In the sleepy corners of a languid Madhya Pradesh a small group makes Prayas (effort) to practice the current global buzz-word — “go local”. Focused on preserving the nuances of local language along with oral, graphic, traditional art-forms and practices, the group plans to use an indigenous play — “Kaun Bhoom Te Bhari” multiple shows with a massive cast — to make a film.
Producer: Chandan Gupta
“I would like to call a differend the case where the plantiff is divested of the means to argue and becomes for that reason a victim.
This side of the bars
If the addressor, the addressee, and the sense of the testimony are neutralized, everything takes place as if there were no damages. A case of differend between two parties takes place when the regulation of the conflict that opposes them is done in the idiom of one of the parties while the wrong suffered by the other is not signified in that idiom.” [Lyotard, Jean-François (1988). The Differend: Phrases in Dispute. University of Minnesota Press. pp. 9.]
Here is a case of differend where the party is single. Convicted women are privileged to keep their children under six years with them in prison cells. Some women do not accept this privilege as it would brand their children permanently as jail-birds. It is always the children who pay for the crimes of their mothers — when with their mothers, their freedom is restricted, outside the prison they grow in separation.
Despite government’s senitivity — special allowance for food and clothing besides medical aid — the problem remains unresolved. Kind officials and concerned citizens chip in to mitigate the misery, but even best efforts do not bring normalcy in life of the children.
Jasjit Purewal & Meenakshi Vinay Rai
PSBT, Prasar Bharti.
Old age is a problem in itself though in words of senior citizens in the film, “it has its own charm” granting one freedom – “I am answerable to no one”. The collage of comments, at times unspoken, interspersed with remarks of Rajee Seth presents everyday truths with poetic emphasis. A PSBT – Prasar Bharati presentation, the film might have included more optimism.
The generation gap has always been there, but the ‘future shock’ the present generation of the elderly faces creates a unique situation which needs action plans on part of government as well as public service organizations. While the material wellbeing has reduced many discomforts , the increasing pace of life has intensified the weight of time – the aged and the retired have ample while their active children and acquaintances have very little, especially for them.
Every third thought?
Psychologists agree that problems caused by loss of attention turn complex with an acute sense of alienation, which did not exist in the country three or four decades back.
Today even the young suffer from lack of attention because their parents, siblings and even friends are all engaged in absorbing activities of their own. The household routine is getting mechanized with frozen meals and packaged outings. A difference of five years is sufficient to create generation gap, so the elderly find it immensely difficult to connect with their children, what to say of the grand-children. The death of Indian family system which seemed unquestionably impregnable to them comes as painful surprise. The young are being encouraged to plan for their retirement through investment in various tantalizing schemes of dubious future. A whole generation that has become absolutely materialism-oriented should start thinking in more concrete terms than money. Thoughts of the aged themselves might provide a clue to possible lines of actions.
The creative use of folk music of Banjara-s and Bhopa-s grants gaiety to a somber topic.
Stalwart of Veena: Zia Mohiuddin Dagar
Phir Veena Madhur Bajao.
Why should we talk about a decade old film when there may have been several more on the subject? First, Veena has been accepted as an element of Indian Culture which requires safe-guarding by India and the proposal for same is being submitted to UNESCO for inclusion in its Representative list of Intangible Cultural Heritage. Secondly, this film is able to catch, however fleetingly, the essence of Veena and Indian music.
The challenges to Veena are external as well as internal. The complex instrument requires self-control, selflessness and concentration; these values are hard to practice and thus artistes look for easy alternatives. Very few of the practicing are aware of the science behind their art. It is only the chosen few who have seen or heard the Shruti Veena — the instrument which manifests the sacred Shruti-s all at once. The film examines innovation as fulcrum to a paradigm shift. Despite its instructional format, due to imaginative camera-work and excellent editing, the films succeeds in keeping viewer captivated all through.
“Aur Ghumantu Thahar Gaye”
Directors: Meenakshi and Vinay Rai
Leo Arts Communications,
The subject has a romantic appeal and one may come across several documentaries on Nomads. With a crisp historical background that traces how a warrior tribe that had served as national and international backbone to distribution was tainted by the British rulers of India in 1871, the film rapidly moves to present. Man behind the movement to settle these wandering people – Gadiye Lohar, Banjara-s, Bawaria-s – holds that unless same constitutional protection is extended to these people which is available to scheduled castes and scheduled tribes, the promise of founding fathers to wipe away tears from every eye shall remain unfulfilled.