs at Chhotahazri.

Published in BPB Delhi, 18 June 2018.

Post Facto -- Mufflers, jhadoos, onions and metros: symbolic politics in our time

My Sunday Guardian column this month:

On 10th February 2015, as news began to come in of the AAP win in Delhi, Facebook, Twitter and WhatsApp were flooded with jokes. The best of these one-liners drew on symbols: the ordinary muffler weighing heavy on the bespoke pinstripe suit, or the jhadoo's clean sweep: "Modi wants a Swachh Bharat. AAP has the broom".

Of course, politics everywhere throws up symbols. But the Delhi elections turned bitter symbolic battles into smart, vibrant politics. The muffler made him seem like a chowkidar, went the sharply classist refrain in 2013. But the more Kejriwal-mockers made fun of his ever-present muffler, the more he clung to it. And eventually some clever young things in AAP turned the name "Mufflerman" into a kind of indigenous Dilli superhero — complete with T-shirts. As for the jhadoo, rarely has there been an Indian election in which the allotted symbol of a political party has assumed such far-reaching metaphorical meaning. The AAP jhadoo is now so profoundly linked to the party's "clean up the system" discourse that the anti-corruption message seems inextricable from the visual cue for cleaning up.

And yet the thing about images is that they can signify different things to different people, and mean many things at the same time. Days before the election, I happened to hear one of the city's cultural czarinas talking about how the visual matters in every field. Her example, but naturally, came from her driver, who had apparently said that Arvind Kejriwal and his message resonated with him to a great extent, but he could not bring himself to vote for AAP because its symbol – the broom – seemed to him to represent everything he had managed to leave behind. The visual association, in other words, was powerful enough to negate the effect of an otherwise convincing verbal campaign.

I don't know anything about the driver's background, but it seems unlikely that he was responding to the broom's valence as an instrument for cleaning. He was identifying it with those who usually wield it – not as a political weapon, but as a necessary act of earning their livelihood. Such are the powerful ways in which caste lives on in this country. Jhadoo dena remains an indelible Indian shorthand for manual labour in general, and polluting labour in particular. Those who followed the anti-reservation campaigns of a few years ago would remember students in front of AIIMS, would-be doctors who would eventually have to render service to human bodies in advanced stages of decay, protesting against the terrible fate that threatened them by sweeping the streets with brooms. And on 10th February this year, there was a WhatsApp joke doing the rounds: "Zadu wala becomes CM. Chay wala becomes PM. We Graduate, Engineers & MBA thinking of how to catch train at 8.37 AM & PM".

The Delhi election has been a turning point in many ways, but the real cleansing of our minds will need something more than empty Swachch Bharat slogans.

What is clear, though, is in a country so sharply fractured by class, symbols can go either way. While being a chaiwala's son definitely helped Modi win the votes of the poor in May 2014, it is not that aspect of him that appeals to "Graduate, Engineers and MBA" – though it seems that a ten lakh rupee suit might have swung too far in the opposite direction. And if the jhadoo's power is its everydayness, its familiarity, its emblematic connection with the poorest, then it also stands to be rejected for those very reasons — by that steadily increasing section of the population that aspires to something less every day, less basic, less poor.

Two other anecdotes might make the point better. The first is from a heritage walk I went on the day after the election. It was a young, upper middle class crowd, but for once, politics was on everyone's mind. The AAP enthusiasts may have been slightly more vocal, but I managed to overhear two twenty-somethings confirm their hopes of a BJP win. "The other night I saw a whole TV programme about the price of onions," sniggered the young man. "Imagine what will happen if AAP wins!" The price of onions, while it thankfully still has enough weight to swing the electoral taraazu, is something these young people think of as ridiculous.

The second anecdote is from the last day of campaigning. I was taking the metro from RK Ashram Marg towards Connaught Place when I saw a burly forty-ish Sikh man loudly accosting a group of AAP volunteers with caps. Apparently he'd seen one of them hawk and spit on the platform. I couldn't tell who the chastised volunteer was, but a whole host of his colleagues were apologising profusely: "He didn't know the rules, he's from outside, in fact he's from Andhra. But of course he shouldn't have done it. Humne samjha diya hai..." Sardarji, however, was not to be placated so easily. "You people want to run Delhi!" he raged. "But this is the respect you show to the metro. How will you ever make it a world class city!"

Whether it's onions or the metro, no symbol can ever represent any reality fully. But some symbols aren't interested in reality. What they want to do is to present an image whose grandeur people might aspire to — like a naam-wala suit, or a shiny new metro. The power of such symbols lies precisely in their distance from the real. In the politics of symbols, then, we must choose whether we want to be represented by our aspirations or our realities. Might our leaps not be more successful if we start with the ground beneath our feet?

First published in the Sunday Guardian.

New Dilli Darshan: On the Metro

Saturday afternoon, Pragati Maidan Metro Station. Swarms of people walk the long ramp from the recently-inaugurated station to the actual entrance of Delhi’s largest exhibition ground, where the India International Trade Fair is on. But I’m not headed that way. Today I’m off to see a Delhi different from the one I live in. No, no secret destinations – I’m just taking the Blue Line a bit further west than I usually do.

The Pragati Maidan platform looks out over Appu Ghar, Delhi’s original amusement park. Down below, I can see the famous Bumper Cars, red and yellow and blue. I only ever rode them once, in 1984, with my colony-best-friend Pooja Oberoi, whose dad stood in a very long queue to get us into what was (certainly for Pooja and me) the most important thing about the Asian Games.

The train starts to move. We pass the stupa-like Supreme Court dome, cross Tilak Marg and go underground. As we enter Connaught Place, I am dismayed to hear many voices around me whisper to each other, “Let’s go, it’s Rajiv Chowk.” It looks like Mani Shankar Aiyar – and what an autowallah I met last week called Delhi’s “rajnitik bukhaar” – have won out. The imperial grandeur of the old name seems to be finally crumbling before the political tokenism of the new.

Above ground again, we head past the once-legendary furniture haven of Panchkuin Road (the Metro has ploughed through, leaving shops on both sides unglamorously cramped). The city looks different from up here, less daunting than Delhi usually is at ground level – though perhaps more inscrutable. We cross Videocon Tower and the unmissable giant Hanuman, eternally covered in scaffolding. I’m determined not to get off anywhere I’ve been before, so I ignore the temptations of Karol Bagh and sit tight, all the way to Rajouri Garden.

The signs have been beckoning from a long way away. Sushmita Sen, wrapped in a fetching pink bathrobe, sitting atop a Carmichael House bedspread. As we pass the ad, the girl next to me turns to her boyfriend and announces knowledgably, “It’s an ad for Rajouri.” And indeed, as you exit the Rajouri Garden Metro stop, there’s Sushmita again, announcing the City Square Mall. One of the many malls and multiplexes that have sprouted along the Metro route, City Square is superbly sunlit under a vaulted glass roof, and even has a green patch outside where some employees are catching their lunch, looking almost like the government clerks at New Delhi’s roundabouts – except these have yellow uniforms. Inside, there are a zillion people under 25, most of them hanging out at the inviting-looking Café Terrace. But my companion makes some snobbish wisecrack about Mexican made in Rajouri, so we share a very fulfilling chaat platter at the kitschy-cool Khaaja Chowk instead.

I had thought of taking the train all the way to Dwarka Sector 9, a full sixteen stops away. But on the way to Rajouri, I’ve been waylaid by the idea of Shadipur. Not by the huge DTC bus depot – that you can see from the train. But because I’ve always wanted to go looking for Kathputli Colony, that truth-is-stranger-than-fiction locale which Rushdie put to such magical use in Midnight’s Children. So I take the Metro back.

At Shadipur, the giant concrete pillars of the overground line tower incongruously over a vast and dusty expanse of tired-looking buildings. The third rickshawala we ask agrees to take us to the colony of puppetteers. Our rickshaw hasn’t even stopped when a man rushes up to us, yelling, “Kutta chahiye, kutta? Dog?” Baffled, we assure him we don’t want a dog, only to walk into a raucous party of dhol players in bedraggled costumes. But when in doubt, walk briskly. Especially if the path is strewn with piles of garbage, and the air thick with flies. As I ask after a Bhoole-Bisre Kalakar Trust I’d once heard of, a tall young man comes up to us. Have we been sent by Rajiv Sethi, and would we like to meet the best puppeteer in the colony? We haven’t, but we would. So we follow him to the house of his uncle, Naurang Pradhan Bhat, once the toast of the Festivals of India. We’re back in the eighties again.

The old man sits hunched up on a charpai, a bidi clenched in his wizened fist. He doesn’t do shows anymore, but his son Lala does. And his kathputlis are amazing. There’s a Jogi, an evil Jadugar, the beautiful Anarkali, and the incredible shape-shifting Behroopiya. Each has a painted wooden face, painstakingly-sculpted moveable joints and specially-stitched clothes. We watch as Lala’s young apprentices make the Jadugar walk, turn cartwheels, and slither menacingly along the floor. Then it begins to get dark, and I ask them the way back to the Metro. Lala tells an apprentice to take us back to the main road. Then he grins. “Bas vahan se toh Metro hi Metro hai, uske peechhe peechhe chalte rahna!”

(This is the unedited version of a piece that appeared in Outlook Traveller magazine's December 2006 issue.)