Mermaids in Bologna

December means Christmas time and it also means "Motor show", one of the bigger annual trade fairs of Bologna. This year, for the annual Motor show, the Swatch people, makers of the small car Smart, organised a Smart Night in the historical central square of Bologna, la Piazza Maggiore. With 12 and 13th century buildings of red stone, this is one the most beautiful squares of Bologna. The Christmas lights were making it look like a fairy land.

 

The Smart Night brought colourful psychedelic lights, giant film screens, dances, drums, acrobats and high decibel pop music to the square, creating a wonderful contrast with the old buildings surrounding the square. The beginning of the show was with Kay Rush, a half-Italian half-Japanese TV show girl, appearing at the top of one of the giant screens, with her huge image on the same screen, to give an explanation of the theme of the event - exploring the different metro-communication languages.

The flying acrobats with colourful skirts, appeared next, flying in the sky, throwing strange shadows on the walls of the old palace, doing song and music routines from some famous films, dancing in front of the giant screens showing the strange art world of Escher.

Then it was the turn of singer l'Aura. She has a real nice voice and a very distinct style of singing. Lovely.

 

She was followed by Piero Pelu, one of the famous Italian pop stars who joined Kay Rush on the stage as a presenter.

And then it was the turn of the mermaids. They had placed transparent tubs shaped like champagne glasses, filled with water, in front of the cathedral. Three girls in swim suits appeared, did some synchronised dancing and then jumped inside the tubs to become the mermaids.

 

 

 

All the while the upcoming young piano star Giovanni Allevi played wonderful piano. It was like a dream, though with the cold night and temperatures of around 3 or 4 C°, it reminded me of the Mumbai film heroines who stoically go through dances and songs among snow covered mountains, dressed in the skimpiest of clothes. From the vapours rising from the girls' bodies, I think that the water was quite warm, still it must have been strange to take bath in the shivering cold in one of the oldest squares of Italy!

 

Let me conclude with 2 more pictures of the mermaids - while you look at them, imagine the zero-degree temperature and those girls dressed in swim-suits, taking bath in the city square!

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The Spirit of Dilli in Cinema

There was a time when Delhi was hardly there in the Mumbai films, except for that passing shot in front of India Gate or South Block with the rashtrapati bhavan in the background. As someone had cribbed after watching Kal Ho Na Ho, films do tend to distort the geography of cities, and if New York could not escape it, how could Delhi do it!

Often the films show the city in such a way that you might think that India Gate and Red Fort are close to each other and next to the railway station and the airport, so that if you come to Delhi, you can't avoid passing in front of them.

This year, I have already seen 4 Hindi films where hamari Dilli plays a key role, and the year is not yet over. Perhaps, in 2006 there were other films too, that were based in Delhi, that I have missed. The question I am asking is, which of these films reflected the real spirit of Delhi?

It started with Rang de Basanti. In RDB, India Gate was not just a distant shot seen from the windows of the passing car or autorickshaw but it played an important role in a crucial scene along with the spacious bungalows of the ministers, not too far from it. It was essentially a south Delhi kind of Delhi in RDB, where upper middle class lives. There were a few scenes of old Delhi and the Muslim culture but they were more like cameos and didn't affect the overall voice and texture of the film, that remained essentially south Delhi. I felt that, Aamir Khan as the Sikh son of a dhaba-owner and his disgruntled companions, succeeded in giving life to the growing up experience in Delhi. I could identify with it. Its language, ambience, people were the kind you find in Delhi.

Then came Fanaa, another Aamir Khan starrer. Here Delhi was just an interlude, a background to the shairo-shayari and songs. The film highlighted the touristy part of Delhi. It skimmed superficially over Delhi, not really trying to look at the life of the city. In spite of the luminous Kajol, I felt that it was a synthetic make-believe world, not really reflecting anything real about the city or its people.

The third film that I saw was Khosla ka Ghosla (KKG). It was a more of a west Delhi kind of ambience, people who usually live in Punjabi Bagh or Rajouri Garden. It was also very real. The way neighbours reacted, the way people talked and went around their lives, it was able to catch the spirit of dilliwallas. There was a part of the film dealing with Mandi house and Bhartiya Kala Kendra part of Delhi, the part involving theatre-wallas. This part was slightly less real in the way the two main actors behaved (Navin Nischol and Tara Sharma), but even in these scenes, all the side actors were very dilliwallas. KKG was also quite enjoyable in a Gulzaar-Hrikeksh Mukherjee kind of way, that was refreshing.

Finally the last Delhi-based film that I saw was Ahista Ahista. It was mainly an old Delhi, Chandni Chowk kind of Delhi, around Jama Masjid, Dariyaganj and Red Fort. In the film, at times the way the actors (Abhay deol and Soha Ali Khan) walked effortlessly from Red Fort to Niajammuddin or to Qutab Minaar, did jarr a bit but overall, the ambience of narrow streets and the Muslim culture was quite real. However, the film was marred by the actors, their way of speaking, their general way of behaving, that seemed false and out of place in Chandni Chowk. Abhay Deol is a nice looking guy, reminding me of Dharmendra in vintage films like Bandini, but he did not look like or act like old Delhi person. His dialogues did not ring of old Delhi, they seemed very Mumbaiwalla. His other friends, they seemed as if they had come out of the TV serial Nukkad, falsely nice and synthetic. This does not mean that film was bad, but in my opinion, it could not catch the spirit of Delhi.

So which of these films did catch the dil of Dilli? I think that the real competition is between RDB and KKG. Ahista Ahista and Fanaa were not about real Delhi. I can't decide between RDB and KKG.

It is difficult to decide, perhaps because the two films look at very different parts, people and cultures of Delhi. These two Delhis are quite similar geographically and do overlap, though obviously RDB is not about everyday places and persons (like the shots behind the airport or the shots at the old monuments, the scenes at India Gate and All India radio), while KKG is about everyday middle class Delhi. On just this basis, perhaps KKG wins for me.

And for you - is there a favourite film that represents the spirit of Dilli - Delhi for you?

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Against Nature?

There was yet another debate on the TV last night, about nature versus nurture, this time provoked by the news that the Museum of Natural History in Oslo is organising an exhibition on homosexuality in animals.

 

The question was - Is homosexual orientation determined by our genes or is it a learned behaviour? If it is because of genes than it is god-given or natural and we have to accept it. If it is a learned behaviour than we have to discourage any public talk about it and make sure that our sons and daughters do not make friends with gays and lesbians.

It is never easy to say what do we inherit from our parents through the genes and what is more a "learned behaviour" depending upon where we grow up. Sometimes things that may seem clearly hereditary are not always so.

Like people often said that my voice sounded exactly like my father's. And now on telephone, my son's friends mistake me for him and my friends and colleagues mistake him for me. Is that because of genes or is it because growing up together - did I subconsciously internalised my father's voice and my son did that with my voice? Perhaps, this is not a good example.

Illnesses like high blood pressure running in families, have similar confusions. Do you get high blood pressure because your ma or grandma had it or because living in the same house, you share all your habits of eating, exercising, reacting to stress?

It is much easier to deal with physical characteristics like the colour of your eyes, or the shape of your ears. That you did get through the genes.

There are many practical implications of the final conclusions of such debates, and that is why any conclusion is hotly debated. For example, if we accept that mental illnesses like neurosis are the result of genes, then perhaps all theories of Freud and may be the therapies which try to find the cause of your mental illness in the way your Mom wrapped your nappies when you were three months old, can be considered as useless!

Another practical example is about criminal behaviour. If we accept that criminal behaviour is because of genes, then what use is putting the fellow in the jail or worse, hanging him? What could he do, he had no choice but to follow his genes?

So to go back to the debate on the TV on homosexuality in animals, the stakes are much higher. Different religions consider homosexuality to be against nature. In Italy, Vatican officially assumes a similar position, even if many priests are open for a dialogue. If we accept that animals can also be homosexual, such arguments will be difficult to sustain.

Actually such debates are not new. Some years ago there was lot of discussion about some male Humbolt penguins in a German zoo who preferred to stay with other male penguins, while the females were left in peace.

In the debate on the TV, there were similar arguments. They said, for example: it is the stress of living in the zoo leading to homosexual behaviour, or it is the stress of increasing urbanisation, etc. They said that these are not real serious relationships but only playful behaviour in animals, and so on. So it will always go on, each side refusing to be convinced by the other.

 

What do you say?

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A symphony for Bombay

It is a beautiful symphony, played by invisible beings, the kind who walk all around you every day and whom you never see. Perhaps, you are also one of them? Symphony is made even more beautiful because, each of those invisible beings is singing a different song, with a different rhythm.

 

Seven Islands and a Metro by Madhusree Dutta is that symphony. The film was released in some commercial theatres about ten days ago. It is rare that I get to see newly released films but this time, Mukul, my nephew and cameraman for this film, brought me a preview copy. Today, while I was watching it, I wished I had watched it while Mukul was here. In some Dvds there is a director’s cut of the film, where the director explains and talks about the film, while you watch the scenes. If I had watched it with Mukul, I could have had a cameraman’s cut of the film! The film is so beautiful that I really regret not having done that.

Seven islands is about some of the different Bombays that exist for its 15 million inhabitants and for thousands coming here every day in search of a living. Each of them sings their song.

Like the persons who hang at the top of the sky scrappers and clean glass for a living. “I like it up here, there is a kind of peace here”, one of them says.

Like the hundreds of I.D.cards with their pictures, and people standing in queues, answering questions about themselves – name, place of birth, father’s name – in English, Marathi, Hindi, Urdu…

Like the line of cement mixers trailing on the highway like giant snails, their snouts raised up towards the sky to catch the extra-terrestrial sound waves, while helicopter drones above.

Like the girl with grey eyes, who says, “I tell people on the face that I am a bar dancer. I am not afraid. You have to be made stronger to live here. Only money counts”, and suddenly her voice cracks with emotion.

Like angry women protesting against the invasion of UP and Bihar walls, “We’ll butcher you like fish.” Like Kulwant Kaur with icey hands in the story narrated by Manto, who listens to her husband brag about the six he killed and the seventh, a beautiful girl, he wanted to rape. Like the Dawood Bohra bank worker who says, “I was born here in 1944. When he said that you should go to Pakistan, I felt so bad. Why should anyone doubt my patriotism for India?”

Like all those dead and living, living together there in the cemeteries, the Europeans, the Church of England Christians, the Church of Scotland Christians, the Church of North India Christians, the Italian prisoners of war, the Japanese prostitutes and cotton traders, the Chinese.

Like the small window above the graveyard, where a swing is moving in a small room and small feet peep out and go back in. Like the tall and well built Reshma, who talks about her tom-boy days and those trying to dial a "wrong number" with her. She is the stunt women, a celebrity in her area, having done stunts for Hema Malini in Sholay. “Take a look at my pictures. In my time, I was also beautiful, why didn’t I become a heroine?” Like all those small, thin men with faces burnt by sun, who rummage through garbage, who bulldoze houses of poor like themselves, and who talk of hunger, “You can wake up hungry in Bombay but you are ready for hard work, you will not go hungry to sleep.”

Like the young man selling chai during the night. Even beggers and vendors buy the tea from them. “They can deflate the tyre of my bicycle, but I can’t give bribe. I don’t earn enough. They can do what they want.”

Another talks about his love for the girl from the other caste and how he was made to leave for Bombay while the girl committed suicide. “For a days labour, you earn 15 rupees in the village. Here I can spit out betel for 15 rupees in a day.”

Cruel, funny, tragic and comic, they all mix together in a never ending kaleidoscope, each staking their claim to life. The young boy extolling the virtues of vegetarianism, almost unaware of the violence inherent in his words. Or those who talk of the riots and because their religion does not allow them to hurt others, how they gave a couple they had discovered to others “more suitable for the job”. And the hope in their eyes that refuses to die. My future will be better, they all believe. In any case, life here is much better than what ever, I left behind, they argue, perhaps more to convince themselves than others.

The only discordant note in the symphony comes from the comments of the two writers, Sadat Ali Manto and Ismat Chugtai, and the effort to add abstract symbolism to the film, like the broken picture of Gandhi or the red shawl. Harish Khanna as Manto is suitably intense and Vibha Chibbar is a delight to watch, but their philosophical posturings sound false and superfluous like the burqa clad women pushing carts with polyfoam Mumbai maps or the burning kite or the red coloured water with I.D. pictures floating in it.

Words of ordinary people are like swords, cutting and cruel unapologetically. “No more Bihari and UP walla bhaiyas here, let them stay where they are”, says a woman bluntly. There is no need to add abstract symbolism, it is already there in plenty.

They all say that it is about money. No one talks about community, the relationships. After leaving the small towns, what communities they create? What relationships sustain them and replace the warmth they left in home towns? The film does not explore them but you get glimpses of it, like the boy running along the train, who is pulled in by others hanging at the door.

The idea of watching a documentary film for 100 minutes is a bit daunting but once the film starts, it is difficult not to get involved and forget time. Bombay never looked so beautiful as it looks in the rain scenes. Music, sound, images, people, everything fits well together.

In the end, I was feeling a bit jealous about Bombay. I have been there a few times, but my heart is in Delhi. I wish someone had made a symphony for my Dilli like this!

Below, some credits of the film.

Title: Seven Islands and a Metro
Director: Madhusree Dutta
Actors: Harish Khanna & Vibha Chibbar
Cameraman: Avijit Mukul Kishore
Editing Reena Mohan, Shyamal Karmakar
Dialogue: Sara Rai
Sound design: Boby John
Music: Arjun Sen

Note: Poster of the film if from the press kit

***

Ragging lessons

Note (2022): I had written this post in 2006, to share my own ragging experiences. It is about my positive experiences of ragging in early 1970s. If the idea of discussing ragging in positive terms upsets or triggers you, I strongly suggest that you do not read this post.

***

There are broadly two kinds of persons in the world, I thought to myself. Those who live surrounded by transparent bubbles and life’s woes seem to touch them lightly, leaving them to live in their blissful ignorance. And, those filled with angst, their sensibilities weighed down by the injustice of it all, every experience leaving a burning hole in their souls. Probably Sujit Saraf belongs to that second group, I thought to myself, as I read his article on Tehleka about effects of ragging he had received at IIT Delhi twenty years ago.

Actually his description of ragging was quite funny:

We did many things in that one month that now appear harmless and amusing. We stood on benches in the dining hall and recited the national anthem; we crawled on all fours and barked like dogs; we brought cigarettes and Campa Cola for our seniors; we cleaned their rooms; we dropped our trousers so they could measure our penises; we formed human trains — each car holding the penis of the car in front — and whistled our way through hostel corridors; we simulated orgies; stripped naked; then wore underpants over our trousers to turn ourselves into comic book phantoms.

The impact of these experiences are summed up by Sujit as, “After so many years, I can list all these forms of ‘ragging’ dispassionately, but no one should be misled. Brutality and oppression remain just that, no matter the name used for them… Ragging is a case study for Freud, nothing more.”

If Sujit belongs to the second group, I probably belong to the first. While he seems to have been traumatised by that experience, his words brought back many happy memories for me.

The first time I encountered ragging was when I went to submit some form at MAMC near Delhi Gate. A pimply seventeen, I was suddenly pulled into a small door at the side of their auditorium. Soon my pants were around my ankles and I was asked to wank. It was slightly embarrassing to admit but I didn’t know what wanking meant!

I knew the words all right, they were used often by boys, but I had no idea that you actually did something. Probably I was too busy day-dreaming or reading or playing, and though it had been many years that I had “wet dreams”, I hadn’t ever thought much more about it. I did have some vague basic ideas of what fucking entailed and that was my sex knowledge. I don't think that I thought kissing caused a woman to become pregnant, but probably I was not so sure about it.

My raggers screwed up their noses but were not too surprised, apparently they had seen other ignorant boys like me before? Any way, I was shown the simple practicality of wanking and let off. I won’t bore you with the details of my experiments with that knowledge later that day, but just for that lesson alone, the word “ragging” brings a smile to my face.

The other lesson came in Meerut a few months later, in the hostel of the medical college. Fifty or sixty boys, running around naked and doing hundred little things like the ones described by Sujit above, was an opportunity for close observation of the variations in that small appendage that is apparently supposed to the centre of men’s lives – the penis. It was the best cure possible for all those anxieties about, is it too small, is it too long, is too thin or thick or whatever, that seems to afflict many of us. It did cure me of those anxieties any way. After the first two times of being naked with other boys, any sense of humiliation or shyness disappeared.

It was fun and a way to look at things that earlier, I didn't have the courage to ask or think about.

The third lesson was about female sexuality. Fed mainly on Hindi literature, where sex is hardly ever mentioned directly, I had an idea that sex was something pleasurable for men that was “tolerated or suffered” by women. Both, male and female students of the medical college had their “anthems” full of obscenities, and it was the women’s anthem that opened the magic door for me – sex could be something desired even by women!

Probably I can come up with some more lessons that I received from ragging that perhaps today’s generation won’t care about. I am sure that today’s twelve year old know much more about sex than what I knew at seventeen. If they don’t know, perhaps internet is a better medium to learn, than other guys slightly older than them through ragging.

My parents never spoke to me about sex. With friends, one spoke about it but that was more to experiment with words and our developing identities as men, but at least, I was shy about asking any real questions. Years later, when I tried speaking about sex to my teenage son, I soon realised that he already knew much more about it and probably I could have learned somethings from him! How times have changed.


***

Note 2: After almost 18 years, this continues to be among the most popular posts on this blog. Tens of thousands of persons have read it till now.

A lot of readers get very upset after reading it, in spite of my warnings.

If you have read it and you feel upset and angry, it might be time to ask yourself 2 questions - what is there in this post which upsets you? and, how you can overcome the trauma you underwent because of ragging?

 

You can also ask yourself why do you look for content which reminds you of your old trauma? Perhaps, you are caught in a cycle of negative obsessive-compulsive behaviour?

 

In the end, carrying this trauma hurts only you. I hope that you will use your feelings of anger and frustration to find a way to come out of this trauma and heal your wounds. Consider talking about it to a psychologist or a psychiatrist, or at least to your close friends.

 

My best wishes for finding a way to let go of your past, to forgive yourself and forgive those who did it to you. It is better to move on.

Contradictions of Syriana

After a lazy sunday afternoon nap, we decided to watch the film Syriana. I was still a bit sleepy and I had been hoping for something not too complicated, so probably some bits of Syriana passed over my head without registering.

The film is complicated with different simultaneous and parallel story lines spread over different continents and in different languages, English, Farsi, Arabic and Urdu. The main aim of the film is to show how American multinationals involved in petrol extraction with active support from different American institutions, are willing to go to any length to keep on their profits, including the assassination of those who try to fight against their power. At the same time, short term thinking/planning of USA forces sometimes provide sophisticated weapons to those who later use them against American interests.

I was thinking of how so many Indian films are now equally vehement in showing nexus between corrupt politicians, underworld and other corrupted state institutions.

It is a victory of freedom of press if cinema can show such realities in such clear terms, pointing accusing fingers at the powers.

Yet, I was also thinking about the fact that many such films have come, their accusations seem believable, and yet nothing changes in this world. Voters go on electing those same persons, those persons keep on doing what they were doing and public does not care. Then periodically, there are some "ritualistic cleaning" in which some power-brokers are sacrificed to satisfy the public hunger for justice, and everything continues as before. It sounds very horrible and cynical and yet probably an accurate description of how "real" life is.

Coming back to Syriana, George Clooney must be passing though that "I am not just a beautiful body, I am a good actor" phase. His character in the film is not very believable - his perplexity and confusion in the film when he understands how his Government operates, after being a secret agent for all his life in places like Beirut, is not credible. The decision of Pakistani boys to be the suicide bombers is also not explained properly in the film, since at least one of them seems not convinced about religious dope peddled by his instructors.

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Journeys: Yesterday and Today

The train journeys used to take for ever and the preparations started days in advance. Letters were written for the friends on the way, who were going to host us in their homes for a night or two. Holdalls were prepared with blankets and gaddas, thin mattresses filled with cotton, and we pulled on the straps till they all rounded up like footballs. Biji, my grandmother, prepared a big basket of puris and fried potatoes along with mango and water chestnuts pickles for the journey.

Going to Hyderabad needed two nights and we stopped on the way in Bhopal. Going to Alipur Dwar in the north-east took three nights and we stopped on the way in Lucknow and Siliguri.

In the second class compartment of the trains, the seats were wooden planks and best was to have the top berth, because then you could go up and forget about the others. The bottom berth was where everyone sat while the middle berth was kept closed till it was time to go to sleep.

As you entered the compartment you immediately measured the others sharing the space with you. Were their faces smiling or were they sour-faced? How did they react to, "Uncle, can I put this here?" And then soon everyone beamed with relief since the companions of our journey were as anxious as we were to find friendly faces.

Before you knew, everyone was talking to everyone. Children sharing comics or playing ludo or exchanging stories. Women together chatting like long-lost-sisters from a Manmohan Desai film. Men looking with understanding nods at their wives, and talking about their own things. Didi, bhabhi, bhai saheb, dada ji, aunty ji, soon everyone had found the right words to address the others. From the open window of the train, on a curve you could see the steam rising up from the engine and specks of charcoal came inside the compartment and coated all our faces, got stuck in the hair and went down the neck into the shirts. Chuk chuk chuk, the train went, with the compartments swaying as everyone spoke to everyone else.

And by the time the shared journey came to an end, we knew lot of things about each other, and saying goodbyes was like we were leaving friends. "Write to me", "If you come to Delhi, come to see us", were exchanged with addresses. Of course, we never saw each other again, those other lives were soon forgotten, the memories of faces and names fading quickly with time.

Every time I remember those journeys, I can imagine the round ball of our earth buzzing like a beehive, hundreds of thousands of small cells next to each other, each with its own family and relatives and lives, each family facing ups and downs, each with children growing up, persons dying, persons getting married. Even if I didn't know about them all, I could imagine them all, each family like our own, a little different in some things, but underneath every thing else, quite similar.

***

Now even in India, there are no steam engines. Those long journeys have become shorter. Here in Europe, even when I do travel on train, mostly I avoid eye contact with others, I almost never offer to others the food I am eating, I hardly ever (actually never) take puris and fried potatoes with me and anyway, most persons have a sandwich and a paper glass with some drink. On the planes, people sitting next to me, some times smile but it stops there. Talking to others that you don't know means "disturbing them" and so everyone looks out of the window or reads or closes eyes and feigns sleep, all lost in their own worlds.

Instead, when the urge to "meet" others comes, I do blog hopping. Like, going to a site like Desi-pundit and clicking on a blog.

Blog-hopping makes me "meet" other persons. That boy with the red scarf around his neck and his graduation at some IIT, his face full of hope for the future. That lady next to him must be his mother, she looks so proud of him. The girl he is looking at with so much adoration on his face, is she is wife or his girlfriend? There is no picture of his father in that album, why, what had happened? After the pictures, I want to read about the things that boy has written in his blog. And then I click on a link on that blog, then on another link, hoping from one person to another. That girl, she went to India for the first time. Her name is south Indian, perhaps she was born in USA? How does it feel to be surrounded by all Indian faces for the first time in your life, when you realise that you are like everyone else? Jumping between cities and continents. Looking at photo albums and reading about the persons is so much fun. In half an hour, I have gone through three blogs, looked at their pictures, read about their profiles.

Tomorrow, I won't remember them. If not tomorrow, perhaps next week I will forget them. I never remember their names any way. And I never tag them. I like them as they are, random, unexpected, like ships crossing and the passing glimpses into other parallel universes. Sometimes interesting, sometimes ordinary. Sometimes, I don't like them so much.

They are like the companions on a long train journey from my childhood. And I think of the giant beehive, all round the world, every where people with hopes, joys, illnesses, memories, sadness, visiting beautiful places, missing places and people. It is good to be part of that beehive.

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