Dirty linen?

Ankur (The Seedling, Hindi, Deccani; 1974)

Director: Shyam Benegal

https://www.amazon.com/Ankur-Seedling-
Hindi-English-subtitles/dp/B008V22NKE

The recent passing of actor Manoj Kumar reminded everyone of the patriotic Bollywood films (once known as Hindi or Hindustani cinema) that endeavoured to stir nationalist fervour among the audience. His films from 1965 to 1974, which include Shaheed (1965, about Bhagat Singh), Upkar (1967, set against the backdrop of the Indo-Pak war of '65), Purab Aur Paschim (1970, celebrating Indian values over the West), and Roti Kapada Aur Makaan (1974, emphasising the needs of the common man—bread, clothing, and shelter)—prompted his audience to reflect on their country rather than be numbed by the intoxication of love or the struggles of others in romance. Interestingly, the idea for Upkar came to Manoj Kumar after he was honoured by India's beloved PM, Lal Bahadur Shastri, who inspired him with the notion of a farmer transforming into a war hero through Shastri's party slogan, Jai Jawan Jai Kisan (Hail the Soldier, Hail the Farmer). In Upkar, a farmer becomes a soldier to defend his nation amid greedy and ungrateful brothers and relatives.

The question arises as to whether the storyteller exposes dirty linen in public when he writes stories about vilifying practices in his country, particularly as his films are viewed by diaspora audiences worldwide. Paradoxically, is he enlightening the general public, in the hope that they will strive for improvement?

While Manoj Kumar @ Bharat Kumar's films appeared in mainstream cinema, which typically boasts a larger budget, more opulence, music, and colour, as well as star power to attract the audience, there existed a parallel cinema platform that was less ostentatious but focused more on everyday issues. Shyam Benegal was one of the creators of such films. 

'Ankur' is Shyam Benegal's debut film. It introduced Shabana Azmi and Anant Nag to the cinematic world and proved to be quite a sensation. Naturally, the world often takes notice when India, Indians, or the Indian way of life is portrayed unfavourably.

It tells an intricate story seamlessly, using minimal dialogue and more symbolism. Sometimes, words can convey only so much; many of the tales are shared through gazes and silence.

The story centres on two characters, Surya and Lakshmi. Surya believes he is a modern man with contemporary ideas, having obtained a BA. However, his ambitions of pursuing higher education are thwarted by his father, who sends him to tend to a family-owned piece of land. The father has a mistress in the village, and Surya's stepson is attempting to claim that land. Thus, Surya's task is to protect the land and ensure that the produce is not looted away. Despite thinking the modern man he is, Surya has to oblige his family's demand to marry a very young bride before being sent off, but alone.

The way Surya is treated in the village is typical of caste and class segregation. Lakshmi is the maid assigned to maintain the bungalow where Surya is staying. Lakshmi is the wife of a lowly, mute village potter. His pottery business has seen better times now that the villagers are comfortable with aluminium pots and pans.

The 'modern' Surya allows Lakshmi to prepare his meals despite her low caste, yet his other behaviour does not seem particularly civilised. When Lakshmi's husband goes missing after being humiliated by the villagers, Surya begins an affair with her, which results in her becoming pregnant. One day, Surya's wife arrives, and Surya behaves as though nothing has occurred.

 

Essentially, nothing has changed. Surya has a mistress and an illegitimate child, much like his father. An immersive watch. 4.5/5.

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Jobs designated at birth?

Tamil Kudimagan(Tamil, Tamil Citizen; 2023)
Director:Esakki Karvannan

https://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/t
amil-kudimagan/movie-review/103477872.cms

We are told, 'our profession is our God' (செய்யும் தொழில்லே தெய்வம்). From this adage, we understand that by performing our designated jobs diligently, we respond to a divine call. Along the way, in our long civilisation, our profession has come to define who we are and our status in life. We can blame humanity for messing everything up!

What began as a description of human aptitude and traits was categorised into academic types, those with athletic and combative inclinations, the entrepreneurial type, or the diligent and conscientious workers. People excelled in their respective skills in accordance with their innate talents. Over time, families became pigeon-holed into specific professions. Domineering behaviour is an inherent trait within us. In this way, elitists among us established hierarchical orders within society based on profession, with the scholarly and martial groups at the pinnacle. Those reliant on manual labour to perform their tasks or to handle dead animals, carcasses, hides, dirty linens, and noxious environments found themselves at the lower end of the spectrum.

Over time, this arrangement became increasingly toxic, creating divides among people regarding shared facilities, marriage, and even day-to-day social interactions. They attribute this to the British, who capitalised on the situation to further their 'divide-and-rule' strategy while ruling their Empire. Now, 75 years after independence, India remains mired in its internal divisions and caste politics. Despite all of this, it still manages to bounce back to better days, with the icing on the cake being its economy recently surpassing that of its former colonial master in size.

According to this film, pockets of discrimination persist despite significant advancements. Chinnasamy, a young man with great ambitions, is called upon to perform the last rites for deceased individuals in his village, a duty carried out by his father and ancestors. He finds the task demeaning, as no one wishes to undertake it, and people look down upon the job. The villagers' insistence on conducting one such ritual causes him to miss an important government examination, the Village Administration Officer's exam.

Things take a further turn when his medical student sister falls in love with the son of a chieftain from a higher caste. She and her entire family are humiliated. Those around them seem intent on maintaining the status quo, wishing to keep Chinnasamy's family subservient. Every attempt to improve their social standing is thwarted. Chinnasamy retaliates. When the chieftain's father passes away, Chinnasamy refuses to perform the death ritual. Everyone in his caste follows this lead. Unable to bury the old man, the police intervene. Eventually, the case is brought before the courts.

Although the whole set-up is quite melodramatic, the film carries a very relevant social message. 

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Anti-Brahmin sentiments ?

Ghatashraddha (Kannada, The Death Ritual; 1977)
Director, Screenplay: Girish Kasaravalli

There must be a reason why Martin Scorsese's World Cinema Project, George Lucas' Family Foundation, and Film Heritage Foundation decided to restore the film from the original negatives in 2024. In 2002, it was voted one of the 20 best films in Indian cinema. It also snatched the Best Feature Film award, among other awards, in 1977. Looking at current world sentiments about India, the elephant in the room is that the film is about Brahmin bashing.

The colonial masters are to be blamed for anti-Brahminic feelings running high among the Indian public at the end of the 19th century and the beginning of the 20th. The British wanted to understand how the Indian society was spread out. For simplicity, they used the European class system when they commenced their census taking. The varna system in India was too complicated for the Europeans to comprehend. Hence, a hierarchical system was devised with the Brahmins at the top of the food chain. The British had a vested interest. They wanted to dismantle the gokul schooling system and the teaching of Sanskrit. The Brahmins were held for fort for Sanskrit and knowledge. There was a compelling need to paint the Brahmins. So, it came to be. 
 

EV Ramasamy and many South leaders had a beef with the Indian Congress Party during the pre-Independence era. They saw their lack of opportunities to partake in the Independence struggle as a Brahmin-controlled problem. Through the Self-Respect movement, they marketed themselves as anti-Hindu. Their brand of politics persists today. As the world sees leap by bounds economically and socially, the enemies of India look at this distorted interpretation of Sanathana Dharma as the perfect weapon to run India down.

To say that caste discrimination is non-existent may be an understatement, as evidenced by the writings and experiences of many scholars and writers.

The movie is about the experience of a young student, Naani, at a dilapidated  Vedic school. The teacher's daughter, Yamuna, is a sad young widow. Yamuna has an affair with another teacher and gets pregnant. She tries to conceal her pregnancy from the inquisitive neighbours and tries to get it aborted illegally. She is exposed and is humiliated. Her father ex-communicates with her by performing Ghatshradda,  a death ritual signifying that his daughter is dead to her.

 

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Caste, not race?

Origin (2023)
Director: Ava Duverney

(Based on the book, 'Caste: The Origins of Our Discontents' by Isabel Wilkerson)

It is an interesting way of looking at all the problems affecting the world today. It is blamed on caste segregation. Traditionally, we think of caste as a problem only affecting India. And Indians believe it is a system brought in by colonial masters and divided the nation to ease control. The stifling of one layer of society over the other is not just based on the colour of their skin. It is something beyond. The group at the top end of the food chain would want to maintain the status quo and keep the people beneath them forever squashed.

The writer, Isabel Wilkerson, a Pulitzer Prize winner, compared situations in three scenarios. 

She looked at the black situation in America, where blacks are stereotyped as troublemakers, poor, unemployed, unemployable and criminals. The system reinforces this stereotype upon them to a level that even the blacks buy into the trope. The blacks become apologetic about how they are and make amends to be 'liked' by the oppressors, i.e. the white Americans. 

The truth of the matter is that the white men brought them as slaves from Africa. Everything was alright when they were the masters and the blacks their slaves. Things became complicated when emancipation happened. The whites made it a point to retain themselves in the highest perch of the food chain. They suppressed the blacks through the preservation of the white gene pool via marriage laws, housing restrictions and educational opportunities. This continued until they occupied the unsavoury aspects of the country's statistics. Stories of police brutality, George Floyd and Trayvon Martin have become a recurrent theme.

It is not the colour of the skin of the other that matters. Look at post-WWI Germany. The wisdom of the Nazi Party thought the Jews should be made the bogeymen to make their country rise from the ashes of the First World War. Propaganda after propaganda of the Nazis made Jews the scorn of the country. Jews were identified, tagged, marked, quarantined, cursed and finally sent to incinerators, all under the law of the land.

The author then travelled to India to see how caste discrimination affects the Dalit community. Accompanied by a Dalit academician, she is told how the elitist and the ruling class suppress the Dalit community from succeeding in life. The film goes on to show how members of the low rung of society are oppressed and confined to performing menial chores that nobody wants to do. Ambedkar is featured here as the living of someone who went on to obtain a double PhD despite all the odds that worked against him to keep him down. The manner in which his society had reservations about sharing, even drinking water, even as a Government official, is stressed too. A statue of Ambedkar in Delhi is shown to be placed in a cage because the statue is constantly vandalised, suggesting to the viewers that the general public hates revering a Dalit figure even though he helped to draft the Indian Constitution. Is that the hint?

The presentation conveniently failed to inform the high number of high-performing students who could not secure a place in the local universities, all because of caste quota. To continue studying, these students and their parents must fork out high sums of money to get foreign education and possibly foreign employment. India's loss is the rest of the world's gain.

The film tries to simplify everything. The innate desire for one person to dominate over the other is inherent in all of us. It does not depend on race or ethnicity. People will find reasons to suppress others with made-up reasons. This probably goes well with critical race theorists who insist that racism is inherent in the legal institution to create and maintain social, economic, and political inequalities between whites and nonwhites, especially African Americans.

Wilkerson looks at black suppression not as a race issue but as a caste suppression. A group of people, in the USA's case, it is the Hispanics and the Blacks, are put at the bottom of the hierarchical 'caste system' through generations of oppressive laws.

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google.com, pub-8936739298367050, DIRECT, f08c47fec0942fa0

An externally-introduced or intrinsic problem?

CASTE IS NOT HINDU

'Caste is a Construct of the Colonial Invaders'

Authors: Guruji Sundara Raj Anatha, Aykshya Simrhen Raj, Pardip Kumar Kukreja.

If anything life has taught us, it is this. People are narcissistic and egoistic. People try to understand everything but are unwilling to accept that things are way more complicated than an average man can comprehend. We are all guilty of cognitive dissonance and suffer from the Duning-Kruger effect, overestimating our competence.

People always try to dominate each other and clamour for the joy and privileges of being in power and a leader. Those in the higher rung of the hierarchy are pretty comfortably perched high up, looking down at the mere mortals. Those stranded at the lower perch of the food chain are gaslighted to be convinced that they are there because of their own doing. Their leaders want to maintain the status quo to ensure their position and conserve their high status.

A house cat, quite comfortable not needing to hunt for its daily meal, will want to maintain its amount of pampering. No one in the correct state of mind, enjoying the fruits of affirmative action, will want to, surrender his privileges willingly.

With this background knowledge, one has to critically look at this book, 'Caste is Not Hindu'.

Before the 16th century, India/Bharat was a self-sustaining subcontinent. Its social architecture created a steady state where science prospered, societal order was maintained, and its cultural influences went beyond its shores. Monetary support for mega-projects was handled by trade guilds within the public domain.

Unbeknownst to India, the rest of the world, from the land of barbarians, was awakening from their deep slumbers. Their idea of civilisation was not mutual respect but mercantilism and exploitative colonisation. India mesmerised them with its mysticism, immense wealth and welcoming nature. India soon fell prey to their maverick Machiavellian tactics. The colonisers masterminded a devious plan to justify their takeover of the nation.

The contemporary world of Hindu scholars suggests that European conquerors extrapolated their society's 'Sistema de Casta' division to India. The Europeans had earlier subdivided their own people to put royalty, clergymen and aristocrats at the top of the pecking order. The rest of the people, the craftsman and labourers, were the low-ranking serfs. The conquerors felt they needed to understand the social structures of the natives. It was too complicated for these simpletons.

The Indians had a complex societal structure system. They had varnas and jatis. Varnas referred to an individual's innate aptitude - whether he was scholarly, one who exhibits and utilises his physical attributes, good with business skills or a doer, i.e. a worker. This is not determined by one's birth, and he does not have to stick to his family's profession. Hindu scriptures are abundant with tales of scholars from tribal groups and learned men from princely families. Vyasa, the author of Ramayana, was born to a fisherwoman, Satyavati. Siddartha Gautama, a prince, became a preacher. King Ravana was a Brahmin, even though he mastered martial arts, as well as art, music and culture. Of course, we all know of Ambedkar, a Dalit who masterminded the Indian Constitution after securing multiple degrees from premier universities in the UK and the USA. How do you classify a man born Brahmin (as per the British set caste system) who gets an MBA (scholar), and works as a CEO (a businessman) in a conglomerate that sells leather shoes, e.g. Bally? Traditionally in the British Raj, a casteless person works with carcasses and leather.

Even within a family, one can notice that children of the same parents have different interests. Some can be studious, athletic or boisterous, while others will do what they are told.

Book launch by
H.E. High Comm of India to Malaysia.

Jatis refer to a professional group. This guild of craftsmen, smiths and merchants identified themselves together for the betterment of their professions. It was a way to explore their little nuances in improving their trade. For example, there was a group called Parrayars, who specialised in playing the war drums. With modern warfare, their work became redundant. They became drum players at funerals.

Looking at such a complex societal admixture that was self-sustaining puzzled the visitors. They tried to make sense of the whole setup. Their first attempt at this was the 1872 Indian National Census. It became a social engineering tool highlighting caste, religion, profession and age. No matter how hard the British system tried to make sense of the arrangement, they became more confused and created more castes and sub-castes.

Many professionals of ancient India were out of work during British Raj. In other words, they became casteless. The British created a new caste called 'the untouchables'.

Another strategy is their plan to 'divide and rule' is the creation of enemies within the society. At the same time, the British had to justify their positions as conquerors. The Aryan Migration Theory just covered the grounds so fittingly.

A highly cultured band of fair-skinned erudite steppes men from Central Asia allegedly infiltrated the land beyond the Sindhu River, bringing Hinduism to send locals south. They also brought in the Sanskrit language and all the rituals associated with Hinduism.

Down south, a schism developed between the priestly caste and the ordinary people. The priests were viewed as invaders trying to control the locals. That, combined with politics, was a sure way to create unrest. It worked just well for the feranghis (foreigners). Feuding brothers are easier to control.

Akin to the fair skin foreigners bringing in culture and wisdom to Bharat, the British portray themselves as God-sent saviours to educate and civilise Indians from 'ignorance' and 'illiteracy' by the European-Christian standards.

The extensive kurukkal system of India that served the nation for ages was dismantled as they were deemed archaic. English was introduced as the medium of instruction, as suggested by MacCaulay's Indian Education Memorandum. The real reason for this move is for the colonised to view their own culture as inferior to that of Europeans. And the European languages were linked to Sanskrit, the foreign language that was brought into India.

Thomas Babington Macaulay

Besides controlling its economy, the other ulterior motive was to proselytise the whole nation to Christianity. They also viewed it as their service to mankind. After all, the Papal Law decreed by the Vatican states that to convert non-believers is a divine duty.

One can argue that this should not be an issue anymore; after all, the colonists left India 75 years ago. As an independent nation, they should be able to decide their own fate. Not quite. 

200 years of subjugation and indoctrination by Europeans, many Indians who received the short of the stick from their masters are still reeling from a lack of confidence, an inferiority complex, with a tinge of Stockholm Syndrome and a constant seeking of validation from the West for existence. On top of that, there exists a group of locally bred phenotypically Indians who quickly shoot down anything Indian. Like the local soldiers during the 1857 First Independence War who did all the dirty jobs for the British, these sepoys view India and Hinduism as a lost cause.

The 200 years of 'divide and rule' of India must indeed have had a long-lasting effect on the psyche of all Indians, leaving many frustrated individuals who were at receiving end of the harsh, divisive effects of casteism. Perhaps, they benefitted from English education and foreign countries after being driven out of their own country. The need to defend the culture of their ancestors made no sense at all. On the contrary, they have every reason to shoot down some discriminatory practices they were subjected to. There is no love lost.

The Hindus themselves find it difficult to untangle themselves from this colonial legacy. If casteism is not Hindu, would it not be easy to go back to basics and put it back in order. Not so easy. People who have benefitted from reservations and affirmative action will not surrender what they deem is theirs so quickly. The politicians whose raison d'être is to grasp popularity and ensure that they continue to win elections will be comfortable continuing the Britishers' 'divide and rule' policy via caste separation. Even closet converts also benefit from reservation seats.

Perhaps India should learn from their other Asiatic cousins like China, Japan and South Korea. When Commodore Matthew C Perry arrived at Edo Bay in 1853, the Japanese, who had chosen to be under seclusion, were mesmerised by the appearance of Perry's armada. They thought the mythical ancient dragon had actually descended. They realised that the world had morphed in leaps and bounds while they were napping. The Japanese caught up with the rest of the world by 'copying and pasting' western technology. Their turning point was the 1905 Russo-Japanese war, where they surprised the modern world by defeating the Russians. The rest, as they say, is history - World War 2, the rape of Nanking and Chandra Bose and the Indian National Army.

Commodore Perry arriving in Japan

After being squeezed and torn apart from all sides between China, Japan and Russia for generations, the Koreans found relief after the Korean War. The South Koreans were happy being a vassal state of the USA but prospered because they were apt to adapt.

When Nixon landed in Beijing in 1972, after much water went under the bridge, the Americans thought they could play realpolitik again as they did in the post-WW2 era. The Chinese cleverly used the opportunity to watch, learn and absorb all the knowledge at their disposal and gave, and are still giving the American a good run for their money.

Wonder what happened to the wisdom of Panchatantra and Chanakya's political treatise, Arthashathra, that India introduced to the world way before the Machiavellian tactics that Europe so boasted about. Centuries of civilisation squashed by firepower.

https://notionpress.com/read/caste-is-not-hindu

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We turn right as we mature!

Dev Bhumi - Land of the Gods (2016)
Director: Goran Paskaljević

As we grew up and our eyes slowly peeled open to the changes around us, we felt ashamed. Maybe because of the western type of education taught to us, we were embarrassed by our heritage. We perceived our own culture as archaic and that our parents were living under a rock. The world, it appeared then, was changing, and we did not want to be left behind. We could wait to grow wings and pave our own paths.

We ran through the gruelling mill of life, and soon enough, we realised that there was wisdom in what our ancestors did what they did. The raging hormones of youth and the lure of material gains clouded our judgement. We tell ourselves, perhaps, they were right. We yearn to get back and make amends. But, no. The others think you are a fool and are best left alone.

This 2016 movie made by a Serbian director with co-writing input by the famous Victor Banerjee, is a slow-moving film with the breathtaking view of the Himalayas as its backdrop. Banerjee acts in the central role. It was shot entirely at the icy hills of the State of Uttarakhand in India. The story unfolds in instalments as Rahul Negi (Victor Banerjee), after a 40-year self-exile in England returns to his village. We gather that he will soon be blind after contracting an incurable disease and had returned to see his village before becoming completely blind. He plans to spend the remaining of his life in Kedarnath, Uttarkhand.

©FG

He had fallen head over heels over the village dancer, Maya, in his youth. This was vehemently opposed by his father. A tiff had ensued, and Rahul had struck him with a sickle. He then ran away from the village and out of the country. The father had opposed the union because of the dancer's lower caste status.

Rahul is not received well, even after all these years. His brother thinks Rahul is there just to claim his due inheritance. His father had earlier died due to old age.

©FG

As Rahul wanders around the village, he tries to understand the village. Things have not changed much. Small scale farming is still going on with primitive tools. The village school is just a ramshackle building with the bare minimum. Girls are still married off young. It looks like time stood still on them. Women are second class citizens, just seen but not heard. Child marriage is the norm. Rahul's girlfriend, Maya, for whom he had attacked his father, is still in the village. She is, however, mentally severely deranged.

The kind of living arrangement that the primitive communities had devised worked well then. Relatively exposed to the elements of Nature and extracting food from it, the brute muscular force was invaluable. Biologically, men were bestowed such physical attributes. The female gender was then assigned to home management and nursing duties. As society became more settled and commerce developed, the streetsmart skills and education were reserved for the males. With modernisation and cities becoming domesticated with no wild animals roaming around, females could no longer be contented with second-class duties. Furthermore, the 19th and 20th-century economic order slowly gave both genders the need to be educated.

©FG

Guarding the household no longer became the domain of the community's male members. The question of security is handled off to the auspices of the Government. Nobody has to depend on the muscle strength of man anymore. There is nothing a machine or a weapon cannot do.

At the community level, the distribution of duties is decided by a system by a division that accesses the aptitude of the member of the community to put them in a specific vocation to ensure continuity of services within the community. Along the way, this aptitude system became hijacked to mean a person is born into a caste and is destined to do only the job his ancestors had been doing. Points to ponder. Of course, movies will picturise traditional Indian communities as patriarchal and caste-centric.

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An unfair tale!

Madaathy, An Unfairy Tale. (Tamil; 2021)
Director & Writer: Leela Manimekalai

It is said there is a back story behind every village deity. Madaathy is one such goddess. A representative of the feminine powers of the Universe, it is said that she is the embodiment of the spirit of a wronged low caste adolescent girl. 

The first scene itself sets the mood for the rest of the movie. A newly-wed couple, in their best attire, goes on a joyful motorbike ride to Madaathy temple. En route, the bride realises that she just started her menstruation and insists that they stop to get some kind of sanitation napkin. It would flash upon viewers that we are into something taboo. Are they going to cancel their journey or continue to the destination? We are left to wonder.

The story revolves around a group of the lowest of the Dalit community, the Puthirai Vannars. Sometimes, I wonder whether these types of communities and such levels of oppression do actually exist. According to the director/writer, the story was well researched and based on actual events when she was interviewed during the film launch. The Puthirai Vannars comprise a particular group that clean garments. Not any garment but articles of clothing used by the sick, diseased or recently deceased. Sometimes they are summoned to clean the menstrual cloths of villagers. They are cleaners but are considered too polluted to be seen in public. They must never be in full view of others and even live at the edge of the village, delineated by a river. They are too cursed to be seen.

Being impure or outcast does not cross the men's minds when they lust for these Dalit women. They are regularly raped. The Dalits have no recourse to state their predicament.

The film tells the story of a rebellious adolescent girl who runs wild in the forest and builds a crush on one of the village boys. She builds sandcastles in the air only to be gang-raped by her crush and his friends on a drunken night of the Madaathy temple consecration. The girl dies, and her spirit lives in the deity.

Agreed the storytelling, characterisation and cinematography are world-class par excellence. But sometimes, I wonder if all the numerous accolades attached to the film were given not because of its quality but rather because it puts the sub-continent and its dwellers in a horrible light. They like to assume that India is still the same backwater as was depicted in Katherine Mayo's 1927 novel 'Mother India'. They find joy in continually degrading Indian society, religions and culture and portraying the whole of India as worse than the Dark Ages of medieval and savage Europe.

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