Rediscovering 15 August

The last time I had been in India for 15th August celebrations must have been around 30 years ago. Thus, being in Delhi for this independence day was a special occasion for me.

Growing up in the immediate post-independence era, I had also imbibed the values of patriotism and national pride. 60 years later, my ideas about patriotism and nationalism have changed but that is another story!

I remember once going to Red Fort as a child to listen to Pandit Jawahar Lal Nehru and the long walk back home along with thousands of other persons after the speech. Though there was no TV in those days, listening to the prime minister's speech on the radio was something to which I had always looked forward to.

After leaving India, for a long time I had missed not being able to listen to the Independence day speech so usually I waited to ask my sister on telephone about it. Those were the pre-Internet days.

Over the last decade, even though Doordarshan did not provide any internet based live transmissions, it had become easier to read about the speech on internet. Slowly a feeling of cynicism coupled with indifference had crept in. The speeches were lacklustre and afterwards it was difficult to remember anything that the prime minister had said. 15 August had become a bureaucratic boring event.

This time while I waited to hear the speech of the new prime minister, I was not sure if the event merited any enthusiasm. From what I had read occasionally on internet, in my mind Mr. Narendra Modi's figure has been associated with communalism and intolerance of religious minorities. Over the last few weeks that I have been back in India, some of the things said by and campaigns launched by some BJP persons had reinforced those fears.

Still I had thought of going to Red Fort just to relive the old times. However, the metro services does not start early enough so I had given up the idea. Thus, I had sat in front of the TV with a bit of trepidation.

However I liked Mr. Modi's speech very much and also the way he spoke. Especially his words about communal harmony, discrimination against girls and the need for toilets and cleanliness. He seemed very passionate about these issues. There were times, when listening to him brought a lump to my throat.

One day later, thinking about his speech, I can see many contradictions about the issues he raised. Such as his slogan "Make in India". I know that India has to increase its industrial production but it would also mean intensifying the use of the natural resources of India and that will mean displacing people from their lands and endangering our environment. Reaching the "zero effect" he recommended is not realistic in the short or medium term, so how do we deal with it?

He also talked about giving up violence because it does not resolve anything (I agree with that whole heartedly) but would he extend his non-violence exhortation to the police and state agencies that jail or fire on persons who protest against the government's policies?

Even if I have my reservations about some of the things Mr. Modi had said yesterday and even if we all know that "walking the talk" is not so easy, still I am glad that I could watch and listen to him live. It was a pleasant change from the cynicism and indifference of the past decade.

In the evening, we went to Connaught Place for the Shubha Mudgal concert. There were so many persons at the concert that we could only listen to her from a distance.

In the central park, everybody was busy getting clicked in front of the giant Indian flag.

Along the way, people were busy taking their selfies in front of flower-flags set up by NDMC in different places. In India Gate, crowds were unbelievable. It was a wonderful way to conclude the Independence day, watching people express their joy in being Indian.

Here are some images from the day.

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Tribal lives - Konds of Orissa

Felix Padel, the great great grandson of Charles Darwin, is a well known Indo-British anthropologist. His book "Sacrificing people - Invasions of a tribal landscape" looks at the colonial roots of the relationships between "Adivasis", the indigenous people in tribal areas of India with the rest of country.

"First there were the soldiers, then missionaries and now the mining companies," Padel had said in an interview. His books explore the themes of displacement and the cultural genocide of the adivasis.

This post touches on some of the critical issues raised by Felix in his book "Sacrificing People" (Orient Black Swan, new updated paperback edition, 2011).

In the preface to the first edition of this book, Felix had written, "My main aim is to understand what has been imposed on tribal people by looking objectively at the various groups of people who have imposed on them." Among the various groups scrutinized critically by Felix are anthropologists themselves, which makes for a very interesting reading.

Large parts of the book deal with the issue of human sacrifices among the Konds of Orissa and how the colonial regime dealt with it. Another important area of focus of this book is the meaning of development and how it can lead to exclusion and exploitation of tribal people.

Apart from these two areas of enquiry, I personally found two parts of the book very interesting - those dealing with the way anthropologists look at and study the indigenous cultures and the impact of missionary work and religious conversions on tribal lives.

Adivasis, the tribal people of India

The initial works of Felix focused on the Kond group of indigenous people in Orissa. Different sub-groups of Konds such as Konda and Gond are present in neighbouring Chattisgarh, Madhya Pradesh and Andhra Pradesh.

During the British colonial rule, Kond groups in Orissa had been the subject of different "reforms" because there were reports of human sacrifice practices among them. Konds sacrificed meriah, children bought from the Dom groups ("lower caste" Hindu groups involved in trading with Konds).

There are many different groups among the Konds. Clans are important in people's identity. Each clan, as well as each section of a clan and each village, has its own territory, and its own ancestors and myths and particular customs and ways of dressing...

Now as in 1830s Konds have close connections with people of an 'untouchable' caste called Doms or Panos, who live in Kond villages and carry on small scale trading .. Other tribal castes whom Konds depend on include blacksmiths, potters and herders, who almost function as sub-castes of Konds. Sundis are a Hindu caste of distillers; they make and sell mahua - the most famous of alcoholic drinks that play such an important part in tribal culture... Konds also have a close relationship with high caste Hindus.

Kond villages, like those of other tribes, show a lot of variety in how far they conform to the non-tribal or modern lifestyle of those around them. When men cut their hair short, this is often a sign of conformity, whether to Hindu or Christian norms. In the remoter villages, where men keep their hair long, a way of life continues that has not changed much since the days before the British rule. (p. 14-15)

Thus, compared to other indigenous groups in Africa or South America, that remained "indigenous" because they were isolated from other people living in their lands, the adivasis-tribals in India, were not completely isolated and had different kinds of interfaces with other population groups. However, in spite of such contacts they were able to conserve their own cultures and customs.

At the same time, Felix explains how these adivasi groups assimilated the different influences of other Indian groups such as their caste-based hierarchical relationships with Doms. Thus, on one hand, adivasis are considered inferior by non-advasis and at another level, they themselves considered certain other caste groups to be inferior to them.

Culturally they have always been part of Indian civilization, on its edge. Unlike most tribal peoples outside India, they have maintained trading and ritual links with city-based 'civilized' society for well over 2000 years.

Ancient texts on statecraft such as the Arthshastra discuss how to win them over as allies... the Indian situation presents a striking contrast to the European or Christian relationship between tribal peoples and 'civilization': in Europe they were mostly conquered, 'pacified' or 'civilized' into peasantry, and converted to Christianity during the Roman period or soon after. Later in the 'New World' tribes were exterminated or at least displaced from their land through a stark confrontation between European colonists and aboriginals. Hindu civilization did not on the whole seek to convert or displace tribals, although there was certainly often conflict, and tribes were forced to retreat to the remotest areas ..

Tribal religion is not sharply distinct from Hinduism.. Tribal myths have clear connections with Hindu mythology. Adivasis travel from far around to take part in certain Hindu festivals... Yet their differences from Hindus are conscious and conspicuous. In some contexts or areas they call themselves Hindus, in others not. (p. 17) 

This co-existence between tribal and non-tribal groups in India was challenged during the British colonial rule. In post-independence period and especially over the past two decades, policies of liberalization and commercialization with exploitation of natural resources, have put increasing stress on this co-existence.

Anthropologists studying the "exotic" tribals

In the book, Felix takes a critical look at the way in which colonial anthropologists had dehumanized the subjects of their studies, where anthropology was a tool of the colonial project and the objective of "civilizing" the tribals translated into controlling them and their resources. He advocates for a transformation towards reflexive or critical anthropology.

Anthropology was a vital element in British rule of the Konds, not least because it legitimized British rule from the side of science by defining Konds as a 'primitive tribe' who stood to benefit from an 'enlightened government', just as the missionaries legitmized it from the side of religion and ethics. (p. 242)

And when I looked at the anthropological literature about the Konds and other tribes in India, I realized that it forms an essential part of the discourse of power that was imposed on them. It denies them a voice, and denies their reality, by defining and categorizing them in way that is fantastically, incomprehensibly alien. (p. 243)

Felix proposes that our present way of looking at the tribal groups in India is a variation on the colonial attitudes towards them - it supports their exploitation and exclusion from their lands and cultures.

Victorian anthropology produced a highly impersonal way of writing about tribes such as Konds, that defined them as 'primitive' in every domain of life. It thus gave out as a 'scientific fact' what was essentially a negative stereotype. The underlying theory is what we call 'social evolutionism' - which, officially, most anthropologists have rejected. Yet it persists in India now in a slightly different form,in the idea that adivasis are 'backwards' or 'in need of development', and thereby legitimizes imposing momentous restrictions on them or displacing them from their land in the name of development. (p. 243)

Colonialism and the missionary project

In the chapter "Soldiers of Christ", Felix takes a critical look at the role played by colonial missionaries in assisting and expanding the control over the tribals. He briefly touches upon the evolution of missionary activities in the post-independence period.

Missioneries' self-sacrifice is often extreme and their benevolence, especially in education and medicine, seems beyond question. But there is a fundamental bias in their outlook which polarizes people, in the idea that Christianity is superior to other religions and that only Christians can be 'saved'. Behind a mask of meekness there is thus an enormous arrogance and violence in the missionary entreprise: a fundamental closedness and prejudice against other cultures and religions. (p. 185)

Felix touches repeatedly on the dual nature of the missionary work among the tribal people:

My appraisal of mission work may appear unsympathetic, since I do not share missionaries' negative judgement of tribal religion or their desire to uproot traditional beliefs and customs. Yet the missionaries we shall meet 'gave their lives for the Konds' in the years of devoted 'service', and many of them died 'in the field'. (p. 186)

A contrast between how missionaries saw themselves and how they saw they came to convert is thus at the basis of their thinking. If they idealized their own suffering and benevolence, their image of various 'others' is basically a negative stereotype. (p. 206) 

Regarding the missionary role in the colonial cause, Felix looks at the complex relationships between the missionaries and the colonial administrators.

On the surface missionaries were independent from the Government. Sometimes they came into conflict with it. There was a long standing tradition of missionaries who championed basic human rights overseas...But there was a lot of liason too, and at a deeper level a mutual dependence and division of labour evolved: in return for its patronage, missionaries extended the Government's hold over Konds in various ways. (p. 189-190)

Regarding the impact of missionary discourse on the tribal culture, Felix touches on different facets of this issue.

The missionary message was thus often aimed at persuading people of their sinfulness and appealing to their fear of damnation. As a result, a dominant theme in missionary discourse is a contrast between their own self-sacrificing Christianity and the sinfulness of various other groups - pagan Konds and Hindus, as well as Christians of other sects. (p. 200)

The theory here is that Kond religion consists of ignorance and the free expression of savage passions. The metaphors are of combating darkness and clearing the jungle, to 'elevate the Kond' .. The use of singular instead of plural in these passages is significant. It isolates the individual, just as in practice missionaries isolated individuals through teaching and conversion. 'The Kond' is a hapless, demonstrably ignorant specimen of scientific study and missionary persuasion. (p. 211)

Schools were not just a secular addition to Mission work: they were central to it, and it seems that the fundamental aim of Mission schools was to undermine traditional beliefs and inculcate a reformed pattern of behaviour and attitudes, preparing the ground for conversion, and creating a missionized elite among the population, who would see the world as missionaries wanted them to see it, separated from their fellows by many symbols. (p. 219)

So when Konds' language was 'reduced to writing', missionaries made sure its first texts were Christian texts. The same happened with the vast majority of tribal languages in the world. (p. 221)

.. missionaries segregated their converts as far as possible from unconverted pagans ... Orphanages and schools separated Kond children from their communities in many ways. Conversion to Christianity carried this much further, dividing a village with a host of values and symbols. (p. 233)

Felix notes that after independence, the evangelizing missions have been taken over the Indian Christians and the conversions to Christianity among the tribal groups have increased manifold.

Perhaps it would be interesting to see if the Christianity of Indian preachers is in some ways more inclusive of traditional beliefs and ideas of Tribal groups, giving rise to more syncretic versions of the religion?

Conclusions

Personally, at one level, I find frightening the idea of homogenising the different cultures and beliefs of people, substituting their rich world of myths and stories, with a common cultural-religious narrative. In recent years, like the missionaries, certain Hinduttva groups have also pushed for some standardized Hindu narratives in which the rich world of Adivasis gets submerged. At another level, the same happens to Adivasi languages, by the dominance of 'superior' languages, mainly English, but sometimes even Hindi or other Indian languages.

These discussions raise other questions in my mind - are human societies like museums where we need to keep 'pure and uncontaminated' varieties of people's cultures forcing them to live in the stone age, rather than the natural progressive transformation of societies when they meet other people and other cultures?

Felix Padel's book "Sacrificing People" forced me to rethink many of my ideas about tribal population groups in India - I think that many of my ideas were/are indeed shaped by the dominant Western cultural discourse which looks at indigenous people as ignorant and backwards and who need to be civilized.

Often persons advocating for 'development' get angry by any discussions on the rights of tribal people. They believe that such discussions and related protests against exploitation of natural resources in tribal areas are only ways to block 'progress'.

I do agree that sometimes people fighting for rights of indigenous groups have quaint but outlandish ideas about how persons ought to live and about the role of technology in our lives.

However, often 'development' is made only at the expense of the poor and marginalized, ignoring their rights and simple human dignity. It may also be controlled by ruthless groups of shareholders who benefit from a corrupt system. How can we avoid the 'development' that destroys our environment for short term gains? In my opinion, finding a middle ground in such a situation is fundamental.

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The photographer of famous persons

A chance visit brought me to the works of a photographer from Delhi, who had clicked pictures of the rich, the powerful and the famous persons passing through the Indian capital during 1950s and 1960s. These were the works of Mr. Madan Mahatta (Mehta). He died earlier this year, but I am really glad that I could see his works and to know about him.

A chance visit

I was in Connaught Place in Delhi and went to an Airtel shop to get a new SIM card.

"You need two pictures for the SIM card and you can go to the photography shop across the road for it", the Airtel guy told me.

I saw the board of "Photographers Mahatta" and walked in. The shop seemed full of cameras, tripods and other things necessary for photography, including a whole wall lined up with antique cameras.

"Take these stairs and go up", a guy guided me.

Upstairs had a photographer's studio with lights and reflectors. But there was no one there. While I waited, I looked around and saw a wall with some old black and white pictures, some of them hand-painted. Going closer, I found that some of them were of well known persons - India's first president Dr Rajendra Prasad, Gayatri Devi of Jaipur, Everest climber Tenzing Norgay ..

Soon a guy arrived and asked me to sit down on a stool. While he adjusted the lights, I asked him, "Who took those pictures?"

"It was Mr. Madan Mahatta, the owner of this shop. It is the oldest shop of photography in Delhi and next year we are celebrating our 100th anniversary", he told me proudly.

Madan Mahatta, the photographer

Afterwards I talked to Pavan Mahatta, son of Mr. Madan Mahatta. He explained that their family was from Srinagar in Kashmir. Photography was initiated by their grandfather in Dalhousie in 1915, when he was 17 years old.

Madan opened his photography shop in M block of Connaught Place in 1947. He went to study photography at Gilford in England and after his return in 1954, set up the first colour lab for photographers in India.

Pavan showed me a book that has been printed to mark the 100 years of photography by the Mahattas that has many examples of his father's works. "Queen Elisabeth of England, Jacqueline Kennedy, anyone who was famous and important, who visited Delhi, was photographed by my father in those days", he explained.

His image archives have been partially digitalized and some of these images can also be seen on the Mahatta website.

Madan Mahatta in the Indian press

Madan Mahatta was "rediscovered" by Ram Rahman a couple of years ago, who had curated an exhibition of his architectural pictures in 2012. I found different articles about this exhibition, that give more information about Mr. Mahatta:

  "Mr. Mahatta, the owner of the famous Mahatta Studios in Connaught Place, is palpably excited about the public display of his works. He shares the experiences he accumulated while capturing through his viewfinder angles and avenues of many a concrete landmark. Though only his architectural pursuits are going to be on display, the seasoned photographer is as animated about the moments of history that he lived through, capturing their images in his camera for posterity. He recalls how he climbed on top of India Gate to shoot Jawaharlal Nehru's funeral procession in 1964, and when he was invited to Bhutan to photograph the coronation ceremony of the king.... Although he has been using colour in photography since the very start of his career, it is black-and-white that he finds more fascinating to work with. “Black-and-White photography is the translation of colour using light and doing that needs a lot of skill.” And this is one of the many skills Mr. Mahatta displays." (in The Hindu)

"Mahatta’s photographs cover the important period of Nehruvian high modernism, a record of the creation of the new Delhi and the urban monuments of the new nation, most of them commissioned by Nehru himself. Coming from a family which owned the biggest and most reputed photo studios in North India, Mahatta worked closely with two generations of India’s best known modern architects including Charles Correa, Habib Rahman, Jasbir Sawhney, J.K. Chowdhury, Joseph Allen Stein, Achyut Kanvinde, Ajoy Choudhury, Kuldip Singh, Raj Rewal, Ram Sharma, Ranjit Sabhiki and designers Mini Boga and Riten Mozumdar." (article by Phantom Lady on "Take on Art" blog)

"A mini museum in itself, their store in Connaught Place is worth a visit. From their collection of old cameras, like the Kodak Autographic Vest Pocket Camera belonging to A N Mehta from 1912 and something called ‘Camera Gun’ made by Fairchild Camera and Instrument Corp. New York, which was used during World War II to click images from fighter jets to the D800e Nikon Arjun uses currently, this store is a must visit on every photography enthusiasts list." (on the Family history of the Mahattas by Tanya Gupta on "Know your city")

Madan Mahatta died on 6 March 2014 in Delhi.

Conclusions

I had seen some of the works of well known photographer Sunil Jinah, especially some his iconic images of Mahatma Gandhi and of the tribals from different parts of India. But I hardly knew about any other significant photographers from the pre and early years of post independent India. I am glad that this chance visit introduced me to the works of Mr. Madan Mahatta.

Though his architectural images have been exhibited, perhaps his other images also hide treasures that can be appreciated by art lovers and historians.

On the other hand, it is remarkable that the Mahatta Photographers shop continues to be still active. Apart from its wonderful collection of vintage cameras that have made the history of photography, today it sells equipment from various brands like Nikon, Cannon, Sony, etc. and Pavan's son Arjun continues the legacy that had started in Dalhousie in 1915. If you like photography and are near M block in Connaught Place, find time to go and visit the Mahatta shop!

(The image of Mr. Madan Mahatta used in this post is from LiveMint)

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Exploring Indian love lives

Ira Trivedi's book "India in Love" is about marriage and sexuality in contemporary India. Based on a sociological research, it focuses mainly on the enormous changes occurring in urban middle class India. And, it makes for an interesting read. This post is about Trivedi's book and also presents a selection of my pictures from different parts of the world on the theme of love and sexuality.

Introduction

Sexuality is a taboo area in India, though in recent times, some of the walls surrounding it have been breached, giving a glimpse of the different facets.

The discussions around sexuality are often linked to debates about traditions versus modernity, as well as to ideas of obscenity and pornography. Often they remain limited to innuendos and anecdotes that make for prurient reading without really helping in an understanding of the issues. Ira Trivedi's book "India in Love - Marriage and sexuality in the 21st century" (Aleph books, New Delhi, 2014) goes deeper for a more nuanced understanding of the issues.

India in Love

The book is divided into two parts - part 1 dealing with "sex and sexuality" and part 2 dealing with "love and marriage".

The first, "Sex and sexuality", part touches on different areas - the impact of last 2 decades on people's ideas about sex and sexuality; impact of access to pornography and the space occupied by porn stars in popular imagination; the coming out of the LGBTI (Lesbian, Gay, Bisexual, Transsexual and intersexual) groups; evolution of the prostitution; and the dark side of sexuality, including rape, violence and the impact of decreasing female ratios.

The second part, "Love and marriage"  deals with - increasing role of love in people's decision making about marriages; the old and the new matchmakers and their changing roles in arranged marriages; the commercialization of weddings; increasing divorces and separations; and, couples experimenting with live-in relationships and open marriages.

Comments

At places, Ira makes sweeping and superficial generalizations, but on the whole, the book presents stories and research findings in ways that illustrate the complexity of the issues. India is a continent with a huge population and thus most discourses about India usually lead to the following two conclusions:

(1) If something is true, its exact opposite will also be true - thus if you find examples of big changes, you also find examples of societies and persons steeped in traditions that refuse any change. The situation is also dynamic, thus the same persons may have different opinions at different points in their lives and what seems to be the truth of a specific group today, may be very different tomorrow.

(2) The diverse groups in India - rich, middle class and poor; big cities, small cities and villages; men, women and the other genders; persons of different religions, etc. - all have different aspirations and velocities of change. None of the groups are monoliths with common shared positions, rather each group shows a variety of positions along a spectrum ranging from the most radical to the most conservative.

Ira's book also respects these two conclusions. Book's language varies from academic and clinical ("she did fellatio", "he did not like doing cunnilingus") to more immediate and direct ("squeezing their breasts and groping their crotches").

While the book talks about the changing ideas and practices about sex, love and marriage in India, it also touches on the frustrations and dilemmas about the traditions among the immigrants from rural areas and small cities who can witness the changing norms but are mostly excluded from them.

It does not shy away from going deeper into complicated areas (".. there have been many positive influences such as education and health care but the missionaries tried to impose a certain way of life that wasn't original Khasi way of life. Our tribal culture is intrinsically open and non judgemental. Christianity is all about judgement and sin...").

Book's conclusions and their implications

In her conclusions, Ira writes:

"The love revolution will lead to the breakdown of the traditional arranged marriage. This is significant, because it also means the breakdown of joint family, of caste and community identity, and as divorce rates skyrocket, perhaps also of marriage itself. The switch from arranged to love marriage will be a slow, gradual one, but it is happening nonetheless, particularly in urban India. The India of ten years ago was substantially different from the India of today, and the India a decade from now will continue on the path we have paved.

The sex revolution does not just concern the physical act of sex. It is about changing laws, about loosening censors, and about more sexual liberty. It is about seeing women choosing to wear what they want and about accepting gays in our communities. It is about the burgeoning prostitution industry and pornography. It is about escaping hypocrisy and realizing we are making change happen. Above all, it is about exposing an entire generation to a heavily sexualized culture which is seeping into their lives."

I believe that in India we need many more such discussions and researches to understand the social changes and their impacts related to notions of love, marriage and sex. Trivedi's book is a useful addition to those discussions.

The book remains superficial about the increasing anxiety of patriarchal society and especially of men, linked to these changes. However, results of these anxieties are increasingly dominating the news in India. Different "news-making" events over the past decade - the attempt of Maharashtrian government to ban dance bars, the recent worries expressed by the health minister Dr Harsh Wardhan about sex education in schools, the comments by different bodies including khap panchayats and political leaders about appropriateness of women's clothes - are some of the reactions caused by these anxieties. This area needs much more understanding and research.

Another problem is that most discussions on sex and sexuality remain elitist, confined to English language and exclude a large number of persons who do not speak English in India, who have a significant interest in this area but do not have access to systematic and accessible information on the theme.

Images on love & intimacy from around the world

To accompany this post, I decided to search my picture archives for images related to the theme of love, togetherness and intimacy. Here are some of them from around the world - from Belgium, Brazil, Czech republic, Ecuador, India, Italy, Switzerland and Thailand.

I think that feelings of love, close friendships, and intimacy are perhaps the most important factors determining the quality of our lives. Living our sexualities in an open and fulfilling manner is equally important for all of us. However, societies' norms and expectations influence us and make us feel inadequate or wrong in expressing our desires about love, intimacy and sex. Sometimes, we ourselves do not understand our own desires.

Ira's book can helps you in understanding some of those issues. So read the book and think about yourself and what you wish from your lives, your companions, friends and families. Best of luck!

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Bedouins of Negev

Linda Paganelli is a visual anthropologist and a film maker from the seaside town of Rimini (Italy). Since 2011, together with photographer Silvia Boarini and lately SMK video factory, Linda has been involved in the making of a documentary film about a group of Bedouins in the Negev desert in Israel. This post presents an interview with Linda about this film.

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Sunil: Linda, tell me about this film you are making.

Linda: It's title is "Unrecognized in the Negev" and it is about a group of Bedouins from the village of Al Araqib. There are 38 Bedouin villages in the Negev desert in south of Israel, that are not recognized by the Israeli government. Thus, they are facing demolitions and do not have access to basic services like drinking water, electricity, and health care. The government calls them "invaders" though their villages go back to before the time of the Ottoman Empire.

Sunil: Your film is about one village. How many persons live there?

Linda: The first big demolition of that village was in 2010 when 35 families, about 250-300 persons, lived there. Since then there have been 67 more demolitions and now there are only 4 families left (20 people), though their homes have been bulldozed. So now they have been authorized to live only in the graveyard.

They had become sedentary by the turn of the 20th century, while before they were semi-nomads. This meant that for certain periods of the year, they went away to find pastures for their animals but for the rest of the year, they lived in their ancestral villages. They have roots in those villages and they do not change them.

Sunil: That sounds like some of the semi-nomad groups that I had known in Mongolia. Are the Bedouins culturally different from the Palestinians?

Linda: The Bedouins are a Palestinian-Muslim minority in Israel, half of them are completely urbanized and the other half are living in unrecognized villages trying to keep their lifestyle and fighting against the state coercion. Palestinians in the West Bank and Gaza are under occupation, while Bedouins in the unrecognized villages are under demolition orders, as they do not fit in the State's ideal model of life and their villages are being designed for other purposes - in the case of Al Araqib, for making a forest.

Sunil: I knew about the Israel and Palestine issues but I did not know that there were problems between Israel and the Bedouins. How are Bedouin issues different from the Palestine issues?

Linda: In the war of 1948 when Israel annexed this area, most Bedouins escaped to other Arab countries or to West Bank or Gaza. Only about 11,000 Bedouins were left here and they became Israeli citizens. They have I.D. cards that recognize them as Israeli, however, they are not considered equal to other Israeli citizens.

Sunil: How did you decide to make a film on this issue?

Linda: In summer 2011, I met a photographer, Silvia Boarini, in Ramallah (West Bank, Palestine), who had been visiting the Bedouin villages since 2008. We did some work together and she asked me to accompany her to Negev to visit this village.

We went back there many times and gradually we could build the trust between us and the villagers, by staying with them and listening to their problems. This film came from this experience. It has been very rich and humane experience.

They wish to share their story with the rest of the world and make people aware about what is happening in the Negev right now. That’s why this is a story that really matters, we hope to enrich and inform many people through this documentary.

Now the filming is done and the post-production work is being carried out by SMK Video-Factory in Bologna.

Sunil: Thanks Linda for sharing about your film, best of luck for its success.

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Note: You can watch a small clip from the Bedouin village in the Negev on Vimeo. Linda and Silvia are also looking for support to complete the film - you can also contribute through Indiegogo.

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International Festival of Trans Films (2)

Here are some more reviews of the films shown in the International Festival of Films on Transsexual themes "Divergenti 2014" that concluded in Bologna (Italy) on Sunday 25 May.

The jury awards went to: Do alegria do mar e de outras cosas, Brazil (best short film), Fuoristrada, Italy (best documentary) and 52 Tuesdays, Australia (best feature film). In addition, Jotain Silta Valilta (Something in between), a documentary film from Finland received a special mention.

SOMETHING IN BETWEEN (FINLAND, 2013)

The original title of this documentary (45 minutes) by director Riikka Kaihovaara is "Jotain silta Valilta". It tells the story of 27 year old Nino, who is transitioning from a woman to a man. The film is a video-diary of 2-3 year period of this transitioning.

Nino has mothered a child but he shrugs off the "motherly feelings" that he is supposed to have towards his child. Nino is also not sure if he wishes to be a man and how much of his female part, he is willing to cancel. His ideas are uncertain and change many times during this period.

He starts with hormone injections and binds his chest. As his male persona becomes more secure, he decides to get the breast operation, but has some complication during the operation and needs to be re-operated. Even after the second operation, part of his chest looks strange and his desire to stand in the park with his chest open, does not give him the pleasure he was hoping for. In the end, he gets operated once again to improve the appearance of his nipples and this time, the operation goes well.

He finally goes through a formal change of gender and there is a party to celebrate it. However, even then he is not sure that he really wants to be a man. He would prefer to be somewhere in between, not to be forced in to a specific gender.

Often films on transgender themes have good looking persons who have clear ideas and desires. However, the good thing about this film is that Nino comes across as a normal guy with normal confusions - he does not have clear ideas about his gender identity or the path he wishes to follow, and sometimes he changes his mind.

During the film, Nino changes his looks different times, trying different variations of punk with a lot of pins in his nose, ears, cheek, gums, etc. and with shaved head or with a colourful braid. It is an appearance that draws attention. Perhaps, it is a symbolic way of underlining his inability to be "normal".

I also thought that all those pins were a kind of self-punishment for not being "normal" (however, my wife disagreed with this idea).

I am happy that the film got special mention from the festival jury since it is a honest and difficult look at what does it mean to go through the change in gender identities.

OPEN UP TO ME (FINLAND, 2013)

The original title of this feature film (95 min.) by director Simo Halinen is "Kerron Sinulle Kaiken". The film is about two persons - a transgender woman Mauri/Maarit (Leea Klemola) and a school football coach Sami (Peter Franzén).

Maarit has recently completed her transition from male to female, left her old town, family and the job to start a new life in a bigger town, where she is forced to work as a cleaning woman because of lack of opportunities. Her ex-wife is angry with her and does not want her to have any contacts with their teenage daughter Pinja (Emmi Nivala).

Maarit's therapist advises her to be more proactive and to fight for her rights. "Talk to your daughter, get into a relationship", she tells Maarit. A coincidence brings Maarit in contact with Sami and then with his wife Julia (Ria Kataja). Sami and Julia are having problems in their marriage. Maarit is attracted towards sami who reciprocates her feelings. An affair starts. The film follows the consequences of this affair.

Around the story of Maarit, Sami and Julia, are other parallel and intersecting stories - suspicions of the police about the role of Maarit in the suicide of a school friend of Pinja, the sexual confusion of Sami's student Teo (Alex Anton), Maarit's attempts to find a job and her encounters with prostitution.

Usually films about alternate sexuality from Scandinavia present a perfect society where people are respectful of individuals' right to privacy and self-determination of their life choices, and where the institutions are supportive and non-discriminatory. However, "Open up to me" shows that in some areas of life, prejudices and discrimination continue to be strong even in the Scandinavian society. For example, the police automatically treats Maarit as a criminal and a pedophile because she is a transgender person and questions her role as a school counsellor. In another scene, classmates of Pinja make snide remarks about her father's decision to be a woman.

It is a film with a happy ending, though not in the way you may expect when it starts. It has a wonderful lead actress in the form of Leea Klemola, who is very expressive. Among the other actors, I also liked Ria Kataja as Julia. On the other hand, Peter Franzén as Sami is not always convincing. The film is also photographed very well.

You can watch a trailer of this film on Youtube.

About Happiness, About the Sea & About Other Things (Brazil, 2012)

The original title of this Brazilian short film (13 minutes) directed by Ceci Alves is "Do alegria, do mar e de outras coisas".

The film is about a real-life incident that occurred in Salvador (Bahia, Brazil) in 1998 when guys from the military police kidnapped two transgender women Joice and Luana, beat them and then forced them into the sea. Luana died in that incident. Joice testified against the culprits and was put under the witness protection programme.

The film revolves around the song "Mudança" (Change) and talks about Nem Glamour and Joy (instead of Joice and Luana). The film shows Nem (Rodolfo Lima) preparing for her last show in an empty hall, before leaving for the witness protection programme. As she comes out, she remembers that night and her last memories of her friend.

The brief but brutal scenes of violence in the film and evocative words of the song, become a symbol of the violence and human rights violations that often accompany the lives of transgender persons in different parts of the world. The film received the award for best short film in the festival.

The song "Mudanças" by Brazilian singer Vanusa is very beautiful - it talks of a woman's decision to change, to empty the drawers of her memories, to clear the cobwebs of her life, to overcome fear, and to become an adult woman. The words of the song (in Portuguese) are available and you can hear this song on Youtube.

While watching the film, I could feel an immediate connect with the film remembering my long walks on the beach in Salvador de Bahia, where the episode shown in the film had taken place.

She is my husband (Italy, 2013)

The 50 min. long documentary film by Anna Maria Gallone and Gloria Aura Bortolini is about a lawyer, Alessandro Gracis, from a small town in north Italy and his journey for becoming a woman. The original title of the film is "Lei è mio marito".

Alessandro was 12 years old when he first dressed in female clothes. He grew up to be a reputed lawyer, keeping his cross-dressing hidden. He had different relationships with women, but was never married. Then in 2005, when he was 50 years old, he dressed as a woman in the carnival. The compliments he received for being such a good looking woman, reinforced his desire for cross-dressing. At that time he was in relationship with Roberta.

A break-up with Roberta, who went for another relationship, coincided with slow and gradual affirmation of Alessandro's identity as a cross-dresser. Few years later, Roberta came back to his life. Together with Roberta he began a gradual journey from being a cross-dresser to be a transgender woman - through hormone treatment, a breast implant and finally a vaginoplasty (by a surgeon who is herself a transgender person).

In 2009, Alessandra came out as a transgender person in a national conference of the lawyers' association and to her clients, slowly overcoming the prejudices of her family and colleagues. However, legally she did not ask to recognized as a woman and thus in 2012, she was able to marry her companion, Roberta.

The film provides another glimpse into the diversity of transgender issues. Like Nino in "Something in between", Alessandra was also not very sure that she wanted to be a woman and her journey to the genital operation came after a lot of self-doubts and questions. She did not feel attracted towards men but was in love with Roberta (though her relationship shown in the film seems more about non-sexual love and companionship).

Many of the persons in the film remark that Alessandra is very masculine in her likes, attitudes and behaviour - for example, the way she is careless about clothes and accessories of other woman, and her enthusiasm for football. This again goes against the stereotype images prevalent about MtF women.

Galloni, one of the film-directors, explained that Alessandra has to deal with a lot of prejudice but they decided to not to show it in the film. For example, her three sisters have not accepted this change. In the film, one of her sisters' says, "I can't understand it. If he had been gay it would have been easier to understand."

You can watch a trailer of this film on Youtube.

Bruno and Earlene Go To Vegas (USA, 2013)

This 96 min. feature is the first film of British director Simon Savory. It is a road movie full of quirky characters, most of whom also have some kind of sexual issues.

The main characters of the film are Earlene (Ashleigh Sumner) and Bruno (Miles Szanto) who meet one evening in Venice Beach and get drunk and sleep together, without having sex with each other. Together, they start on a journey towards Los Angels in a stolen car. On the way, to escape the police, they meet up with a blond-nice-but-stupid hunk called Billy (Barrett Crake).

In the desert, they reach an isolated ghost town with some strange characters including a couple of ex-stripper guys and an ageing black drag queen who is also a tap dancer. The travellers face a crisis and they must deal with secrets from their past.

It is a beautifully shot film with good editing and music. The quirky characters make it an enjoyable watch.

The film could have been much better with a tighter script. The film is enjoyable, but the script is full of holes.

For example, the relationship between Earlene and Bruno is never clarified and you can't understand what binds them together. Just because an older woman has slept for a night in the same bed with a young guy with unclear sexuality (Bruno is shown as an inter-sexual person), she would follow him next day in a car and then force her way in the office of some secret research organisation to save him from sexual exploitation, seems kind of juvenile and unbelievable.

Another example of not too well thought out script is the issue of money - in some scenes they are shown without any money, but in the next scene, they don't seem to have any problem in buying gas for the car and sleeping in the motels on the way.

The casting of the film is good and most of the performances, starting from that of Sumner, are great. So if you are not too picky about things like the logic of the story and you like quirky characters, you will enjoy this film.

Conclusions

On the whole, the 2014 festival of films on transsexual themes was a great experience - I enjoyed almost all the films. When you are watching one film after another, it is easy to get bored or end up with a headache. However, in none of the films I felt bored.

Compared to 2013, when the different transsexual issues were a novelty for me, this year, I knew the kind of things I could have expected from the festival. Still there were new things to understand and learn.

Human beings are incredibly diverse. We use words like hetreo, gay, bisexual, transgender or intersexual, to talk about sexuality but these are just words - these do not define the incredible variety of life paths and life choices of individuals. It is important not to pigeon-hole people just on the basis of categories but rather we should celebrate the richness of human diversity.

You can also read my two other posts related to the Divergenti 2014 film festival - (1) Divergenti symposium and (2) first part of reviews of films from the festival.

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International Festival of Trans Films (1)

The annual festival of films on transsexual themes is back in Bologna (Italy) for its 7th edition. I had discovered this festival only last year (2013) and found it to be a wonderful opportunity to challenge some of my prejudices and deeply held ideas about sexuality. This post presents some of the short and long films that I have seen so far in the festival.

Divergenti 2014 Film Festival

The festival of films on transsexual themes is organized by the Italian Movement of Transsexual (MIT) persons based in Bologna (Italy).

I missed the films on the first day of the festival, as that day I was travelling back from Geneva and was too tired to go out. I also missed some films on the second day of the festival, as I had preferred to attend a symposium organized by the festival. Finally, yesterday, the third day of the festival, I could dedicate it to watching films.

Here are some comments on the films I have seen in the festival.

52 Tuesdays (Australia, 2014)

"52 Tuesdays" is a feature film by director Sophie Hyde, and is almost 2 hours long. The film is about a teenage girl called Billie (Tilda Cobham Hervey), who is making a video diary to share her feelings and parts of her life. Billie's parents are separated but are still friendly.

Billie, who was very close to her mother Jane (Del Herbert Jane), is shattered when her mother asks her to leave home and to stay with her father Tom (Beau Travis Williams) for one year. Jane has decided to transit and become a man, and during this process, prefers not to have Billie around in the house.

Billie refuses to accept this forced separation and finally her mother relents - they will meet every Tuesday for a few hours. The film tells the story of the changes in Billie and Jane's lives, through brief glimpses of those 52 Tuesdays spread along the year. It follows Billie's discovery of her own sexuality and friendship with her school mates Josh (Sam Althuizen) and Jasmin (Imogen Archer), and Jane's journey to become James.

Jane's brother Harry (Mario Spate), who is also separated and lives with his sister, and Billie's father Tom, are the other two key figures in the film.

It is a coming of age story about Billie and her final acceptance of the choices made by her mother. At the end it is Tom who makes Billie understand her mother, "You are the person he loved most. He did not want to break the close bond that both of you had. Because of you, he waited so long to become the person he felt himself to be. Inside, he is still the same person, your mother, who loves you more than anyone else. Would you have preferred that he continued to hide and not be what he felt inside?"

The film focuses on relationship issues between Jane/James and Billie, and does not go into prejudices and social discrimination around the issue of changing gender identities in Australia. Tom is almost too good to be true, very understanding and supportive about his ex-wife. Harry, on the other hand, is a more complex character.

I think that if transgender parents decide to initiate transition when their children are adolescent (and entering a problematic life phase), the parent-child relationships are likely to become even more complicated. It would be easier if the transition occurs when the child is younger and can better accept the changes. Or, it may be slightly less complicated, if the child is grown up and mature. The film explains Jane/Jame's reason (the strong bond with his daughter), for not transitioning earlier and thus becomes an opportunity to explore the impact of such a decision on an adolescent.

The film stimulated some questions in my mind - Would it be more difficult for a child to accept a FtM mother or a MtF father? How will the gender of the child influence this acceptance? For example, would it have been easier if Billie had been a guy? I am not sure how all these variables would influence the parents-children relationships and if any general conclusions can be drawn about them.

The most difficult parts of this film for me were those related to Billie's exploration of her sexuality with Jasmin and Josh. These scenes created a strong feeling of unease in me, and were probably determined by my Asian/Indian upbringing in the 1960s-1970s where adolescents, especially girls, experimenting with their sexuality, would have been culturally unacceptable. Thus, the easy acceptance of Billie's sexual explorations by her parents in the film, made me feel as some kind of old fashioned and retrograde person.

Filmed actually on 52 Tuesdays with non-professional actors, film does seem a real-life video diary, and not a make-believe world. Both Tilda and Del Herbert give authentic performances as Billie and Jane/James. You can watch the film's trailer on the film website.

Kiss from the top floor (Mexico, 2013)

This is a short film (12 minutes) and its original title is "Bajo el ultimo techo". The film is about Beto, who lives with his grandparents while his mother has gone off to live in India. One day a new person, Stephania, comes to live in the apartment next door and Beto discovers a fascinating world of art and play in her house. Quickly they become friends.

One day, Stephania tells Beto that when she was young, she was a boy like him and inside her two persons lived - the boy Esteban and the girl Stephania.

The social prejudices against the transgender persons force Stephania to leave the apartment. To say goodbye to his friend, Beto escapes from his apartment and climbs to the top terrace of the building.

It is a simple and uncomplicated film that focuses on children's easy acceptance of those who are different. You can watch the trailor of this film on Vimeo.

The New Dress (Spain, 2007)

The original title of this short film (14 minutes) by director Sergi Perez is "Vestido Nuevo" and is a very moving film about the relationship between a father and his son who wants to dress up as a girl.

The film tells the story of a carnival day in a school. Children are supposed to dress up as the Dalmata dogs but Mario comes dressed up in his sister's pink frock. The principle calls Mario's father to the school.

The film with its surprise ending brought a node to my throat. I think that the film is very manipulative with an absolutely adorable boy - like his father, you can't but love him and yet pity him for his desires because you know that the world will be ruthless with him. The film makes you feel hopeful - even if the world will be cruel to your child, you can make sure that he/she can always count on your love and acceptance.

Therefore, in spite of its manipulativeness, I think that the film is very effective and should be obligatory for all parents, especially for the fathers.

You can watch the full film on Youtube with subtitles in English (Thanks to Rohini for the link) - it is a film that will not fail to touch you!

You're Dead To Me (USA, 2013)

This short film (10 minutes) based in a Latino family is by American-Chinese director Wu Tsang. The film is about a Maxican woman Andrea (Laura Patalano) and her preparations for the "Dia de los muertos" (the day for remembering dead persons), and the visit of her estranged daughter (Harmony Santana) who has chosen to become a man (Gabriel).

Gabriel no longer lives with his mother, because of her fear of social backlash. They can only meet secretly."Where is my lucky cap?" Gabriel asks.

"How much did I love you as my daughter", Andrea tells Gabriel, asking him to wear the white long dress and become a daughter for a short while, "You do that and I promise to give you, your lucky cap."

Hidden and forced into a gender role that he does not want, Gabriel is the ghost that has come to visit his mother on the day of the dead.

The film mixes reality and imagination in a clever way to drive home its point about accepting your children as they are and not to give in to social pressures. It is my "number one" film from this festival so far and I strongly recommend it.

Both the actors, Laura and Harmony are wonderful. Their way of speaking in mixed Spanish and English reminded me of our own mixing of Hindi and English in India. You can watch a trailer of this film on Vimeo.

Conclusions

The international festival of Trans films is a great opportunity to see the films that are normally ignored on TV and cinema halls. From the first group of films, my favourites were "You're dead to me" and "Vestido Nuevo".

I also hope that my comments will encourage you watch these films, at least some of them! Even if you can't watch the full films on Youtube or Vimeo now (except for Vestitdo Nuevo), sooner or later they will become accessible on internet.

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