Jasoos: remembering our desi spy

These last few days everyone was talking about Agent Vinod. That's the way how it is these days whenever a new big Bollywood movie arrives. Producers, directors and actors give hundred thousand interviews, repeating the same things to everyone. However, all these discussions made me remember Ankhen, another desi spy film of many decades ago.

The review of Agent Vinod seem to be very mixed. I don't know how good is Agent Vinod, but the name sure brought with it memories of the innocent days of reading Indian jasoosi novels. When I was a teenager, inspector Vinod and detective Sunil were so much closer to my own fantasies than Mr. Bond or Mr. Bourne could ever be. They had to discover the nefarious plans of villains, similar to those who are exemplified in the Bollywood world by the dumbass Robert or Mr. Deng and their molls in the clinging gowns, Mona or Lily, made iconic by actors like Ajit and Premnath, and starlets like Faryal and Jayshree T.

The jasoosi stories written by authors like Surendra Mohan Pathak are well alive and kicking, selling more copies in the railway stations, bus stands and mufassil towns of India, than all the more famous Hindi literature writers combined together. Among Pathak's characters, some like detective Sunil, detective Sudhir Kumar Kohli and undercover agent Vimal, are well known to millions of his fans, who eagerly wait for his new books to come out.

I don't know if Pathak's books are translated into English. If they are, may be, they would have a limited appeal for the people who read authors like Chetan Bhagat, but I think that their special charm is to be read in Hindi. They have dialogues like "Ki haal hai sohniyon?" They won't have the same charm if translated into "How are you baby?" But may be they can be translated into Hinglish, "How are you, sohniyon?" that keeps a bit of their original charm!

My own favourite Hindi jasoosi movie was "Ankhen" (1968) by Ramanand Sagar. Dharmendra as the undercover agent Sunil was a real hero to my teenage eyes.

Story outline of Ankhen: The film had Nazir Hussein as the Major Saab (Nazir Hussein), an old military man from Azaad Hind Fauz of Subhash Chandra Bose, who runs a private spy group against the "desh ke dushman", in support of Indian Government. His son Sunil (Dharmendra) is part of his group. Apparently, they don't need to work or to have a job, as they seem to be rich persons. Sunil's sister (Kumkum) stays along with her young son Babloo in her father's home, as her husband works in merchant navy and is away for work.

In a spy mission in Japan, Sunil meets Meenakshi (Mala Sinha) a half-Indian, half Japanese girl, whose father was also in Azaad Hind Fauz. She falls in love with Indian jasoos. However Sunil says that his life is for his country and he cannot accept her love.

One of Major's men sends a message from Beirut about a gang that supplies bombs and weapons to anti-Indian groups in India. Major asks Sunil to go to Beirut to discover the gang and also to find out the names and addresses of their Indian partners.

In Beirut, Sunil is supposed to get help from Nadeem (Sujit Kumar) in Beirut but Nadeem seems to be mixed up with anti-Indian arm suppliers' gang.

However, Major has also arranged other persons to help Sunil in Beirut and this group includes Meenakshi (Mala Sinha with Madhumati, Mehmood, Dhumal, etc.). Sunil makes friend with Zenith (Zeb Rehman), who is supposed to an Arab princess, but is a member of the anti-Indian gang. Then with help of Meenakshi he discovers that real Nadeem is a prisoner in an old ruin and helps to liberate him. They kill the false Nadeem and then ask real Nadeem to take his place in the anti-Indian gang.

In India, the anti-Indian gang (Jeevan as Dr X, Madan Puri, Lalita Pawar and Daisy Irani) with the help of Akram, son of a close friend of Major, kidnap Babloo and force Babloo's mother to accept Dr X's right hand Madam (Lalita Pawar) in their home as their "old aunt from Banaras". Madam wires Major's radio receiver and listens to all his secret conversations with his gang.

In Beirut, Sunil and Meenakshi manage to bust the anti-Indian gang and discover that someone is staying in their home and listening to their messages. So they send a false message that Sunil is dead and their mission has failed. Sunil and his team then reach India and attack the dungeon of Dr X. After a fight, they save Babloo and Dr X is caught.

Finally Sunil accepts that he is also in love with Meenakshi, and walk into sunset singing, "Milti hai zindagi mein mohabbat kabhi kabhi".

Comments: The morse code radio hidden in the cupboard, camera hidden in the microphone that Meenakshi uses to take pictures while singing, the parts shot in Beirut with Mala Sinha, Mehmood and Dhumal singing "Allah ke naam pe de de" dressed as beggers, Mala Sinha dressed as the princess, Dharmendra's fight with the tiger in the dungeon, many scenes of this film had great impact on me. I was also very much taken by a shot of paddle boats in a lake in Japan.

Lalita Pawar as the vamp, dressed as the cunning aunt-in-law, with her one eye smaller than the other and her crooked smile, used to give me nightmares.

Those were the years after the Chinese war of 1962 and the Pakistan war of 1966, thus the idea of spies exploding bombs in India sounded quite plausible. Though today the small camera, telescope, micro-films etc. look laughable, at that time, these gadgets had great effect on me.

It was the time when our heroines used to do classical Indian dances and folk dances and there were no east European dancers doing chorus in bikinis. The songs were simple but meaningful, like "Gairon pe karam, apno pe sitam, ae jaane wafa yeh zulm na kar". The background music was loud and melodramatic, like the scene when Major's man called Saleem is killed in the ship. Our spies use code names like Musafir and Taj Mahal. They dress in disguise as fakirs, beggers and princess. And they invariably speak in a mixture of Hindi and Urdu, even in Beirut and everyone seems to understand Hindi, the lingua franca of the world.

Compared to today's standards, technically that film was ages behind. Yet compared to the modern spy and action thrillers, I think that Ankhen was much more like the books of detective Sunil and agent Vinod, more fun and much more rooted in Indian ethos.

Its heroine, Meenakshi, was much more independent and entreprising than today's heorines (Mala Sinha at 32 years, was still a big force in Bollywood those days, infact, in the titles, her name came before that of Dharmendra).

Probably I will enjoy the thrills of new Agent Vinod and I will admire the mujra of Kareena Kapoor, but they won't make me dream like Ankhen had done more than forty years ago.

***

Immigrant identities, globalization & Bollywood

I wanted to write about the changing images of NRI women in some of the recent Bollywood films like "Ek main aur ekk tu" and "Anjana anjani". However, once I started, I found myself thinking about some of my travels to different parts of the world over the past 25 years and my encounters with immigrants from Indian sub-continent.

Thus, it has come out as a rather long-winded article, where it is about NRI women in Bollywood, but it is also about so many other things such as changing self-identities of immigrants, new technologies and globalization!

***
Immigrants in a time warp

Till a couple of decades ago, leaving India and going to live in other parts of the world meant cutting off many of the ties with the homeland. Telephones were less common, and making a call often meant calling an operator and sometimes waiting for a few hours. Getting news from India was difficult. Letters took 10-15 days to reach the destination. It was the same for emigrants of other countries and continents.

In 1992 I went to Guyana for the first time. Guyana is in south America, next to Brazil and Venezuela. Colonial powers had divided that part into three countries - British Guyana with Georgetown as its capital, Dutch Guyana, also known as Surinam and French Guyana with Cayenne as its capital. I had gone to the British Guyana.

During my Guyana visit, I met the persons of Indian origin, whose grandparents or great-grandparents had been brought there from India between 1840 to 1920. I had some strange feelings when I met them. So many of them, especially elderly persons, seemed to be living in a kind of time-warp, anchored to India of old times when their ancestors had sailed off from India. Many of them spoke only in Bhojpuri. I think that they were a reflection of ghettoed lives they were forced to live by their colonial masters.

However, even the younger generations also seemed very much anchored into "Indian culture and traditions". They spoke English, they went out in the community and for work. They interacted with persons of other cultures and religions who compose Guyana - persons of African, European and other Asian countries' descents. Yet, in their private lives, these different cultural-religious groups hardly ever seem to mix with each other. Talking to persons of Indian origin, I had the sensation that for them being "Indian" was as important or may be even more important than being part of the multi-cultural society of Guyana.

One of my Afro-Guyanese friend with whom I was travelling for work, told me once that when we went around chatting and laughing together, people looked at us strangely and with some hostility because mixing up with persons of different races was seen as threatening by both sides.

Guyanese television had Indian channels that showed Bollywood films and songs, as well as programmes of prayers and religious talks by various swamis and gurus who regularly came from India. There were cinema halls showing Bollywood films. In 1994, I had watched Rajshri's "Hum aap ke hain kaun" in a cinema hall of  Georgetown. It had been running there for some months and the hall was full of persons of Indian origin.

I had also been to Mauritius. However, since pesons of Indian descent are the majority on the main island, dominate, so it did not feel like a ghettoed community. Still I could see many similitaries between Mauritius and Guyana, in the way Indian immigrants felt about their old traditions.

In those years, I had also visited some Italian, Japanese and German communities in Brazil. These encounters had many similarities to those with the "Indians" of Guyana and Mauritius - all the immigrants seemed closed in time warps anchored to their pasts in their homelands, isolated in some ways in their ghettoes that they safeguarded jealously.

Over the past three-four decades, there have been many reports of immigrants living in developed countries, who regularly send back money to support the "safeguarding of traditions" in the countries they had left behind. They have been blamed for all kind of religious and cultural fundamentalism, funded with dollars and euros. Sikhs in Canada and US, Muslim groups in UK and Germany, Jews in US and Europe, Hindus in USA and Australia, there are many examples of persons sending money to "defend their religions".

Perhaps this phenomenon of sending money to fund conservatives and orthodox groups in our homelands, has something to do with the same insecurity about traditions and cultures among immigrants, that makes us close inside our ghettoes?

Complex identities

Issues of race, culture and religion among immigrants are a complex area. I remember once meeting an Indian looking woman wearing a sari in London. I needed some information about a street I was looking for and she gave me directions. "Which part of India are you from?" I had asked her and she had responded to me with a bit of irritatation that she was from Kenya and not from India.

In "Imaginary homelands", Salman Rushdie had written of these homelands that we immigrants carry in our hearts. These homelands are no longer real because while we are away, our homelands continue to evolve and change. So when we go back, we find that the place does not match the image we carry in our hearts.

In the lands we have emigrated to, we are always "other", "immigrant", "Indian". And when we go back to our homeland for a visit, we are no longer completely Indian, we are the immigrants who live and belong to some where else.

National identity and role of women in India

Uma Narayan in her book "Dislocating cultures - identities, traditions and third world feminism" has an interesting chapter on "Eating cultures - incorporation, identity and Indian food". In this chapter she talks about the role of women in safeguarding traditional cultures among immigrants:

"Just as nineteenth century English memsahibs in India avoided Indian goods and dishes to maintain their "cultural distinctiveness", twentieth century Indian women in Indian diasporic communities are expected to safeguard the "cultural distinctiveness" of their communities by refraining from dating, from marriages that are self-arranged, and most stringently of all, from same sex relationships."

Uma Narayanan links this role of women to safeguard their traditional cultural values to the similar role of women in the nationalist movement for independence of India and quotes Partha Chatterjee on this theme:

"Indian nationalist project involved "an ideological justification for the selective appropriation of western modernity" that continues to this day. ..the twin moves involved in the nationalist project were "to cultivate the material techniques of modern western civilization" while "retaining and strengthening the distinctive spiritual essence of the national culture". Learning from the colonizers "the modern science and arts of material world" was necessary to match the colonizers in strength to overthrow them. ..In the entire phase of the nationalist struggle, the crucial need was to protect, preserve and strengthen the inner core of national culture, its spiritual essence. No encroachments by the colonizers must be allowed  in that inner sanctum. In the world, imitation of and adaptation to western norms was a necessity; at home, they were tantamount to annihilation of one's very identity. .. the home was the principle site for expressing the spiritual quality of national culture, and women must take the main responsibility of protecting and nurturing this quality."

Immigrants in Europe, North America and Australia, seem to be driven by similar motivations. So, children are expected to study hard and make careers in outside world. Yet, they are expected to not to date or marry outside their communities. This is especially true for women. "My big fat Greek wedding" explored this theme in a Greek community in America.

Similar issues towards arranged marriages to men from their homelands also hound Indian, Pakistani and Bangladeshi immigrant families. As many young women from these communities try to rebel against such marriages and families that resort to violence or even murder to "save family honour", the whole system of arranged marriages has come to be seen as "something barbaric and old fashioned, something against human rights" and other people often feel that "such marriages must be without love and are imposed on young people".

Immigrants in a new world

I went back to Guyana last time, some 4-5 years ago. In this visit, I felt that the younger generations had become much more comfortable with their Guyaneseness and there was a little more openess between races, cultures and religions among them.

For all these groups of immigrants, even more so for their descendents, I feel that the walls that used to surround these ghettoes have many more doors and windows today then there were twenty years ago.

I think that partly this change has come because of increasing possibilities of inter-continental travels and development of new technologies, especially internet. These mean that today we can always be in touch with what is happening in our homelands and we can go back and visit whenever we want. So now we can relax and enjoy being outside our homelands, in our new countries, to meet and experiment with the new cultures that surround us. We don't need to cling to "our" traditions and way of life with the fear of losing them.

NRI women in Bollywood

Bollywood or rather the world of Hindi movies understood these immigrant insecurities very well. Thus in nineteen sixties, seventies and eighties, heroes came back to India for marriage (heroines went out of India for studies rarely but they were also expected to follow this rule). Western culture was equal to villains drinking alcohol and women who were cabret dancers (played with wonderful aplomb by Helen) or vamps. Indians going out to Europe or America were cautioned against the "decadent western values". Manoj Kumar's "Purab aur Paschim" (1970) and a more recent, "Namastey London" (2007) epitomised this world view.

Films about NRI families came in to vogue with Dilwale Dulhaniya Le Jayenge (DDLJ, 1995). From DDLJ to K3G (2001), the boundaries for women in families of Indian origin were laid out, in line with the ideas of "women's role in preserving our Indian culture". So they had arranged marriages and celebrated karvachauth. May be they were not so openly crticial of western values as in "Purab aur Paschim", but very clearly, they were smug about the superiority of "our Indian values".

However in "Kabhi Alvida Na Kehna" (2006), Karan Johar changed tracks. Suddenly the NRI family had to deal with adultery. In "Dostana" (2008), another film produced by Karan Johar, homosexuality came out of closet, even if hidden behind glossy sheen of two guys running after the same girl.

More recently, "Ek main aur ekk tu" from the same production house has a woman lead, who has had six boyfriends, she has had sex with some of them, but it is not a big deal. She is bubbly, full of life and has the Indian hero panting after her.

There have been other NRI films in recent years, from "Neal and Nikki" to "Anjana Anjani", where the women are no longer "guardians of Indian traditions". They are cosmopolitan women, their dress and behaviour can be like any American or European girl except that their surnames are still Khanna-Kapoor-Bedi and they occasionally sing songs in Hindi.

The stories of most of these films are "inspired" by Hollywood films, though most still continue to have some scene about a father or mother trying to fix some sort of arranged marriage for them. You can argue that they are essentially Hollywood films made with some Hindi and some English, dialogues and songs.

I have a sneaking feeling that on a rebound, the women of these films have discarded everything remotely Indian (except that they tend to fall in love with Indian-origin heroes, but that is the compulsion of Bollywood story-telling). They go to Beethovan concerts and wish each other "merry christmas", have no idea about "indigenous" words like deewali or puja. They have overcome all the taboos related to sex, can drink wine or tequila shots. They can even have dads who wink at them and ask if they have slept with their boyfriends (in "Ek mein ekk tu", conveniently a "christian" dad), though they are not discussing their favourite kamasutra positions for having sex, at least not yet.

For the persons who emigrated out of India in the second half of twentieth century, Bollywood films had been one of their main connections to India. In a world where links to the homeland were tenous, it was an essential lifeline for families.

Children growing up in Indian, Pakistani and Bangladeshi emigrant families grew up on the Bollywood diets, with parents ferverently hoping that some of their "cultural values" will rub off from the films onto their impressionable minds.

What does this changing figure of NRI women in Bollywood mean for them? For immigrants families from India, Pakistan and Bangladesh, that feel threatened by their encounter with the liberal and more egalitarean cultures of their new countries, these new cosmopolitan women of Bollywood, who have embraced western values, would be seen as an additional threat? However, for their children, growing up in closer contacts with these liberal values, finally Bollywood can be an ally that supports their desires to be "modern" and to get out of stifling grip of "traditions".

May be with the possibility of being in constant touch with our homeland cultures, families and events, there won't be need for Bollywood to play its earlier role of repsenting and preserving our traditions? At the same time, there are Bollywood fan clubs and dance groups of Italians, Germans and French. People experiment with Indian cuisine, dresses and mehndi. They are not looking for the new liberated and cosmopolitan Indian women in Bollywood, they are interested in traditions.

Will this ease of being connected to our homelands and cultures, also change the way immigrants have been funding orthodox and fundamentalist religious groups in their countries? I would like to believe that.

An interesting 1994 TED talk by Danny Hillis presented a new understanding about evolution. "We are in a transition period. Through new technologies, the multi-cellular forms of life are getting connected in a network, to start a new phase of evolution", he explained in this talk.

In this new world, perhaps the whole meaning of being an immigrant is going to change, when we physically leave a place but remain connected to it and to other people from our lives all the time. In the long run, this always connected world, how is it going to influence us all, NRIs living outside and other persons living in India?

***

The Hurt Syndrome

The news came from a Japanese friend. She had forwarded a message from a common friend in the US and the message said:

... I am asking that each of you send an email to Nick Park and Aardman Annimations to object to the manner in which persons affected by leprosy are being portrayed in the soon to be released movie titled, "The Pirates! Band of Misfits." In the event you have not seen the trailer, the characters board a "pirate leper ship" and a body part falls off one of the sailors. This is a cruel portrait of the millions of persons affected by leprosy and negatively creates a lasting image on the minds of the young viewers from throughout the world who will see this movie ...

For past couple of decades I have been working in the field of leprosy. One of the key issues that continues to trouble the finding of new cases with leprosy and then ensuring their treatment and rehabilitation is the common image of this disease in public perceptions all over the world. Afraid of the social stigma and virtual social banishment that the disease can cause, people with leprosy often try to hide as long as possible.

However, over the past three decades, the actual situation of leprosy has changed drammatically. Today it is possible to get free treatment all over the world and the persons can get cured easily and completely. Therefore, it should no longer be seen as a disease that causes fear and is seen as "curse of the God".

I can understand the anguish of my friends because when we talk of this disease today, it is about thousands of persons who still get it today and have to face the social consequences of having a "dreaded disease" that are unjustified. Though most persons feel that leprosy is a kind of relic of the past, the reality is that every year there are about 250,000 new cases of leprosy every year. India and Brazil are the two most important countries in terms of number of new cases of leprosy today.

However, I do not believe in banning of films or insisting that they cut the scenes that are wrong in our view. This is what all the groups seem to be asking for when they feel that their depiction in the media is inappropriate. They make protests and ask for changes.

Here are a few examples of fights of other "misrepresented" groups from recent past asking for censorship or banning:

(1) In India, such protests are common place with persons of different religious, caste and social groups getting angry is a person of their community is shown in a negative way or in humour. The protestors frequently threaten violence and often end up destroying public property. Most the the time Indian Government gives in easily to such demands refusing to protect the writers, actors, directors and producers, and hides behind the bogey of "law and order situations".

Similar protests in relation to Islamic symbols/ideas in other parts of the world also has had many violent episodes.

(2) Persons with mental illnesses and persons with disabilities in many parts of the world have been fighting for not using their sterotypes in the different media including TV and films all over the world.

(3) Using caricatures of jews as being nasty moneylenders, and of arabs or Muslims as being terrorists are some other common examples from Hollywood.

I believe that if we go on like this, artists, writers and film makers will always be forced to express their ideas in narrower spaces and the world will be a poorer place for all of us.

I do not believe that banning films or censoring them to cut certain scenes is correct, whatever their provocation unless it is explicity asking for violence or expressing hate about some group.

We all have a right to criticise and if we find depictions in a film to be wrong or derogatory or stereotypes, we have the right to express our opinions, to debate and to discuss, to write about it on our blogs, to organise forums and if we feel very strongly, to promote calls for boycotting. If you don't agree with something don't go to see it, don't watch it, don't read it, and tell all your friends to do the same.

If you feel that it may not be understood by children, ask that it should be only for those above a certain age.

But I believe that no one should be asking for banning of people or their books, art or films or websites just because you feel that it gives a negative view of your religion/caste/community/gods. And no government should give in to such demands.

The only exception  to this, in my opinion, is those expressions that ask for killing, violence and hate against specific group of persons.

***
PS 6 February 2012: I have heard that producers of the film "Pirates the band of misfits", following the protests, have decided to review and modify the parts related to persons affected with leprosy.

About language

I read an article on Chimurenga Chronicle about "Somali invasion of Nairobi" written by a Kenyan writer called Parselelo Kantai, and I was struck by the wonderful way that he describes the "Nairobi English" of a woman:

"For a people for whom ‘negative ethnicity’, the newspaper euphemism for the prevailing ethnic rancour that had shredded the nation into a farcical edifice of a thousand cuts, ‘othering’ the Somalis restored a sense of collective indignation. Hate and rancour were the only things holding us together…

I was surprised at her vehemence. She had always talked in a language that irritated me – the exultant language of the reaspora bubble in leafy-suburb Nairobi. It was a velvety, arriviste Nairobi English, full of possibilities and faux tourist innocence. It was an insider language that walked on water, saw no evil, advertised its privilege with cocktail kisses, intimate nods, bursts of happy laughter. It was used to suggest non-contamination, that one’s head was above the loud sucking sounds of this place, the descent into naked Nairobi calculations, pettiness, desperation. It was not the other thing: that guarded edge in your voice that revealed a loss of independence and optimism, that now your diaspora dollars were running dangerously low and you had recently turned a page in your contact book, and made the call to a powerful uncle for a job, a contract, a deal.

But Kileleshwa, an old mzungu suburb whose civil servant houses were being transformed into apartments for the yuppy beneficiaries of the Kibaki-era economic boom and the returning Western diaspora, exiled for two decades by Moi repression, was now under siege. There was no velvet to couch this new fear..."

Isn't it beautiful?

***

A Scare

It was evening, I was working on my computer at home, and I clicked on the link to one of my blogs - a strange message appeared - "Your blog has been removed".

How strange, I thought, I had checked it 15 minutes earlier and it was working all right. Curious, I tried to open my other blogs, the same strange message appeared. All my blogs were gone.

Then I noticed my Gmail account had disconnected and there was a message that my password was wrong. I tried to connect to the Gmail account and the message said that I had changed my password. So I could not connect to my Gmail account.

I keep a copy of all my gmail posts so that was not a problem, but I was worried that someone could use my email account to send those fraud messages asking for help such as "that I was stranded in London and needed money".

I panicked, I had heard of hacking of gmail accounts.

How is it possible for someone to find out my password of Gmail? It is a real tough password (even I can't remember it) and I use it only for Gmail. At home, I did not even need to enter it, because no one else uses my computer so I am always connected to that Gmail account.

After another ten minutes, on trying to access Gmail again, I found a message that they had noticed some unusual activity on my account and I was asked to give my cell phone number to receive a security code. When I entered their security code, my account was restored.

A short time later, all my blogs were also restored.

After this, I have changed my password again, but I am worried. How did the hackers get my Gmail password and get in?

I have checked my computer for virus and malaware, but it seems clean. The only unusual thing that had happened yesterday was that while searching for something on Google, I had opened a page that had persistent pop-ups that refused to go away. At that time, my Gmail was also open. Whenever I tried to close those pop-ups new ones opend. It was strange because, normally my browser (Chrome) blocks all pop ups. After 3-4 minutes of struggle, through "Ctrl-Alt-Canc" I had managed to close off my browser and those annoying pages.

It had happened 5-6 hours before the Gmail scare episode. Could that be related to the account hacking?

What else can I do to improve my computer security?

And, if you have received an email from me yesterday saying that I am in trouble and need help, cancel it. It is not from me. I am fine.

***

Best of People's pics, 2011

The summing of my photography experiences of 2011 continues today with a selection of best of people's pictures from 2011. I love taking candid pictures of people in all countries where I go. It is difficult to click pictures of persons who are complete strangers in a new city of a new country. Fortunately, my work requires me to travel often in small towns and villages where I can spend some time in knowing persons and their lives. This helps in creating a rapport that helps in getting better images. I especially love clicking pictures of children.

So here is a collection of twenty of my best people's pictures from 2011:

(1) Ice-hockey fan from Prague: The day I was visiting Prague city centre, there was final match of ice-hockey between Czech Republic and USA. The match was being shown on a giant screen in the city centre. I met many fans of their team, with their faces coloured in Czech Republic's national flag colours.

(2) Children in the music class in Goias Velho: I like this picture as it shows the diversity of races in Brazil and also because of the lovely blue background of the classroom.

(3) The boy rowing the tiny boat in Abaetetuba, a small city along Amazon coast, with his undervest over his head to save him from harsh sunlight, is one of my big favourites. These small water-hugging rowing boats in the huge never-ending river look fragile and dangerous, but in this area, these seemed to be very popular.

(4) The girl in Goias Velho: I had spent 4 days with these children and their idealist teachers, who dream of building a new Brazil, that is curious, modern and open, and yet is respectful of the African and Amerindian roots of its people.

(5) Dancing for life: My friend Pio teaches dance to in-mates of a house for elderly and mentally ill persons. It is a dance for becoming aware of our own bodies and for creating a relationship with others. The woman in the picture didn't join the dancers, she preferred to sit at a distance, hugging her doll and yet, laughing at the persons dancing with Pio.

(6) Man in the cattle market: I visited a cattle market in the town of Hegri Bomanahalli, about 40 km from Hampi. It was a lovely experience. I like this man's gentle expression, the lines on his face, and his barely perceptible Monalisa-like smile.

(7) Girl in the village: We had just come out of a health centre where I had interviewed a group of village health workers (ASHA workers), when I had seen this girl. Isn't she beautiful?

(8) Mumtaz and her new born baby girl: That village had some rows of Muslim households and then some rows of Hindu households. Imam Bi, the president of the village women's self-help group, was an energetic and enthusiastic woman, and had taken me around in the village, introducing me to the persons and their families.

(9) The village boy: If I have to choose only one of my pictures from 2011, I think that I will choose this one. I love the expression in the child's face and the specks of light shining like stars in his eyes.

(10) The fish sellers from Tungabhadra dam near Hospet.

(11) The artist in the museum: When I was a student in Europe (long long time ago!), I used to love going around with my sketch book. Watching the art student sketching the statue in Victoria and Albert museum of London had brought back the memories of those forgotten days.

(12) Morning exercise in Manila: People all around the world, especially in hot tropical climates, wake up early morning to do exercises in a some park. I like the slow-motion kind of exercises done in Tai Chi. It looks like a dance.

(13) Chess and dama players of Geneva: Huge chess and dama playing boards drawn on the ground and persons of different countries joining together to play a game, including some persons in ties and suits who seem to have come out of some meeting, is a wonderful sight.

(14) Autumn and remembering the dead: The yellow of autumn leaves and the serious faces of people standing near the graves, it all fits in together so beautifully.

(15) The gondola and the tourists of Venice: T-shirts with red (or blue) stripes and caps with matching ribbons of the gondolieros make for beautiful pictures.

(16) The astronaut: He is Paulo Nespoli, an Italian engineer who has been many times in mission to the space station. He was being interviewed by some TV channel when I had clicked this picture. I like the expression and the light on his face. I makes me think of Star Trek.

(17) The protestor: On her cheeks she had written "Berlusconi Resign".

(18) The changing world: FIOM, one the workers' unions of the main Fiat factory in Turin, continues to fight for workers' rights, but it is increasingly alone even among workers' unions, in a world dominated by globalization. At a workers' protest meeting in Bologna.

(19) A newly married couple walking out from the marriage registration office of the municipality. The carnation in his jacket's lapel and her beautful dress with the veil, they look so good together. Yet number of marriages (and number of children) continues to go down in the old continent.

(20) Prayers in St. Petronio cathedral: The rows of candles illuminating the faces of the people makes for a magical ambience.

So do let me know which of these 20 pictures you liked most. Today is 1 January and I wish you all a 2012 of joy and peace.

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Dance, Theater & Public Events, Best of 2011 Pics

Colours, costumes and crowds make for great photography possibilities. I especially like to click pictures with stage lights and whirling movements of dances. 2011 gave different opportunities for clicking pictures of dances, theater and big public events. The three most important events were - international youth festival in Delhi, the Venice carnival and the Par Tot summer festival of Bologna.

So here is my selection of some of my favourite images from 2011.

(1) Street theater, Brazil: The first image is of street theater in Belem, the capital of Parà state in Brazil. We had just reached Belem that day, and Luis Agusto, our host in Belem had taken us to the old port for dinner. Finding the performance of street theater had been a pleasant surprize.

(2) Folkdancers from Karnataka: The second image is of folkdancers from Karnataka. I had just arrived in Bangalore and on my way from the airport to the hotel, I had seen the group of dancers from the taxi. So I had quickly checked in, left the luggage in my room and quickly ran back to the place where I had seen the dancers. It was the inauguration of all India kabaddi championships.

(3) Blind dancers and the dance of lights: The next image is again from Bangalore (India). A group of blind students from Sri Raman Maharishi blind Academy had come to dance. Their bharatnatyam with candles was breath-taking.

(4) International Youth Festival of Delhi: The next three images are from the International Youth Festival in Delhi. The groups are - odissi dancers students of Harekrishna Behera, Abhimanyu dance drama by Mahendra Rawat and group, and students of Sadhu Vaswani International school doing kathak dance.

(7) Venice Carnival: The next four images are from carnival in Venice. It was a wonderful experience with incredible masks and costumes. From the hundreds of pictures I had clicked that day, it is difficult to select a few for showing here.

(11) Bologna Carnival: The next image is from Bologna carnival. It was more of an event for children with some colourful floats.

(12) Readings on the River festival: As part of the summer festival, there were some events along the river with theater, music and readings from different writers. I liked the short play about homeless persons enacted under the bridge where often homeless emigrants sleep.

(13) American Astronauts: Another public event in Bologna was the visit of some American astronauts, who held a public meeting in the beautiful Sala Borsa building of the central library. I had goneto the library to return some books and was surprized by the large number of young people who had come to listen to the astronauts.

(14) Protests against Berlusconi: 2011 was the year of massive public protests in Italy asking for resignation of prime minister Silvio Berlusconi, who resisted as long as he could, till he was finally forced by the economic crisis.

This same period had the Anna Hazare protests against corruption in India.

(15) Another important anti-Berlusconi moment in Bologna was organized by Michele Santoro, a TV journalist. Santoro was thrown out of the state run TV channel RAI for his anti-Berlusconi stance and as a protest he organised a web-based TV transmission in a park in Bologna. Thousands of persons had turned up in the park to show their solidarity to Santoro. During the event, among others, Roberto Begnini also turned up to show his support to Santoro.

(16) Bharatnatyam by students of Alessandra Pizza at the Vecchia Son dance festival. I really liked the red and black costumes they had chosen for this show.

(17) Par Tot Summer Festival of Bologna: The last four images are all from the Par Tot summer festival of Bologna. With almost 3000 participants, including many Italian and international students, the festival presented a huge variety of dances and costumes. My personal favourites were a small group of persons dressed as Avatar/Pandora inhabitants and the group with green and black faces.

So did you like my selection of pictures related to dances, theaters and public events? If you are asked to choose one image, which one would you choose?

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