Bioscope – Ram Rahman’s photo exhibition

a REVIEW by

Divya Raina

In Mahatma Gandhi’s lap – Bhupek Khakkar as seen by Ram Rehman

When does one become a tourist of reality? Can photography explain man to man? It was a famous photographer who once said; “A photograph is a secret about a secret…the more it tells you the less you know”. These thoughts came to mind while visiting Ram Rahman’s recent photo exhibition called Bioscope, held at the Rabindra Bhawan Gallery in New Delhi recently. From the wonderfully intimate collage mounted at the beginning of the exhibition; featuring Ram’s famous parents, dancer Indrani Rahman and architect father Habib Rahman, it felt like an instantaneous view of the entire trajectory of Ram’s life from infancy onwards.

 The exhibition consists mostly of black and white photographs, with compelling images and portraits of both the well-known and not- so –well- known, taken at various periods in this extraordinarily gifted and socially committed designer and photographer. Ram’s forte is in the capturing of the moment and freezing it in time. The overhead view of Safdar Hashmis funeral, for instance expresses the horror and sense of solidarity at this most ghastly slaughter of an amazing life.

 Also, Ram revels in the relationship between foreground and subject and there is generally an extraordinarily fraught tension between the two as can be seen in the accompanying picture of painter Bhupen Khaker in the lap of Gandhi.

Whether Ram has taken pictures of left- liberal friends and SAHMAT colleagues, or pictures of Rajeev Sethi and other “culture-czars “ and “czarinas” or of wrestlers or of inanimate figures, dummies, posters and graffiti, everything is touched with a faintly self-mocking irony. Finally, these pictures at the exhibition, tell us more about the photographer himself, his concerns and ultimately his “ethics of seeing”.

INDIAN IDOL FINALIST TAKES A MUSICAL VOW

“Dowry? My Left Foot! Grooms Dad  Foot’s the Bill”

by

B B Nagpal
Senior Film Critic

This is a new way to fight the menace of dowry – through rock entertainment that appeals to the gennext generation and takes the message home.

In her very first music album, this finalist from the second edition of Indian Idol has in a song categorically sent out the message that all the festivities will take place as usual for her marriage, but the expenses will have to be borne by the groom’s father.

And though stated lightly, Neha Kakkar told this critic that the message was not to be taken lightly. She said the song, written by her brother Tony, had conveyed a view that both the siblings held. Why is it that the bride’s parents have to bear the cost of marriage, and also pay dowry, she asked.

But ‘Tere Baap ka’ is only one of the eight tracks in the album, Neha the Rockstar, which has been brought out by a music company owned by a duo who are themselves well known in the world of Hindi and Punjabi pop – the Meet Brothers, Harmeet and Manmeet. In fact, this is the first album brought out by their new music company ‘Meet Bros Music’.

Neha, who marked her 19^th birthday last week, said she felt that messages can be conveyed more powerfully through music since all the young people loved to listen to new numbers.

Asked why the Meet Brothers selected her, she said ‘I am happy they saw something different in me and selected me’.

She said she had been singing since the age of four when she would sing in bhajan sandhya (prayer meetings). She had not received any training.

However, she admitted she had been inspired by her sister Sonu Kakkar who has become popular with the number ‘Babuji zaraa dheere chalo, bijli kharhi yahaan bijli kharhi’.

When asked about the genuineness of reality shows, she admitted that there was a lot of written scripting in the ‘fights’ between judges, but said the shows were by and large genuine.

Harmeet said that the duo always believed in making songs on real situations. For example, when Rakhi Sawanthad planted her now famous kiss on Mika’s cheek, they had sung the song ‘Behen tune pappi kyun lee’.

Asked why they had gone to Mumbai to make a career in Punjabi singing, both Harmeet and Manmeet said that they felt that the metropolis was the right city for music. They also had a passion for acting and got a break in serials like ‘Kyun ki saas bhi kabhi bahu thi’ for which one of them one an award, ‘Kumkum’, ‘Kalash’ and some others.

Music was something they had done from childhood, but it was only ZEE TV which first recognized their singing talent.

When asked why they had decided to launch their own music company, they said the existing companies appeared to have lost interest in genuine rock stars.

They felt that Neha was a natural as she was not just a good singer, but also a gifted dancer. Furthermore, they felt that singers who took part in reality shows were often forgotten later.

Asked about the concept of the father-in-law paying dowry, they said that the launch of the album in Mumbai had been unusual when the girl came on a ‘ghorri’ (horse) and the ‘groom’ went in a ‘doli’.

On a serious note, they said several women’s organizations had approached them to perform this song in the presence of audiences.

They were now planning a Sufi album of their own and had signed three other artistes as well.

‘Instant Culture – pushing children too far?
An Examination of the competitive pressures of our educational system
by
Divya Raina

The Innocent World of Children’s transgressed ?

–“ Conspicuous Achievement.”

This phrase implies that a child must transform himself into some sort of prodigy and excel. The most likely areas are sports, ‘conspicuous’ social causes, being super-fluent in a foreign language, or being the musical equivalent of Beethoven. ‘Leaving no stone unturned’ has become a middle-class parent’s motto.  Landing a seat in some elite college is no longer enough apparently.

In India, are we aware of what are we doing to our own children? Yes, our own middle-class children, our so-called privileged youth? Now that summer is here, are not Delhi’s children being packed off to summer workshops? Are they not spending the scorching summer learning “something useful”? Why is ‘getting bored’ no longer an option? Spending time alone is unheard of. It’s like leaving the tap water running. Such an obscene waste. Activities such as  introspection, thinking, doodling, drawing, just exploring one’s universe are certainly not even considered activities, and kids who do this  are condemned, reprimanded, considered lazy, moody, shy, unsocial and impractical. Spontaneous creative activity done at home, is ‘too messy’, too time consuming, vague and without any direction or goal.

And who dares to spend waking hours day- dreaming? Being sensitive is ghastly; one has to have a thick skin to survive. After all; it’s a parent’s job to see that his kid is street-smart, assertive, if not downright aggressive. Morals, values, and ethics take a backseat to cut-throat competition.  After all, it is a “dog-eat-dog” world out there, and for this purpose one must be thoroughly trained and prepared. Who remembers the lines “…What is this life if, full of care, we have no time to stand and stare?”

We are told repeatedly that our children need constant diversion. Yet watching TV is like selling one’s soul to the devil. For most parents, simply surfing the net unsupervised makes them anxious about their kids getting to unsuitable sites. If sending them to the hills or even some exotic locale is not possible, and we don’t want them hanging out in air-conditioned malls or movie-multiplexes all the time; and when buying the latest gadgetry, branded cell phones and designer clothing is inadequate; we simply have to ensure that they must not remain idle, hence, the old adage about an idle mind being the devil’s workshop is trotted out as justification.

For those in school, holiday homework is something that will be finished off in the last week or so of the hols. Vacation time must be spent acquiring something else, an extra–curricular skill that is fun and keeps the child gainfully employed for some, if not all the time. Dance classes, from kathak to salsa, yoga camps, squash or chess, swimming, theatre, piano playing and what –have-you, all are considered vital. If one can actually swing some membership to clubs and special centers, then this potpourri of skill-learning will get even better.

Reading, though highly valued, seems the most challenging for parents. The very word ‘classic’ seems anathema to kids, and a ‘good’ book translates to ‘boring’. To explain, or to justify this, is the convenient cliché doing the rounds; “the dwindling attention-span of today’s kids and their inability to focus for long”. If a child still shows some inclination to read then let him/her attend a reading workshop where he /she will be able to plough through specially selected titles for a fee and which will be conducted by some specialist aunty or uncle, whose manner appears more magnanimous than the average school teacher.

Far from de-schooling society, it is as though we want school all the time. Everything has to be structured, pre-digested, pre-packaged and sold to the anxious consumer/ parent. And the parent is totally consumed with anxiety and often guilt about providing the very best he can afford, or obtain.

When did we stop becoming parents and become instructors instead? All the time, that we  are with our children we are hell-bent on instructing them, on teaching them something or the other: at the dining table it is all about saying robotic “please” and “thank you” ,  traveling anywhere becomes a lesson in geography, opening a newspaper is all about current affairs and improving general knowledge. The examples can be multiplied, even visits to a park is all about botany or keeping fit. We are in a position of authority; the child must simply go along with what we have planned for him/her

Often, elderly relatives are now being valued as culture givers, heritage communicators, with their smattering of folk-lore, wise, pithy sayings, and interpretations of the epics, and dusty tomes or antiquated relics of the past are being venerated in many homes in a manner never seen before. Parents who dump children with elderly relatives feel that by some strange process of cultural osmosis “good Indian values” will seep through to their video-game-ridden minds, and they will be purged. Regional languages will be spoken and not forgotten, there will be the nurturance of the glorious value of Respect for Elders. Time spent with kids is always ‘quality time’ and caregivers, home-makers, and nurturers are becoming adept in the multiple roles of chauffeurs and registration experts who alertly scout for the very best workshops and sessions that the city has to offer. Time is at a premium; time-slots and schedules are vital.

What underlies this frantic activity that parents seem to face? Is it seen as an inability to provide the very best cultural inputs? Does it stem from the fear that the homogenizing influences of our televised, globalized world is reducing each child to looking and dressing alike, speaking and even thinking in a similar fashion? Is it a fear that unless a child has some exceptional talent that is recognized by all, the ‘portfolio’ of their accomplishments will be inadequate?

This entire rigmarole, which we know has begun  when four year old children are packed off to ‘confidence building workshops’, comes to a head at the time of college admissions, bringing out tremendous inherent inner fears of rejection. This is the time when the most claustrophobic competition gets underway. Isn’t this getting a seat in a prized college or brand-name institution, the ultimate nirvana? Isn’t this what those who committed suicide over their non-performance in the dreaded exam time were made to feel totally inadequate about?

Has it anything to do with a vicarious realizing of our own unfinished dreams? Is it an “I never had the ability/opportunity/finances to do what I wanted to, so I must seize this chance and ensure my son/daughter is able to.” Is it less about molding our children, and more about our own unfinished business?

And what does the child think and feel about this? Does the young adult have a say in this process? Or does he/she mindlessly go along with whatever has been planned? Look around you and you will get your answers.

Me, Kash & Cruise – A Competent and Cleverly Crafted Production of Significance
A  Review by Manohar Khushalani

(Left) Rajit Kapoor as many faces of “Bombay” (Right) Amit Mistry & Neil Bhoopalam

As a finale to his earlier plays: Class of 84 and Pune Highway, Matrix Presented Rahul Da Cunha’s last one of the trilogy, Me, Kash and Cruise at India HabitatCenter. For me personally it was a watershed of memories. The play opens with a backdrop of 1984 Bombay Riots. It was in 1984 when our street theatre group,Theatre Union, disembarked at Mumbai’s Churchgate Station to participate in the Natya Jatra, a festival of Street plays performed by Theatre Workers and activists from all over India. It was at the railway platform itself that we learnt that Indira Gandhi had been assassinated by her Sikh Bodyguards. We arrived at Rabindra Rangshala, the venue of performance to learn that all the shows had been cancelled. Not to be deterred we proceeded to Flora Fountain for our first impromptu performance. Despite the tragedy my sense of humour about the irony of the situation had not abated as I showered my jokes on my hapless colleagues in the local train to the venue of the show. Apparently a pick  pocket was not amused or maybe he decided to have the last laugh as he slickly dispossessed me of my purse, which contained all my finances. But the show must go on and perform we did to an appreciative audience.

In the next ten days we were all stuck at Rabindra Rangshala as the trains were not moving and all the theatre groups performed for each other. Just as a singer is requested for an encore, our rendition of Sadat Hasan Manto’s Toba Tek Singh was most popular, and we performed it repeatedly for other groups. No. One is not going on a tangent. I am coming to the point.

Amongst the performers was a troupe led by Gursharan Singh, A famous Sikh playwright director from Punjab who performed courageously against militancy inPunjab.  Throughout our incarceration we continued to hear all kinds of rumoursabout how Sikhs were being butchered in the communal riots in Delhi. There were also rumours about protection money given by them to the Underworld for remaining safe in Mumbai. One had also heard about how Shiv Sena in Mumbai and RSS inDelhi had offered protection to the Sikhs. In an environment of fear and fervour – with and without veracity – roumours abounded. It is this atmosphere that Rahul Da Cunha’s play captured with authenticity, that one can vouch for, from personal experience.

Set in Bombay, the play covers a twenty four year time horizon – 1984 to 2008.Bombay has been a city that encompasses every emotion – from nostalgia to frustration. And joy to fear. Me, Kash and Cruise is the roller coaster story of three Bombayites and their attempts to deal with the city’s ever changing social, civic and political landscape – with mostly hilarious, and sometimes tragic consequences.  The play opens with the death of Indira Gandhi, while the three protagonists – Pooja Thomas (unabashed Bombay lover), Rajesh Kashyap (true blue South Bombayite) and Cruise (A Delhiite, and named after the Hollywood star) traverse their way through the 1992 riots, the 1993 bomb blasts, the Moral Police and Bollywood mania, as well as the age of marketing and hype – among other dramatic events that have shaken and influenced our city. Including man made disasters such as dug up roads and festival band baaja. And of course, Himmesh Reshammiya !!

Da Cunah’s assembled and portable set design is a labyrinth of multi level cat walks with interconnecting stairs – almost a reflection of the intertwining relationships of the three main characters torn apart by their own complexities and yet thrown together by circumstances and similar interests – primarily theatre, Pooja Thomas and Rajesh Kashyap are well grounded bombayites. Cruise a typical “struggler’ from Delhi 6 – the place in Delhi which has contributed maximum actors to Delhi Theatre.  Since Cruise is trying to ‘make it’ while the other two are established in the city there is bound to be a difference in their priorities. While Pooja is attracted by; the entrepreneur spirit of Cruise, Kashyap disapproves of his lack of commitment to theatre. Da Cunah script comes to terms with these realities in an objective manner. He also sketches out how their relationships and lives change with the external influences of the traumatic political events that rock the city.  How people cannot remain unaffected islands and how the social upheavals suck people into their vortex. The director is very original in the way the blocking has been done. People can be interacting with each other directly, but from different levels. Even the classic ‘asides’ can be belted out from different spaces. The division of the stage is not the typical horizontally segmented ‘upstage’ and ‘downstage’ but more literally – vertically – up down and middle levels.

The performances of the three actors Yamini Namjoshi, Amit Mistry and Neil Bhoopalam are fluid and flawless. The well known actor Rajit Kapoor does many roles of the other characters. He is the fourth character, mysteriously namedBOMBAY winds away though the play, donning many guises and avatars – Gateway photographer, police havaldar, marketing executive etc.

 Cast : Yamini Namjoshi, Amit Mistry, Neil Bhoopalam and Rajit Kapur
Written & Directed by Rahul da Cunha

 A Rage Production
Sponsor Matrix