Cycling and Empowerment!

Audax Kiara Bay Pink Ride 9.0 (2026)
Audax Randonneur Malaysia 100km.

As I turned at a traffic light, I was waved down by a group of fellow cyclists. From their accent, I could tell they were from East Malaysia.

"Is this the 100-km route?" one of them asked as I stopped.

"Yes, this is," I replied. "No worries. I've downloaded the GPS on my Garmin. 

Follow me."

They seemed relieved.

"Thank you. The organisers have not put up any markers to follow!"

We carried on with our journey. As I kept pedalling, my mind went into overdrive. I told myself, "These people do not know the essence of the Audax races..."

Cycling came into the mainstream in continental Europe in the late 19th century. Before the bicycle became widespread, people had to either walk or travel by horse, either in carriages or on horseback. As riding cycles became easier, more people, including women, took up cycling. Women found it easier to move around, eliminating the need for a man to prepare the horses for the ride. Women discovered newfound freedom to socialise among themselves, work, exchange knowledge, and discuss politics. The machines proved invaluable during the suffragette movement that secured women the right to vote. Women on bicycles famously went from house to house to spread political messages and distribute pamphlets.

Soon, men started cycling after realising it was an easy way to impress their sweetheart. Ladies' fashion also evolved, aligning with modern trends and abandoning restrictive styles. Corsets with petticoats were replaced by knee-length knickers and divided skirts. This is similar to how Indian girls today opt for salwar-kameez as their everyday outfit instead of sarees, as their grandmothers did, for better comfort and versatility.

Bicycles have been described as the one thing that contributed more to the emancipation of women than anything else in the world. Society did not take women's cycling lightly. The medical fraternity described cycling as potentially damaging to female reproductive organs. Cycling was viewed as unfeminine and a moral corruptor. The female cyclist was considered a troublemaker. Women were not allowed to participate in cycling races because it was believed they lacked the endurance, strength, and resilience to finish. In 1931, women were allowed in the time-limited category for the first time at the Paris-Brest-Paris Audax Randonneuring. 

From the outset, randonneuring was never about competing or reaching the podium. It was about endurance and teamwork. In earlier days, teams were given the route. Riders were expected to use a map or their navigational skills to reach point B intact as a team. Therefore, the organisers intentionally left out directions for this very reason. Now, with GPS, one can simply download the route to their bike navigation device and ride solo.

Women and cycling in the late 20th century shifted from empowerment to urbanisation and activism, driven by safer infrastructure and ecological awareness. Women's cycling also became an Olympic sport in 1984. Women have proven their endurance capabilities. Any exclusion clauses are cultural, not physiological.

https://britishonlinearchives.com/posts/category/articles/
509/from-the-archive-cycling-to-equality

For almost a decade, the Audax franchise in Malaysia has been organising long-distance cycling events for amateur cyclists. This time, one of the newest members of our weekend warriors' group wanted to get his hands dirty in one such an event, especially after hearing that the rest of us had completed a 200 km event two years earlier.

As with their previous events, ladies could attend for free, whereas male participants had to pay. In other words, the men were sponsoring the ladies. It must be a paradoxical business strategy to encourage greater male participation, since more men would be attracted by the free entry for female cyclists.

The race began promptly at 5am, cloaked in darkness. Cycling along the narrow roads from Kepong, we made our way to the Ulu Yam area, renowned for its notorious climb, which was the steepest part of the 100km ride. By the time we reached the top, we were already a fifth of the way up, and it was still dark. As we coasted down into Ulu Yam town, famous for its popular kopi tiams, it was too early to stop for a cuppa. Passing through Batang Kali, a town long in the news for the indiscriminate gunning down of Malayan citizens by the British Armed Forces in 1948, daylight was gradually breaking, and gliding through the misty country roads was an experience money cannot buy.  

Pedalling along the monotonously straight roads towards Bukit Beruntung made me realise the excellent network of highways that Malaysia has, or rather, the ones the British initiated before Merdeka, and we have the wisdom to upgrade every now and then. It also dawned upon me that Selangor is actually a large state. We were to do a 100km route, and that only covered half the state!

After Bukit Beruntung and Rawang, it was down past the old North-South Highway, which I had not used for ages. I was surprised by how wide it was and how it had been expanded. The road passed the park named after the High Commissioner of Malaya, who legalised the placement of ordinary citizens in concentration camps (in today's terms) and 'winning their hearts and minds' in the name of psychological warfare against the Communists in 1948, Gerald Templer.

By around 10am, five hours after starting, we reached the starting point, where we were treated to ice cream and a cold Milo drink. The finisher's medal made it all worthwhile. 

 

P.S. Audax Randonneuring is a popular, non-competitive, long-distance cycling sport in which participants ride fixed routes (usually 200km or more) within specific time limits.

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Unchain thyself!

The Girlfriend (Telugu, 2025)

Director: Rahul Ravindran

At first glance, I thought it would be another dull Indian college movie. Based on my previous experiences, I believed it was a superficial, illogical love story. The typical tug-of-war in this genre would be between eternal love and an unashamed, ego-driven opposition.

 

It started with a generic script about a girl with innocent eyes, whose mother died in her childhood, who joins a university to study for a Master's in English Literature. She is smitten by her and is pursued relentlessly by a senior, a handsome man doing his Master’s in Computer Science. The girl resists but eventually succumbs after constant wooing.

 

Things change after he gains 'vacant possession'. He becomes possessive, controlling, and a lover reminiscent of 'Fatal Attraction' or Sting's character in the 1983 Billboard No. 1 hit song 'Every Breath You Take'.

The story drags on until the heroine has her realisation. She boldly takes control and asserts her legitimate rights as a thinking human being, standing up for herself and refusing to be shamed for being a woman. She understands that in a game involving two parties, it is illogical to shame only one while the other walks free. Once she frees herself from those shackles, she is free to climb the ladder of progress. The sky is the limit. 

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Please remove the veil of ignorance!

Burqa City (Short Film; 2019)
Director: Fabrice Bracq

https://snewz.in/aamir-kirans-laapataa-
ladies-accused-of-copying-arabic-
film-burqa-city/425739/

After France banned the wearing of the burqa and niqab in public in 2010, a satirical 19-minute short film was produced. It is set in an unnamed town in the Middle East where all women are required to wear the full burqa and are not expected to speak. Every woman wears a black burqa.

Every lady is seen walking behind her husband, seen but not heard, simply shadowing quietly, even whispering when asked a question. The city is quite strict, not allowing ladies to wander alone. The moral police will arrest them when they are unaccompanied.

Against this background, a newly married loving couple goes shopping. After returning with their groceries, they head back to their car. Here, the owner of a Mercedes accuses the husband of denting his vehicle. A minor quarrel breaks out. In the confusion, the wives get into the wrong vehicles. 

Souleyman, the husband, to his horror, discovers that he has returned with the accuser's wife. Then, the comedy continues as he goes back to the grocery, reports to the police, and more misadventures follow. In fact, Souleyman's wife misinterpreted his instructions and entered the wrong car, while the other lady deliberately wanted to escape an abusive marriage. 

https://www.youtube.com/watch?v=3H1EdybDSHc

This clip came to my attention when someone on social media said that replacing the burqa in 'Burqa City' with a ghoongat results in Lapaadaa Ladies (2023). Even before all these, in 1999, there was a feature film on Dordashan TV titled 'Ghoongat Ke Pat Khol', which tells a comedic tale of mixed-up brides. The storyline is eerily similar to 'Lapaadaa Ladies', featuring brides with crimson-hued veils (ghoongat), trains, and all. The film was directed by debutante director Anant Mahadevan. The original film can be viewed on YouTube. It does not require much intelligence to see that the entire storyline of 'Lappadaa Ladies' was lifted from the TV feature film 'Ghoongat Ke Pal Khol'. 

https://www.bollywoodshaadis.com/articles/laapataa-ladies-is-copied-
from-a-spanish-film-62215

The controversy surrounding these three films centred on the oppression of women. On one side, netizens loudly claim that 'Burqa City' is riddled with Islamophobia and opposes women's empowerment because women choose to dress as they do. On the other side, Hindus argue that, despite the progress made by Indian women, especially Hindu women, leftists and Bollywood attempt to depict rural Indian women in a dull and negative light.

The intriguing fact about the wearing of veils by Indians can be dated back to the period when Muslim forces infiltrated India. After conquering a city, the Muslim conquerors would ride on horseback, seizing their due loot, such as money and kafir women. Muslim women were kept out of reach. Non-Muslim women were considered war spoils. The Hindu women soon realised that by covering their heads, the horsemen would simply pass them by, mistaking them for one of their own. Consequently, every Hindu lady began covering her head to avoid the violent advances of the marauding invaders. In regions where their threat was less severe, like the south of the Vindhya Hills, there was no need to adopt a veil. There were no prancing horsemen, and South Indian women did not need to wear purdah or dupatta.

Kabir
https://www.poetry-chaikhana.com/
Poets/K/Kabir/index.html

'Ghoongat Ke Pat Khol' is a verse from India's highly esteemed 15th-century mystic poet, Kabir. He was a contemporary of Guru Nanak and is honoured by Hindus, Muslims, and Sikhs alike. Born into a Muslim weaving family in Varanasi, he grew up learning about Hinduism from a Guru. His verses are even mentioned in the Grand Sahib. When he referenced this verse, he was signalling the need to lift one's veil of ignorance. Man must free himself from the five impediments (lust, anger, greed, attachment, and ego) that create the illusory veil obstructing his potential to appreciate the enchanting divine music of Life. 

“Do away with your veil ( illusion )

And you shall meet your beloved ( Divine lord )

The lord resides in every living Creature,

Why speak ill words against anyone?

Flaunt not this wealth and your Youth,

Deceptive is your Drum music that carries five notes.

Shake off not your hope,

Light a lamp within and illuminate

this Palace like vacant space.

In the Colourful Palace within,

You can meet your priceless beloved only

By perfecting the Skill of meditation.

Kabir says by this practice,

You attain supreme bliss

That keeps the inner music Chiming day and night.

(Kabir )

(Autar Mota 09.04.2014 )

 

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How to normalise free sex?

Anora (2024)
Director: Sean Baker

https://thefutureoftheforce.com/2024/10/31/review-anora-2024/

I was nearly knocked off my socks when I heard that 'Anora' won five Academy Awards, including Best Film, Best Actress, and Best Director. However, receiving the Best Film award is beyond any rational justification.  

My first impression of it when I viewed it was that it seemed like rubbish. It reminded me of the numerous B-grade films that excited teenagers in the 1980s when they gathered around their friends' VHS players to watch Koo Stark in 'Emily'.

The plot is thin and predictable, and the storytelling fails to present anything new. The storyline has been told and retold in numerous other films, though it serves more as a subplot. For context, this narrative follows a pole dancer who also works as a prostitute and finds herself infatuated with the debauched son of a Russian oligarch. According to her, the correct job title is exotic dancer. They dive into a whirlwind of romance filled with plenty of sex, drink, and other intoxicants. The allure of a grand mansion, a yacht lifestyle, and casino living proves too tempting. So, what is the next logical step? Get married in Vegas, of course, where the chapel can wed anyone 24/7.

This astonished his bodyguard, who was unaware of what was unfolding despite being in charge of his safety. His guardian was notified, and the oligarch parents arrived, eager to resolve the commotion. Next came the amusing part, as they dashed about attempting to annul the wedding. 

The film prides itself on not depicting Russians as mere mobs but rather imbuing them with personalities and emotions, particularly the henchmen, who are not shown as bumbling Russian nincompoops (albeit slightly).

I believe the entire premise of the film is to normalise prostitution as a profession. It is entirely acceptable to be high three-quarters of the time. One can still function normally after perpetually drowning oneself in casual sex, cocaine, and alcohol. Sex workers are portrayed as having their own agency, leaving their 'professions' whenever they choose. Perhaps they neglect to mention the pimps and human trafficking associated with the sex trade. Or is it women empowerment to choose to be a sex worker?

It is an award not for acting, but for how much drapery one can shed and how convincingly one can simulate coital activity. Nothing more, nothing less!

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Breaking the yoke of ignorance!

Benzaiten, Japanese equivalent
to the diety Saraswati.

Saraswati Pooja used to be a vital feature in our household in childhood. The highlight of the whole event was placing our textbooks and getting the blessings of Goddess Saraswati. Thinking we would perform better in studies with Her blessings was naive. Amma did not fail to gently remind us that praying would not make us pass exams. We needed to put in the hours and concentration. There was no substitute for education; it was our key to happiness.

Every Saraswati Pooja reminds me of my childhood of respecting books and learned individuals, irrespective of their teaching styles or content. Then I questioned myself: Can smut be given the same recognition if presented in book form? With all the ill effects that come out of the web but nullified by all the good things it spreads, does it still qualify as a learning tool?

I soon realised that the spirit of Saraswati is the zest of reinforcing to immerse oneself into the ocean of knowledge. It is also a reminder that we are the privileged few whose journey through education is a given right. It is a prompt for us to appreciate those who reached greater despite the odds against them to acquire knowledge.

Ruby Bridges, 6, attending Elementary
School in 1960, accompanied by
US Marshals.

Offhand, I remember the people of my mother’s generation whose parents thought a child’s job was to take over the lead of feeding the family as soon as their bodies transitioned into adulthood, which can be as early as 14 for a girl and 16 for a male. My mother’s desire to continue studies and fly high was clipped prematurely after her primary Tamil school studies, and my uncle had to literally stay away from his family to earn to finance his upper secondary school studies.

Salutations also go to the first lady doctor and the first lawyer in countries where education for females was considered dangerous, tilting the patriarchal-matriarchal societal balance. They went against the grain and gripe of their communities to succeed. A family with an educated female will end illiteracy in that family.

Thought also goes to Ruby Bridges, whose parents had the courage and wisdom to enrol her as the first black girl in an all-white elementary school in Louisiana in 1960. In 1964, Norman Rockwell immortalised the scene of Ruby marching boldly ‘like a soldier’ accompanied by US marshals in a painting. It later became an iconic image of the Civil Rights Movement.

Even though specific religious iconographies have been included in celebrating Saraswati Pooja, its essence is secular. Appreciating the power of education on society does not convert students to give up their cultural beliefs. All faiths encourage their congregations to expand their knowledge and minds to the vast expanse of wisdom. Saraswati Pooja is a mere conduit to this realisation. It is also included as an Ayudha Pooja (Weapons' prayer), as books and knowledge constitute our weapons in our daily lives. It used to be swords and farming utensils. As though emphasising the role of the fairer sex in our society, this pooja is part of Navarathri, the nine-day celebration of female divinity.

So, I do not understand why a non-governmental organisation in Malaysia, Thiravidar Humanitarian Organisation, vehemently opposes the Saraswati Pooja celebrations in Tamil schools. They claim it is a religious activity; as such, it should not be held during teaching hours but to maintain the focus on education. That is precisely the point; celebrations like Saraswati Pooja would ignite true wisdom to separate the wheat from the chaff. This Malaysian NGO is an extension of Tamil Nadu’s Dravidian politics, primarily anti-Hindu. Their current aim in life is to eradicate Sanathana Dharma, just like humanity is trying to crush COVID and Dengue. The Malaysian NGO is parroting their masters across the seas, the same land their ancestors fled for a better life.

Dr Joshi graduated in 1886 from the Women's
Medical College in Pennsylvania.

Why were girls in the 19th and 20th centuries prevented from attending school? It could not be something engrained in the Indian society. Many crucial human activity departments are represented by goddesses, not male demigods. If Indian society was indeed patriarchal, why would Goddess Durga represent courage, Laxmi to wealth and Saraswati to be linked to knowledge? As though emphasising the role of the fairer sex in our society, Saraswati Pooja is part of Navarathri, the nine-day celebration of female divinity. Something must have happened in between. Could it be that the rapacious hunting of invading barbarians into India forced families to tuck their daughters far away from their invaders's lustful eyes? Over generations, they became better at being unseen and unheard, soon occupying second-class status in society. Just a thought!

 © Norman Rockwell

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How they converge and diverge?

Lady in the Lake (Miniseries)
Season 1, Episodes 1-7.

An intriguing miniseries set at a time when Black Americans had an understanding with Jewish Americans. Even though Lincoln issued the Emancipation Proclamation to declare all slaves to be free, in reality, the Blacks still received the short of the stick. In so many instances, they were discriminated against. The law was not in their favour either. The Blacks had to prosper by themselves despite the restrictions. Some beat the systems and joined the mainstream, while others prospered through an alternative economic system. The evidence of their successes includes the Harlem Cultural Renaissance in the 1920s and the numerous legislative gains through the efforts of the NAACP (North America Association of Colored People).

Many of the African-American associations worked in tandem with many Jewish bodies. The Jews also felt the discriminatory vibes of the predominantly Anglo-Saxon majority of America. The earlier interactions between Jews and Blacks were not cordial. Many Jews became land owners and were ruthless businessmen who earned the wrath of the poor Blacks. Things changed later. 

During the Civil Rights Movement, many of the laws of the day, including the Jim Crow laws, were challenged by the movement with Jewish lawyers. Jewish leaders participated in numerous marches organised by Rev King and others. The 1955 to 1966 era is sometimes called the Golden Age of Black-Jewish relationships.

After 1966, the cooperation turned cold as the Jewish community moved higher in the economic class whilst the majority remained poor. Another possible explanation for this rift is the popularity of Islamic-based groups like the Nation of Islam, Malcolm X and the Panthers. The 1967 Six-Day War in the Middle East made many Black leaders and personalities, including Malcolm X and Muhammad Ali, express solidarity behind the Palestinians and condemn Israel and the Zionists.

Set in the 1960s USA, this miniseries is mainly the story of two ladies trying to prove to themselves that they make something out of their lives. A 40-year-old Jewish lady who had to give up her writing ambition to get married and raise a child in a conservative, suffocating Jewish household gets an epiphany of sorts to break free from all this bondage. This happened after the much-published murder of an 11-year-old Jewish girl. She itches to investigate the case on her own accord. Through the episodes, we see the challenges she has to face to break from the mould of what is expected of a mother and a lady of the era.

In another parallel story, a young, ambitious black lady of about 30 tries to break from the clutches of poverty and the mob to make something out of her singing and provide a promising future for her kids. She needs to extricate herself from the crime-inducing society and the lure of the gangsters and their promise of a good future.

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A veiled glance?

Laapataa Ladies (Missing Ladies; Hindi; 2024)

Director: Kiran Rao

At first glance, I thought it would be an Indian culture-bashing offering—one that ridicules some out-of-date traditional practices and tries to showcase how ridiculous India really is. Perhaps it would also include a couple of corrupt policemen on the side to drive home the point. I was wrong. It turned out to be a simple story about women empowerment, told in a simple manner and mainly using new faces, minus the glitz and razzmatazz typically associated with Bollywood.

It starts with two newly wedded couples travelling in the same train compartment. As per practice in the conservative societies of the Hindi heartland, brides are expected to wear full veils to show chastity. The funny thing is that both brides donned the same saree colour and had about the same body constitution. Hence, in the dead of the night, in the confusion of almost missing the train station, Deepak alights the train sleepily with the wrong bride, Jaya. Deepak's wife, Phool, gets down a few stations later with the other groom.

Both couples soon realise they have the wrong girl. Phool refuses to leave the railway station till her husband comes looking for her. The long arm of the law takes a long time to rectify the confusion. The interim period shows us that Jaya really has something up her sleeves or, rather, under her ghunghat (veil). Phool undergoes a baptism of fire to realise she is more than a helping hand to her new family and that she can stand on her own feet.

After much confusion caused by Phool's ignorance and Jaya's conniving ways, Phool and Deepak reunite. Jaya's dream comes true. Happy ending.

The practice of brides and married women wearing a ghunghat (traditional veil) tickled my mind. Many societies view it as a portrayal of chastity. In reality, it is nothing like that. 

In ancient India, during the times of Muslim invaders, the Muslim victors would often go on a victory lap, rewarding themselves. As per their religious scriptures, the Muslim soldiers are entitled to keep the captured women as sex slaves. Imagine Hindu women running away from their invaders, chasing them on horseback. Wearing a veil must be a sure way to hide their Hinduness, hence escape captivity. I think, over time, the veil became a saving grace and soon got imbibed as a daily wear. Soon, it was imposed on women to safeguard themselves and be viewed as a sign of purity. Temple-going ladies, too, follow this practice to show reverence. To prove my point, we do not see this, i.e. ladies scarfing their heads in temples, in lands not conquered by Muslims like Tamil Nadu. Food for thought.

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