Imagine playing Eric Clapton’s “Cocaine” on a harmonium, and playing it well. It all began from there for Parikrama’s star keyboard player and manager, Subir Malik. As a child, it was then that he discovered his passion for the piano keys.
Parikrama is one of the oldest and possibly the most popular rock band that India has produced. They came together in the summer of 1991 and since then there has been no looking back. With its motto, “Never compromise, never surrender”, this band has stuck to its roots, without getting lured into the big bad world of Bollywood and Indi pop. Having denied 35 album deals, they’ve played classic rock with shades of metal over the years. And they intend to keep it that way.
Nitin Malik (vocalist), Sonam Sherpa (guitarist), Saurabh Choudhary (guitarist), Chintan Kalra (bass guitarist), Srijan Mahajan (drummer) and Subir Malik (keyboard player) make up Parikrama. They’re sometimes accompanied by Shambhu Nath on the tabla and Imran Khan on the violin. I was surprised to know that none of the members of the band are trained musicians. “We’re all self taught; we simply followed our desires and our music continues to be influenced by what we’ve grown up with” says Subir.
So how did it all begin? “I saw the band play at Kanpur for the first time”, says Subir, a reminiscent smile playing on his lips. He had been dabbling in music for some time and though he was creatively satisfied, he couldn’t conceive playing the keyboard as a profession. He gave himself four months to play with a band before he could take over his family business. And he approached Parikrama.
The band came together for its first show at Father Agnel School in New Delhi in September 1991. “We discovered Sonam, our guitarist in that show”, says Subir. They had decided to play for Rs 500, but the authorities were so impressed with their performance and with the audience going beserk, they decided to pay them Rs 500 each. “I knew then that Parikrama had arrived”, says he.
They played at 40 concerts in the first year itself, including several outstation shows. Their music was such a huge hit that at the end of the first year, they were charging Rs 18,000 per show. Says Subir, “we decided to invest the money to further the interests of the band. In fact, until 1996, none of the members got paid for any of the performances!”
As manager of the band, Subir invested the money wisely. So, Parikrama got an office cum studio where they could practice, international equipment and office stationery such as a computer, a telephone, a fax machine and so on. “Why do people have to be eccentric to be creative?” he asks. He understood that to run a band successfully it was necessary to understand the importance of speed in the business. “I was inspired by Lakshmi Mittal. In his earlier days he invested in a fax machine even though it was much more expensive than sending messages by post. But that way, he also got work done faster and more efficiently” he tells me.
With money pouring in, Subir began to order equipment from Singapore. He would coordinate all transactions over the phone day in and day out to ensure that the best equipment came in. He points out, “we didn’t really have stores that stocked up on quality equipment those days; it’s much different now”.
Their first original was Xerox, which Subir penned himself. But the song that really got them going was But it rained in 1995. It was based on an incident in Kashmir that occurred on August 15, 1995. A terrorist organisation had kidnapped five foreigners, a couple of who went missing and were never found. “One figures ways to deal with loss; but how do you deal with the idea that your loved one has gone missing? Do you dare to hope for their return, or do you just let go? But it rained is for those who are left behind”, states Subir.
What about album sales? “We’ve never recorded an album” he quips. Subir realised the power of the Internet very early on. “Who buys albums now-a-days? People prefer downloading music”, he says. Parikrama launched its own website www.parikrama.com in 1995 and put up all its soundtracks on it within an hour of a song being recorded. With their music being so accessible, it isn’t the biggest surprise that their popularity grew tremendously over the years. Of course, you download the songs for free.
The band made history last year with its performances with Saif Ali Khan and Iron Maiden. “DNA called us and asked us to perform with Iron Maiden”, he says excitedly. The two bands performed together for the first time in Bangalore in June 2008. Iron Maiden was so impressed with Parikrama’s performance that they asked the latter to accompany them to London for a concert at Princeton Academy. Since then, not only have the two bands performed together a number of times, but Parikrama has also become a regular on the international circuit of bands. A high point was their performance at the Festivities of the Coronation of the King in Bhutan last November.
Subir juggles Parikrama, a fireworks company, a CD duplication plant, 26 other artists and bands and a music school with elan. “I’m also raising two beautiful daughters, Ria and Ira”, he says proudly. Are they into music as well? “Ria is learning to play the piano. Though she can make her own choices, I want her to learn what I couldn’t learn. I also want to cultivate a love of music in her”, he says.
So what can we expect from the band this year? “Lots of new music, of course and many more concerts”, he tells me. Between playing with Iron Maiden and other concerts lined up everyday for the next few months, Subir Malik and Parikrama promise an action packed year, yet again.
Friday, November 18, 2011
Dusting off old dreams -- to make them shine again
"A second pulse against the skin – colour as second skin" – this is how I was introduced to the world of Venkat Bothsa’s art at his latest exhibition in Calcutta. A painted assortment of literally everything that meets the eye – an amalgam of nature and technology - Venkat Bothsa’s work is all about vibrant colours. For those who came in late, Bothsa belongs to the upcoming breed of South Asian artists such as, Sajal Patra, Anasuya Chakraborty, Pradosh Swain, Gadadhar Ojha and Anup Kumar Chand who are gradually winning admiration within the art circuit in India and abroad.
"I am an academician; a sculptor at heart", says he. We’re sitting amidst his latest collection Second Skin at the Seagull Foundation for the Arts, Calcutta - one that he took 2 years to put together. Unbelievably, he makes all the sculptures himself. In the soft light of the exhibition hall, the colours seem to leap out from them.
Bothsa specialises in fibreglass sculptures; it’s his style of art. He first makes sculptures in clay and applies fibreglass on the dried mould. He paints on the fibreglass and laminates the sculpture after that. An interesting feature of his art is the way he paints on his sculptures. First he puts together a collage with newspaper and magazine cuttings. Then, he transfers the collage onto a slide, beams it on the bare sculpture and paints along the lines, shapes and colours of the reflection of the projected collage – this way, he gets the dimensions right.
"The vocabulary of my art is very simple; you can interpret my work in any way that you like", says Bothsa. His work is generally oriented towards natural themes, and a lot of his sculptures reflect his concerns over the dwindling eco-system. "Simple symbolism" is how he describes his art; he explores themes such as nature versus industrialisation or the woman as an emblematic expression of Mother Nature.
From 1987 onwards, Bothsa executed nearly 300 sculptures of various kinds in Andhra Pradesh alone for public and private commissions. At the same time, he also designed and composed four tribal art museums with hundreds of life-size sculptures for the Museum of Habitat at Araku Valley for the Integrated Tribal Development Authority at Vishakapatnam, the Nehru Centenary Museum at Hyderabad for the Tribal Welfare Department and a crafts museum at Silparamam for the Tourism Department of Hyderabad. This was until 2005.
He spent 2005 in introspection. "I was enjoying art only for myself", he says. But working with the government was a cumbersome experience; he was yearning to branch out on his own. He remained closely associated with the world of art, throughout, of course, having been invited to several sculptors’ symposia all over the country. He also participated in various group exhibitions – at the Lalit Kala Akademy 41st National Exhibition of Art in New Delhi in 1998, Crimson Art Gallery, Mumbai and at Gallery Sumukha in Chennai in 2006.
He was a science student and not an exceptional one at that, on his own admission, before Andhra University advertised fine arts courses in sculpture and painting. Having spent his childhood close to nature in the tribal regions of Andhra Pradesh, he frequently encountered prehistoric art in run down temples and other architectural ruins. Sculpture always fascinated him, so he took up the fine arts course in Andhra University.
But the sculpture course never took off and he passed out with a Bachelor’s degree in painting. He went on to complete his Master’s in Fine Arts from Benares Hindu University. A subdued overlap of painting and sculpture in his works is what one sees then. "I’m rooted in art", he says.
Bothsa’s greatest inspiration has been tribal art. Having lived all over Andhra Pradesh as his father had a transferable job, he spent long periods of time with the tribals and learning their forms of art. He collected a lot of cultural material from these experiences. For example, tribals paint on three-dimensional objects such as boulders and stones, an attribute that lends a realistic quality to their art. He would often camp in old temples, studying their sculptures for hours at end. His fascination with prehistoric art in Mahendragiri, Kharnool and Tirupati, to name a few places, led him to create his own brand of sculpture – one that successfully blends technical finesse and artistic imagery.
He veered into the mainstream art scene in 2006 with his first collection, Enigma, which he showed at Gallery Sumukha in Bangalore in 2007. A sensational debut that burst into the contemporary art scene, this was sculpture at its peculiar best. The sensuality that he lent to his work was greatly admired by critics and collectors alike. The eloquent use of colours, symbols and designs signified his enchantment with conflictual existence.
With more and more people increasingly investing in art, he feels that the art market is on a new high. Contemporary art being technology-based in some ways, an artist can innovate widely with his work. Also, art travels from person to person, and in this way, his work has become quite popular.
"The market has its own pace", says Bothsa. His work is gradually gaining recognition, with sculptures from his Enigma series being auctioned off at Sotheby’s in New York and Christie’s in London under the Contemporary South Asian Art category in 2007. He commissions his art out of the Saatchi Gallery or the London Contemporary Art Gallery online. His work has been exhibited at Art Expo India 2008 in Mumbai. He’s also exhibited in Chennai, New Delhi and Calcutta, to name a few places, and has sold nearly 100 sculptures out of his Second Skin series.
Having observed his art at the Harvest Group show by Arushi Arts in New Delhi in 2007, Uma Nair, art critic, reflects that Bothsa’s work is lavishly fluent in the complex language of contemporary art and the best of his works speak distinctive dialects. “Bothsa has successfully not only blended colour with sculpture, but he has also contested the three-dimensional form with two dimensional art”, says Suneet Chopra, senior art critic and curator. “He has been able to create virtual reality with his form of sculpture that is representative of traditional South India sculpture; he is one of those rare sculptors in the country who has been able to introduce colour as a narrative”, he continues.
Bothsa’s sculptures are essentially feminine in character. He moulds sculptures of different shapes and sizes without a particular idea in mind – he simply creates art. Several sculptures, for this reason, are uniquely shaped and sometimes peculiar too. In Second Skin he has sculpted the female body in varying forms, and painted it in beautiful colours. He has also used gold plating in these sculptures to highlight the element of ‘nature’ in his work – for example, he’s plated one half of a face in gold and the other half is painted in vibrant hues. He has painted a lot of watches, for example, that reflect his fascination with time. The brilliant, almost pervasive use of colours in his work is dramatic, rather, cinematic. He likes to dramatise, he maintains. He enjoys the drama.
His art is striking, one that immediately captures your imagination for the sheer kaleidoscopic sculptures that he creates. One such sculpture that particularly catches the eye is a six feet 5 inches tall sculpture, of a girl riding a buffalo. Simply named as sculpture 16A (names are left to individual fantasy), it’s priced at a whopping Rs 12 lakh. Another beautiful sculpture, of a standing woman with a bird in her hand, is priced at Rs 8 lakh. The bird is plated with real gold. His other sculptures range between Rs 2.5 lakh and Rs 10 lakh.
Bothsa’s work is lush and evocative, with motifs ranging from sports gear to advertisements, skyscrapers to birds. Subject to various kinds of interpretation, his work could be understood as critiquing industrial and technological evolution on one hand and as mirroring the synthesis of man and nature on the other hand. Either way, he’s riding high on newfound recognition. He’s aiming to make it big in the global art circuit in time, though at his own pace.
Having exhibited in Calcutta in September, this quiet, unassuming sculptor is currently working on a 16 feet long car, a single piece of sculpture, composed of clusters of smaller sculptures. The base will be metal to get the shape of a car right. Taking a break from exhibitions and art shows, it’s this project that he’s excited about at the moment. With all his sculptures being the visual delight that they are, this new project may just be worth a million.
"I am an academician; a sculptor at heart", says he. We’re sitting amidst his latest collection Second Skin at the Seagull Foundation for the Arts, Calcutta - one that he took 2 years to put together. Unbelievably, he makes all the sculptures himself. In the soft light of the exhibition hall, the colours seem to leap out from them.
Bothsa specialises in fibreglass sculptures; it’s his style of art. He first makes sculptures in clay and applies fibreglass on the dried mould. He paints on the fibreglass and laminates the sculpture after that. An interesting feature of his art is the way he paints on his sculptures. First he puts together a collage with newspaper and magazine cuttings. Then, he transfers the collage onto a slide, beams it on the bare sculpture and paints along the lines, shapes and colours of the reflection of the projected collage – this way, he gets the dimensions right.
"The vocabulary of my art is very simple; you can interpret my work in any way that you like", says Bothsa. His work is generally oriented towards natural themes, and a lot of his sculptures reflect his concerns over the dwindling eco-system. "Simple symbolism" is how he describes his art; he explores themes such as nature versus industrialisation or the woman as an emblematic expression of Mother Nature.
From 1987 onwards, Bothsa executed nearly 300 sculptures of various kinds in Andhra Pradesh alone for public and private commissions. At the same time, he also designed and composed four tribal art museums with hundreds of life-size sculptures for the Museum of Habitat at Araku Valley for the Integrated Tribal Development Authority at Vishakapatnam, the Nehru Centenary Museum at Hyderabad for the Tribal Welfare Department and a crafts museum at Silparamam for the Tourism Department of Hyderabad. This was until 2005.
He spent 2005 in introspection. "I was enjoying art only for myself", he says. But working with the government was a cumbersome experience; he was yearning to branch out on his own. He remained closely associated with the world of art, throughout, of course, having been invited to several sculptors’ symposia all over the country. He also participated in various group exhibitions – at the Lalit Kala Akademy 41st National Exhibition of Art in New Delhi in 1998, Crimson Art Gallery, Mumbai and at Gallery Sumukha in Chennai in 2006.
He was a science student and not an exceptional one at that, on his own admission, before Andhra University advertised fine arts courses in sculpture and painting. Having spent his childhood close to nature in the tribal regions of Andhra Pradesh, he frequently encountered prehistoric art in run down temples and other architectural ruins. Sculpture always fascinated him, so he took up the fine arts course in Andhra University.
But the sculpture course never took off and he passed out with a Bachelor’s degree in painting. He went on to complete his Master’s in Fine Arts from Benares Hindu University. A subdued overlap of painting and sculpture in his works is what one sees then. "I’m rooted in art", he says.
Bothsa’s greatest inspiration has been tribal art. Having lived all over Andhra Pradesh as his father had a transferable job, he spent long periods of time with the tribals and learning their forms of art. He collected a lot of cultural material from these experiences. For example, tribals paint on three-dimensional objects such as boulders and stones, an attribute that lends a realistic quality to their art. He would often camp in old temples, studying their sculptures for hours at end. His fascination with prehistoric art in Mahendragiri, Kharnool and Tirupati, to name a few places, led him to create his own brand of sculpture – one that successfully blends technical finesse and artistic imagery.
He veered into the mainstream art scene in 2006 with his first collection, Enigma, which he showed at Gallery Sumukha in Bangalore in 2007. A sensational debut that burst into the contemporary art scene, this was sculpture at its peculiar best. The sensuality that he lent to his work was greatly admired by critics and collectors alike. The eloquent use of colours, symbols and designs signified his enchantment with conflictual existence.
With more and more people increasingly investing in art, he feels that the art market is on a new high. Contemporary art being technology-based in some ways, an artist can innovate widely with his work. Also, art travels from person to person, and in this way, his work has become quite popular.
"The market has its own pace", says Bothsa. His work is gradually gaining recognition, with sculptures from his Enigma series being auctioned off at Sotheby’s in New York and Christie’s in London under the Contemporary South Asian Art category in 2007. He commissions his art out of the Saatchi Gallery or the London Contemporary Art Gallery online. His work has been exhibited at Art Expo India 2008 in Mumbai. He’s also exhibited in Chennai, New Delhi and Calcutta, to name a few places, and has sold nearly 100 sculptures out of his Second Skin series.
Having observed his art at the Harvest Group show by Arushi Arts in New Delhi in 2007, Uma Nair, art critic, reflects that Bothsa’s work is lavishly fluent in the complex language of contemporary art and the best of his works speak distinctive dialects. “Bothsa has successfully not only blended colour with sculpture, but he has also contested the three-dimensional form with two dimensional art”, says Suneet Chopra, senior art critic and curator. “He has been able to create virtual reality with his form of sculpture that is representative of traditional South India sculpture; he is one of those rare sculptors in the country who has been able to introduce colour as a narrative”, he continues.
Bothsa’s sculptures are essentially feminine in character. He moulds sculptures of different shapes and sizes without a particular idea in mind – he simply creates art. Several sculptures, for this reason, are uniquely shaped and sometimes peculiar too. In Second Skin he has sculpted the female body in varying forms, and painted it in beautiful colours. He has also used gold plating in these sculptures to highlight the element of ‘nature’ in his work – for example, he’s plated one half of a face in gold and the other half is painted in vibrant hues. He has painted a lot of watches, for example, that reflect his fascination with time. The brilliant, almost pervasive use of colours in his work is dramatic, rather, cinematic. He likes to dramatise, he maintains. He enjoys the drama.
His art is striking, one that immediately captures your imagination for the sheer kaleidoscopic sculptures that he creates. One such sculpture that particularly catches the eye is a six feet 5 inches tall sculpture, of a girl riding a buffalo. Simply named as sculpture 16A (names are left to individual fantasy), it’s priced at a whopping Rs 12 lakh. Another beautiful sculpture, of a standing woman with a bird in her hand, is priced at Rs 8 lakh. The bird is plated with real gold. His other sculptures range between Rs 2.5 lakh and Rs 10 lakh.
Bothsa’s work is lush and evocative, with motifs ranging from sports gear to advertisements, skyscrapers to birds. Subject to various kinds of interpretation, his work could be understood as critiquing industrial and technological evolution on one hand and as mirroring the synthesis of man and nature on the other hand. Either way, he’s riding high on newfound recognition. He’s aiming to make it big in the global art circuit in time, though at his own pace.
Having exhibited in Calcutta in September, this quiet, unassuming sculptor is currently working on a 16 feet long car, a single piece of sculpture, composed of clusters of smaller sculptures. The base will be metal to get the shape of a car right. Taking a break from exhibitions and art shows, it’s this project that he’s excited about at the moment. With all his sculptures being the visual delight that they are, this new project may just be worth a million.
Wednesday, October 19, 2011
Thoughts for half-the-day
When India gained Independence in 1947, and the first policies were being framed, education was one of the bullets on the priority list. One of the oldest civilizations in the world, this country has a deep and stimulating history and a culture of knowledge, which were legacies that the policy makers referred to on one hand, and succumbed to, on the other.
The reference to history is important in order to understand the present socio, economic, political and cultural situation in India. Since it is a country that is more diverse than any other, a clear historical analysis is due for us to comprehend the complexities that have plagued the country and continue to affect the successful implementation of policy decisions at all levels.
One of the main problems with education in India can be brought down to this – what and who should be taught? Before the advent of colonialism, and the subsequent setting up of English-medium educational institutions that nullified and suppressed native teachings, education in India was not absent – it was a rather strong institution. Literature, theology, philosophy, history, and science were among the few disciplines pursued in the country’s ancient universities. However, access to this education was limited to the higher strata of society and needless to say, out of reach for women.
Within this context, there were several sub contexts that are to be considered as well. Differences on the basis of caste, race, religion and gender contributed to the education that was imparted. Later, with the coming of the British in India, and the political, economic and cultural turmoil that followed, the country suffered a serious blow to its dwindling infrastructure. India, with its conflict-ridden past, a huge variety of people with incompatible interests and a long-drawn war for freedom, nearly spiralled out of control after Independence. As policies were being drawn up and the Constitution created and thereafter implemented, India faced serious economic difficulties, especially with a fast rising population, growing unemployment and ideological and political differences.
A major historical blunder that was committed when the Constitution was introduced in India in 1950 was the inclusion of education under the Directive Principles of State Policy, instead of making it a fundamental right. Though this was amended in 2002, when it was re-introduced as a fundamental right, and taken a step further when the Right to Free and Compulsory Education Bill (for children between 6 years and 14 years) was introduced in the Rajya Sabha in 2008, the tremendous delay in placing education in proper perspective has had grave consequences. (According to the bill, elementary education implies education from Grade I to Grade VIII).
According to the ‘EFA Global Monitoring Report 2010’ (UNESCO), India’s rank is 105 among 128 countries (EFA stands for Education for All). This, despite the fascinating rate of progress that India has made in recent times and although the enrollment rate in primary schools has gone up, the dropout rate and gender index still remain appalling.
There are several reasons behind this. Poverty and poor survival rate, lack of funds to continue studying, marginalization and social exclusion on the basis of caste, gender, tribe, class, religion, even labor and unattractive schools are some of the major causes of India’s poor literacy rate. Smaller causes are lack of interest on the part of children and their families, as well as the absent school-going tradition.
According to Vinod Raina, member, Central Advisory Board for Education and co-founder of Eklavya (Bhopal), the biggest challenge that India faces in terms of implementing and ensuring elementary education is to find a way to address the “elusive triangle of access, equity and quality”. Thus proximity to schools to provide access, social inclusion and a certain standard of education are the milestones to be met in order to put India on the literacy map.
In order to counter the world’s highest illiteracy rate, the Indian government introduced the Mid Day Meal Scheme. Initially extended to children from Grade I to Grade V of government, government-aided and local body schools, this policy (of providing a cooked mid day meal with nutritional content) was eventually granted in all blocks of the country and to children studying in EGS (Education Guarantee Scheme) and AIE (Alternative and Innovative Education) centres.
However, despite all these efforts, school dropout rates continue to be high in India, the biggest reasons being poor survival rate and poverty. Only about 66 per cent of the children enrolled in Grade I survive until Grade V here. Even more drop out since they’re pushed into labor at a very early age. The situation is worse for the girl child, who is at any rate, considered a burden (India also has high rates of female infanticide). A meal a day isn’t motivation enough to not take up labor and partially solve their immediate problem of poverty.
Unattractive schools are another problem. Lack of basic infrastructure, a healthy and all-round curriculum, lack of sanitation, water and medical facilities and most importantly, un-sensitized teachers add up to ill-favored institutions. The problem of inhibited and ignorant teachers is the biggest of these problems, since teachers tend to marginalize children within the classroom on the basis of gender, caste, community and religion. Dalits, OBCs, SCs, STs, adivasis, girls, Muslims and the poor classes are some examples of social groups that still suffer enormously due to lack of social and cultural upliftment in teachers.
This isn’t to say that the government has not done anything to promote literacy. But despite its best efforts, there are still some gaping holes.
Having been to several villages for various kinds of study, I’ve seen bits of rural Indian life. Most villages across the country do not have the most basic amenities – electricity, clean water, access to food, health care and so on. In such a context, education seems to be the least of all concerns. However, most rural families today realize the need to educate their children should the opportunity arise. But this is not enough.
During an internship program 2 years ago, my team visited a village along the West Bengal-Jharkhand border (Jharkhand is one of India’s poorest states). While interacting with the people there, I came across a family that had a host of immensely well-educated members – post graduates in history and literature. Yet, they were unemployed, with families, tilling away small bits of land that hardly fetch any income. Small wonder then, that they find their education useless.
With India’s huge variation of communities, it’s possible that any recommendation may not be suitable to all social groups. However, it also then doubles the need to ensure as much social inclusion as possible.
I believe that to ensure elementary education, the government first needs to provide a minimum guarantee of livelihood. Though this has been introduced with the NREGA (National Rural Employment Guarantee Act) scheme, the success of this model is yet to be determined. The people need to know that education is a wise investment, and the way to a better future. In this regard, vocational training and skill-based education must be made mandatory.
Infrastructure needs to be seriously strengthened. However, I believe that other than making basic amenities compulsory (clean drinking water, sanitation facilities, electricity and clean surroundings), there are some other policies that can be implemented to uplift the system of elementary education in India.
Firstly, the appearance of the school makes a deep impact on prospective students. Hence, a spacious, hygienic compound and an airy building as opposed to unkempt surroundings and a dull, drab construction will always be welcome. This does not have to be an expensive shift. If the government provides adequate subsidies, the shift can be unusually moderate. An eco-friendly environment is highly favorable (for example a handmade pump to extract underground water for drinking and toilet purposes). Also, mandatory free health checkups must be introduced.
Secondly, the provision of free stationery and books must be obligatory in all elementary level schools.
Thirdly, teachers must be given adequate attention. Not only should the student-teacher ratio decrease considerably, but teachers should be adequately trained and sensitized to be able to take on the job. Gender, caste, class, tribe and other forms of cultural sensitization must be introduced and stringently tested. Thus, an intensive teacher training program must be executed.
Fourthly, the curriculum should be all encompassing, yet oriented towards the immediate surroundings of the children, especially at the elementary level. A small library of storybooks (second hand books are easily available at very low costs) could be set up. Also, English must be included in the curriculum, in order to try and bridge the growing urban-rural divide. So, while on one hand the children learn about the ways in which their own small world operates, they are also eased into the ways of the outside world. For example, alongside the English alphabet, the children will also learn the names and uses of regional flora and fauna. Extracurricular activities should be introduced, such as sport, dance, music, art and craft. A certain amount of skilled education must be made compulsory – like sewing, weaving and gardening.
These initiatives cannot be implemented suddenly - they need to be gradually introduced. Before extension, the model should be tested on a few sample schools. Once the success of these initiatives can be ensured, they can then be extended to other elementary education centres.
However, the social group in the context of elementary education that remains grossly underprivileged, is the urban poor. Largely doomed to survive in makeshift homes on pavements and slums, this social category is systematically ignored. With earnings low enough to prove insufficient for a meal a day, the urban poor requires immediate attention.
These children are the worst affected. Driven to beggary, theft, menial chores at run down factories, local food stalls, prostitution and child labor, this category of children have no future to look forward to. Their ironical situation – that of dying hungry and diseased in the most developed cities in the country – render them completely helpless with practically no functional rights. These children have no access to medical or livelihood facilities, leave alone elementary education. Drug addiction and HIV related deaths are common.
A systematic process of ensuring education for these children is urgent. Though the lack of schools may not be a problem in this context, access to these is.
The situation can be improved by providing the children who come from families below the poverty line with free educational facilities. Books and stationery must be provided, so must compulsory free heath checkups at regular intervals. Teachers must be sensitized to teach at this level too. It is the key to churning out successful batches of students, who will at least attempt to study further.
However, the biggest change that needs to be made is in the way the poor perceive their situation. Admittedly, their priority is to survive. However, if they can be made to understand that education is their ticket to a better life, the process of ensuring education becomes easier. There is thus, an entire course of socialization that needs to be implemented first in order to simply get children to come to schools.
Elementary education forms the basis of all adult life, and goes on to mould personalities. It is the foundation upon which children can base their lives, and with the help of which they can realize their future goals and a better life. There are people standing up to their rights in different parts of India today. They realize the importance of asserting their independence and their individuality. I want to glorify these stories – not only of those poor people who have made it really big in life, but also of those who educated themselves and now lead a normal life. After all, to achieve stability in life, to be able to procure food for the family every day, to ensure basic amenities and to be able to educate your children, is also a massive triumph.
The reference to history is important in order to understand the present socio, economic, political and cultural situation in India. Since it is a country that is more diverse than any other, a clear historical analysis is due for us to comprehend the complexities that have plagued the country and continue to affect the successful implementation of policy decisions at all levels.
One of the main problems with education in India can be brought down to this – what and who should be taught? Before the advent of colonialism, and the subsequent setting up of English-medium educational institutions that nullified and suppressed native teachings, education in India was not absent – it was a rather strong institution. Literature, theology, philosophy, history, and science were among the few disciplines pursued in the country’s ancient universities. However, access to this education was limited to the higher strata of society and needless to say, out of reach for women.
Within this context, there were several sub contexts that are to be considered as well. Differences on the basis of caste, race, religion and gender contributed to the education that was imparted. Later, with the coming of the British in India, and the political, economic and cultural turmoil that followed, the country suffered a serious blow to its dwindling infrastructure. India, with its conflict-ridden past, a huge variety of people with incompatible interests and a long-drawn war for freedom, nearly spiralled out of control after Independence. As policies were being drawn up and the Constitution created and thereafter implemented, India faced serious economic difficulties, especially with a fast rising population, growing unemployment and ideological and political differences.
A major historical blunder that was committed when the Constitution was introduced in India in 1950 was the inclusion of education under the Directive Principles of State Policy, instead of making it a fundamental right. Though this was amended in 2002, when it was re-introduced as a fundamental right, and taken a step further when the Right to Free and Compulsory Education Bill (for children between 6 years and 14 years) was introduced in the Rajya Sabha in 2008, the tremendous delay in placing education in proper perspective has had grave consequences. (According to the bill, elementary education implies education from Grade I to Grade VIII).
According to the ‘EFA Global Monitoring Report 2010’ (UNESCO), India’s rank is 105 among 128 countries (EFA stands for Education for All). This, despite the fascinating rate of progress that India has made in recent times and although the enrollment rate in primary schools has gone up, the dropout rate and gender index still remain appalling.
There are several reasons behind this. Poverty and poor survival rate, lack of funds to continue studying, marginalization and social exclusion on the basis of caste, gender, tribe, class, religion, even labor and unattractive schools are some of the major causes of India’s poor literacy rate. Smaller causes are lack of interest on the part of children and their families, as well as the absent school-going tradition.
According to Vinod Raina, member, Central Advisory Board for Education and co-founder of Eklavya (Bhopal), the biggest challenge that India faces in terms of implementing and ensuring elementary education is to find a way to address the “elusive triangle of access, equity and quality”. Thus proximity to schools to provide access, social inclusion and a certain standard of education are the milestones to be met in order to put India on the literacy map.
In order to counter the world’s highest illiteracy rate, the Indian government introduced the Mid Day Meal Scheme. Initially extended to children from Grade I to Grade V of government, government-aided and local body schools, this policy (of providing a cooked mid day meal with nutritional content) was eventually granted in all blocks of the country and to children studying in EGS (Education Guarantee Scheme) and AIE (Alternative and Innovative Education) centres.
However, despite all these efforts, school dropout rates continue to be high in India, the biggest reasons being poor survival rate and poverty. Only about 66 per cent of the children enrolled in Grade I survive until Grade V here. Even more drop out since they’re pushed into labor at a very early age. The situation is worse for the girl child, who is at any rate, considered a burden (India also has high rates of female infanticide). A meal a day isn’t motivation enough to not take up labor and partially solve their immediate problem of poverty.
Unattractive schools are another problem. Lack of basic infrastructure, a healthy and all-round curriculum, lack of sanitation, water and medical facilities and most importantly, un-sensitized teachers add up to ill-favored institutions. The problem of inhibited and ignorant teachers is the biggest of these problems, since teachers tend to marginalize children within the classroom on the basis of gender, caste, community and religion. Dalits, OBCs, SCs, STs, adivasis, girls, Muslims and the poor classes are some examples of social groups that still suffer enormously due to lack of social and cultural upliftment in teachers.
This isn’t to say that the government has not done anything to promote literacy. But despite its best efforts, there are still some gaping holes.
Having been to several villages for various kinds of study, I’ve seen bits of rural Indian life. Most villages across the country do not have the most basic amenities – electricity, clean water, access to food, health care and so on. In such a context, education seems to be the least of all concerns. However, most rural families today realize the need to educate their children should the opportunity arise. But this is not enough.
During an internship program 2 years ago, my team visited a village along the West Bengal-Jharkhand border (Jharkhand is one of India’s poorest states). While interacting with the people there, I came across a family that had a host of immensely well-educated members – post graduates in history and literature. Yet, they were unemployed, with families, tilling away small bits of land that hardly fetch any income. Small wonder then, that they find their education useless.
With India’s huge variation of communities, it’s possible that any recommendation may not be suitable to all social groups. However, it also then doubles the need to ensure as much social inclusion as possible.
I believe that to ensure elementary education, the government first needs to provide a minimum guarantee of livelihood. Though this has been introduced with the NREGA (National Rural Employment Guarantee Act) scheme, the success of this model is yet to be determined. The people need to know that education is a wise investment, and the way to a better future. In this regard, vocational training and skill-based education must be made mandatory.
Infrastructure needs to be seriously strengthened. However, I believe that other than making basic amenities compulsory (clean drinking water, sanitation facilities, electricity and clean surroundings), there are some other policies that can be implemented to uplift the system of elementary education in India.
Firstly, the appearance of the school makes a deep impact on prospective students. Hence, a spacious, hygienic compound and an airy building as opposed to unkempt surroundings and a dull, drab construction will always be welcome. This does not have to be an expensive shift. If the government provides adequate subsidies, the shift can be unusually moderate. An eco-friendly environment is highly favorable (for example a handmade pump to extract underground water for drinking and toilet purposes). Also, mandatory free health checkups must be introduced.
Secondly, the provision of free stationery and books must be obligatory in all elementary level schools.
Thirdly, teachers must be given adequate attention. Not only should the student-teacher ratio decrease considerably, but teachers should be adequately trained and sensitized to be able to take on the job. Gender, caste, class, tribe and other forms of cultural sensitization must be introduced and stringently tested. Thus, an intensive teacher training program must be executed.
Fourthly, the curriculum should be all encompassing, yet oriented towards the immediate surroundings of the children, especially at the elementary level. A small library of storybooks (second hand books are easily available at very low costs) could be set up. Also, English must be included in the curriculum, in order to try and bridge the growing urban-rural divide. So, while on one hand the children learn about the ways in which their own small world operates, they are also eased into the ways of the outside world. For example, alongside the English alphabet, the children will also learn the names and uses of regional flora and fauna. Extracurricular activities should be introduced, such as sport, dance, music, art and craft. A certain amount of skilled education must be made compulsory – like sewing, weaving and gardening.
These initiatives cannot be implemented suddenly - they need to be gradually introduced. Before extension, the model should be tested on a few sample schools. Once the success of these initiatives can be ensured, they can then be extended to other elementary education centres.
However, the social group in the context of elementary education that remains grossly underprivileged, is the urban poor. Largely doomed to survive in makeshift homes on pavements and slums, this social category is systematically ignored. With earnings low enough to prove insufficient for a meal a day, the urban poor requires immediate attention.
These children are the worst affected. Driven to beggary, theft, menial chores at run down factories, local food stalls, prostitution and child labor, this category of children have no future to look forward to. Their ironical situation – that of dying hungry and diseased in the most developed cities in the country – render them completely helpless with practically no functional rights. These children have no access to medical or livelihood facilities, leave alone elementary education. Drug addiction and HIV related deaths are common.
A systematic process of ensuring education for these children is urgent. Though the lack of schools may not be a problem in this context, access to these is.
The situation can be improved by providing the children who come from families below the poverty line with free educational facilities. Books and stationery must be provided, so must compulsory free heath checkups at regular intervals. Teachers must be sensitized to teach at this level too. It is the key to churning out successful batches of students, who will at least attempt to study further.
However, the biggest change that needs to be made is in the way the poor perceive their situation. Admittedly, their priority is to survive. However, if they can be made to understand that education is their ticket to a better life, the process of ensuring education becomes easier. There is thus, an entire course of socialization that needs to be implemented first in order to simply get children to come to schools.
Elementary education forms the basis of all adult life, and goes on to mould personalities. It is the foundation upon which children can base their lives, and with the help of which they can realize their future goals and a better life. There are people standing up to their rights in different parts of India today. They realize the importance of asserting their independence and their individuality. I want to glorify these stories – not only of those poor people who have made it really big in life, but also of those who educated themselves and now lead a normal life. After all, to achieve stability in life, to be able to procure food for the family every day, to ensure basic amenities and to be able to educate your children, is also a massive triumph.
Monday, July 18, 2011
...
Moon-kissed waters rippling in eternity
And a shadow hesitates between trees
Flickering lights twinkle in the distance
The quiet company of soft breeze
Imaginary silence, where the light shines brighter
Melancholy playing clouds
Hovering around in happy abandon
Wisps of joy for the night
There's a little girl, far off on a lonely shore
Where the grass is not too heavy, and light, not too bright
Where her shadows cannot find her
Where her silhouette falls on the moon
Hushed.
She makes her fingers dance
To the strange rhythms in her head
Breeze comes to her, playful
She smiles and gulps it in
Flowers bloom in her heart
She can smell meadows and dew-touched grass
Against an azure sky
Dreams, flitting through her eyes
They have no tears, and not a smile
But they glisten with hope for hope
Stars falling from the sky
She makes a wish
Not fervent, not feverish
And so she passes through the night.
And a shadow hesitates between trees
Flickering lights twinkle in the distance
The quiet company of soft breeze
Imaginary silence, where the light shines brighter
Melancholy playing clouds
Hovering around in happy abandon
Wisps of joy for the night
There's a little girl, far off on a lonely shore
Where the grass is not too heavy, and light, not too bright
Where her shadows cannot find her
Where her silhouette falls on the moon
Hushed.
She makes her fingers dance
To the strange rhythms in her head
Breeze comes to her, playful
She smiles and gulps it in
Flowers bloom in her heart
She can smell meadows and dew-touched grass
Against an azure sky
Dreams, flitting through her eyes
They have no tears, and not a smile
But they glisten with hope for hope
Stars falling from the sky
She makes a wish
Not fervent, not feverish
And so she passes through the night.
Thursday, June 23, 2011
The lessons of Harry Potter
Yes. I am one amongst the million fans of Rowling's genius series. A decade of books and 7 movies later, it could be safely said that Harry Potter is one of the world's most famous fictional characters and will remain so in time.
I believe that there is a certain ethereal quality to the Harry Potter books. No matter how far we progress in terms of technology, magic is just something else. And it possibly fascinates us because we're in awe of it; because it can hover over our heads and change everything in split seconds - forget nano seconds et al. The fact that it is a mythical phenomenon, and, as rationalists would argue, is realistically dependent only on how well one creates illusions, makes it all the more interesting. Because that's when you start thinking - what if?
I have, like many many others, imagined myself studying in Hogwarts and belting out spells and charms like an expert witch. I wasn't a child then, and when my heart feels despondent and lonely, I do imagine Dumbledore knocking on my window and asking me to come to the grand school. And snapping out of the daydream is painful, literally, for such a world continues to elude me.
But that's not what this is about. This is about the beauty of Rowling's work. I just finished reading The Deathly Hallows (the umptieth time) and as I stayed awake turning over the events of the book in my head, it occurred to me for the first time that Rowling had managed to squeeze in the history of humankind into her series.
By history, I mean emotional history. There has been a certain trajectory that humankind has followed as far as emotionality is concerned (that may not be a word, but it seems to sound right here). From violence to civilization, to the civilized violence that we experience today - though that's just one strain - humankind has evolved layers and levels of emotions, against the backdrop of varied historical encounters. And when I look at the deeply insensitive world that we live in, I realize that to teach people about the various emotional states that do exist in living beings would take forever, if not more.
Rowling has managed just the opposite. With a blasting set of characters, ranging from the lunatic to the prosaic, from the ordinary to the extraordinary, from the hero to the villain - she has, in her magical world, lent more color to human nature than we credit ourselves to possess. Call it denial, or plain lack of imagination, it's amazing how little people on the WWW or whole wide world understand human beings.
A lot of people protested with the books and films became darker and more intense - all hogwash, of course, since that is what growing up in this world entails. The idea is to recognize just how terrible the world can be, instead of filling the air with uncertainty and an uncomfortable feeling of knowing-something's-there-but-don't-know-what and shutting our eyes right when the murder of innocence occurs. And the idea is to learn how to fight all that misery and despicable crap, instead of giving in.
There's not a chapter in the book that doesn't have a message. I akin-ed Voldemort to Hitler - their collective obsession with pure blood, painful childhoods (particularly the lack of parental love), greed for power and of course, violence beyond measure or remorse.
That's when I realized that a lot of Rowling's books reflect the meta historical narratives of the world. The events aren't really simple, neither are the relationships. And that makes me think about the beauty of books - the refuge that they create, the amount they teach and most importantly, the sense of familiarity they successfully evoke in readers.
I, for one, have learnt a lot about the love, friendship and relationships from the Harry Potters. I've also learnt a lot about fear, courage, evil, kindness, comfort, loyalty and equality from the books. And, of course, about the unbreachable quality of the human spirit and its ability to shine forth when we so choose (read: the Patronus. I wonder what mine will be).
My kids will grow up on Harry Potter. For sure. And I hope the books will teach them all that it taught me, maybe more.
I believe that there is a certain ethereal quality to the Harry Potter books. No matter how far we progress in terms of technology, magic is just something else. And it possibly fascinates us because we're in awe of it; because it can hover over our heads and change everything in split seconds - forget nano seconds et al. The fact that it is a mythical phenomenon, and, as rationalists would argue, is realistically dependent only on how well one creates illusions, makes it all the more interesting. Because that's when you start thinking - what if?
I have, like many many others, imagined myself studying in Hogwarts and belting out spells and charms like an expert witch. I wasn't a child then, and when my heart feels despondent and lonely, I do imagine Dumbledore knocking on my window and asking me to come to the grand school. And snapping out of the daydream is painful, literally, for such a world continues to elude me.
But that's not what this is about. This is about the beauty of Rowling's work. I just finished reading The Deathly Hallows (the umptieth time) and as I stayed awake turning over the events of the book in my head, it occurred to me for the first time that Rowling had managed to squeeze in the history of humankind into her series.
By history, I mean emotional history. There has been a certain trajectory that humankind has followed as far as emotionality is concerned (that may not be a word, but it seems to sound right here). From violence to civilization, to the civilized violence that we experience today - though that's just one strain - humankind has evolved layers and levels of emotions, against the backdrop of varied historical encounters. And when I look at the deeply insensitive world that we live in, I realize that to teach people about the various emotional states that do exist in living beings would take forever, if not more.
Rowling has managed just the opposite. With a blasting set of characters, ranging from the lunatic to the prosaic, from the ordinary to the extraordinary, from the hero to the villain - she has, in her magical world, lent more color to human nature than we credit ourselves to possess. Call it denial, or plain lack of imagination, it's amazing how little people on the WWW or whole wide world understand human beings.
A lot of people protested with the books and films became darker and more intense - all hogwash, of course, since that is what growing up in this world entails. The idea is to recognize just how terrible the world can be, instead of filling the air with uncertainty and an uncomfortable feeling of knowing-something's-there-but-don't-know-what and shutting our eyes right when the murder of innocence occurs. And the idea is to learn how to fight all that misery and despicable crap, instead of giving in.
There's not a chapter in the book that doesn't have a message. I akin-ed Voldemort to Hitler - their collective obsession with pure blood, painful childhoods (particularly the lack of parental love), greed for power and of course, violence beyond measure or remorse.
That's when I realized that a lot of Rowling's books reflect the meta historical narratives of the world. The events aren't really simple, neither are the relationships. And that makes me think about the beauty of books - the refuge that they create, the amount they teach and most importantly, the sense of familiarity they successfully evoke in readers.
I, for one, have learnt a lot about the love, friendship and relationships from the Harry Potters. I've also learnt a lot about fear, courage, evil, kindness, comfort, loyalty and equality from the books. And, of course, about the unbreachable quality of the human spirit and its ability to shine forth when we so choose (read: the Patronus. I wonder what mine will be).
My kids will grow up on Harry Potter. For sure. And I hope the books will teach them all that it taught me, maybe more.
Tuesday, June 7, 2011
Notes of today - 1
It's just early afternoon, and yet the day seems to have stretched into a dream, dreamt through days and nights :). Nothing much has happened. Or maybe I'm just happy because I woke EARLY, determined to work out, et al. I realised:
1) Waking early isn't all that bad! Not that I haven't ever been in the habit. Who would believe that there was a time I couldn't sleep beyond 8 in the morning - at the max!
2) Working out is fun. And if results start showing, not only in your body but also in mind, even better.
3) Learning how to split, however, is not fun, especially when your bones are HUGE in comparison others around you. I nearly got stuck between the bed and the wall trying to stretch my muscles a.k.a Satyaki Saha (my dance teacher). It wasn't pleasant.
4) Tying up your hair while exercising is a tough task. And often threatens to throw you off balance.
So after all the heavy duty exercise, off I went to work. I take the metro everyday. And, as it is everyday, I came across a rather irritable girl, about 1/4th my size. She wore the nastiest look on her face, and quite openly declared - why do people have to take the metro - because, there wasn't place for her to sit. I think what annoyed her the most is the fact that even her tiny bum couldn't squeeze into the apparent space that must be available.
I think it's weird that I want to be atleast half as thin as her. Hence, I may be taken to Ranchi. Finally. If anyone wants to bell the whiny creature that's me :)
1) Waking early isn't all that bad! Not that I haven't ever been in the habit. Who would believe that there was a time I couldn't sleep beyond 8 in the morning - at the max!
2) Working out is fun. And if results start showing, not only in your body but also in mind, even better.
3) Learning how to split, however, is not fun, especially when your bones are HUGE in comparison others around you. I nearly got stuck between the bed and the wall trying to stretch my muscles a.k.a Satyaki Saha (my dance teacher). It wasn't pleasant.
4) Tying up your hair while exercising is a tough task. And often threatens to throw you off balance.
So after all the heavy duty exercise, off I went to work. I take the metro everyday. And, as it is everyday, I came across a rather irritable girl, about 1/4th my size. She wore the nastiest look on her face, and quite openly declared - why do people have to take the metro - because, there wasn't place for her to sit. I think what annoyed her the most is the fact that even her tiny bum couldn't squeeze into the apparent space that must be available.
I think it's weird that I want to be atleast half as thin as her. Hence, I may be taken to Ranchi. Finally. If anyone wants to bell the whiny creature that's me :)
Thursday, June 2, 2011
Newness
So I thought.. I'm going to make a new blog, flaunt a new me and write regularly. Because that's what I love right? And then, I didn't write everyday. Words would float about in my head and usually end up as FB status messages but I just wouldn't make the effort to write. Figures why my first story didn't end up getting published!
But today is different. I was glued back to TV, watching my favorite show of all times - So you think you can dance. As always, learning new things about a culture so vastly different from mine is a pleasure. In fact, I tend to store away bits and pieces of experiences in my mind - so human nature becomes just that little bit more evident to me.
Passion is something that we all hog - it's what attracts people to phenomenon/other people. Fire tends to create an aura or halo of absolute, complete awe, which people tend to revere, praise or just understand in silence. There are very few things I've seen in the world, that harness the kind of passion SYTYCD does. It's like the stage, the audience, the venues and the screen are bursting with frenetic energy; with desire, want, ambition, faith and worship so alive that you can touch it. It always brings tears to my eyes - the dancing, all that emotion, the sincerity, the hard work, patience, perseverance and sheer PASSION that people bring to the table.
I sometimes think. In India, a performer on the street will always be just that - a street performer. For him or her to even imagine a life that's full of possibilities is very nearly fatal. There are, of course, exceptions. But how does that even help that millions of other Indians out there who can't even dare to dream.
The art and technique of learning, imbibing and appreciating culture always needs money. So you can't be a classical dancer if you don't have the moolah. There were times when the maestros were born, and they ruled the roost. They lived the classical form and without many barriers. But today it's different. Mediocrity has set in so deeply amongst us, that our perception of excellence or brilliance has gone for a toss.
Here is where SYTYCD comes in my life. To just see boys and girls of all ages come and give their hearts and souls to a stage that is now synonymous to fame, stature, brilliance and most importantly, humility, is beautiful. But what is more beautiful is to see them triumph all odds to get there. Some of them learnt dancing on the street, while others danced in front of mirrors in their homes because they had nowhere to go. Some were hit by the recession, while some were kids to single parents. But it all was forgotten to live that American dream. To learn, perform and wow the world and basically lead changed lives forever.
But the change must have happened much earlier right? It must have been in their hearts, to break through the barriers because you have just one life to make it large. Just one life to live it like no one will.
We, in India, also live the American dream. Because there dreams are valued, and though one needs immense strength to nurture them, there's little chance of falling flat.
Here, we either don't know our dreams, or we don't have the courage to see them. The only dream we know of is the Bollywood dream. And that too, is ungratifying after a point - unless you count in the money. And no, shows like Dance India Dance don't come half as close to the real dancing dream. In fact, I remember watching a grand finale of one of the seasons, where the finalists were made to perform like stars perform during award functions. It was appalling. Funny how apathy, arrogance and absolute stupidity have become an indelible part of public discourse in this country.
Maybe it's time to have an Indian dream too. One that truly lets you fly.
But today is different. I was glued back to TV, watching my favorite show of all times - So you think you can dance. As always, learning new things about a culture so vastly different from mine is a pleasure. In fact, I tend to store away bits and pieces of experiences in my mind - so human nature becomes just that little bit more evident to me.
Passion is something that we all hog - it's what attracts people to phenomenon/other people. Fire tends to create an aura or halo of absolute, complete awe, which people tend to revere, praise or just understand in silence. There are very few things I've seen in the world, that harness the kind of passion SYTYCD does. It's like the stage, the audience, the venues and the screen are bursting with frenetic energy; with desire, want, ambition, faith and worship so alive that you can touch it. It always brings tears to my eyes - the dancing, all that emotion, the sincerity, the hard work, patience, perseverance and sheer PASSION that people bring to the table.
I sometimes think. In India, a performer on the street will always be just that - a street performer. For him or her to even imagine a life that's full of possibilities is very nearly fatal. There are, of course, exceptions. But how does that even help that millions of other Indians out there who can't even dare to dream.
The art and technique of learning, imbibing and appreciating culture always needs money. So you can't be a classical dancer if you don't have the moolah. There were times when the maestros were born, and they ruled the roost. They lived the classical form and without many barriers. But today it's different. Mediocrity has set in so deeply amongst us, that our perception of excellence or brilliance has gone for a toss.
Here is where SYTYCD comes in my life. To just see boys and girls of all ages come and give their hearts and souls to a stage that is now synonymous to fame, stature, brilliance and most importantly, humility, is beautiful. But what is more beautiful is to see them triumph all odds to get there. Some of them learnt dancing on the street, while others danced in front of mirrors in their homes because they had nowhere to go. Some were hit by the recession, while some were kids to single parents. But it all was forgotten to live that American dream. To learn, perform and wow the world and basically lead changed lives forever.
But the change must have happened much earlier right? It must have been in their hearts, to break through the barriers because you have just one life to make it large. Just one life to live it like no one will.
We, in India, also live the American dream. Because there dreams are valued, and though one needs immense strength to nurture them, there's little chance of falling flat.
Here, we either don't know our dreams, or we don't have the courage to see them. The only dream we know of is the Bollywood dream. And that too, is ungratifying after a point - unless you count in the money. And no, shows like Dance India Dance don't come half as close to the real dancing dream. In fact, I remember watching a grand finale of one of the seasons, where the finalists were made to perform like stars perform during award functions. It was appalling. Funny how apathy, arrogance and absolute stupidity have become an indelible part of public discourse in this country.
Maybe it's time to have an Indian dream too. One that truly lets you fly.
Tuesday, May 10, 2011
That little boy
Whenever I get really late for work, and take a later metro, I come across a little boy. He's deaf and mute, and quite young - must be in the 4th or 5th standard. Let's call him Mickey (no, really; his ears are like Mickey Mouse) - no pun intended.
Mickey was born deaf. As we all know, muteness or the inability to speak language (not make sounds) is a result of the inability to hear words and their pronunciation. Hence, most deaf children can make sounds, but cannot speak. This is because their vocal cords 'rust' away, so to speak, due to lack of use.
There was a way of preventing this - had he been operated on as a baby, permanent disability could have been avoided. But as luck would have it, his father and his extended family, ashamed by Mickey's 'handicap', refused to spend any money on his treatment. Years went by, and assuming shoddy, careless treatment at home, Mickey has now grown up to be vulnerable and unruly at the same time. Thankfully, though, he has a persevering mother, who refuses to give up on him - but then she doesn't exactly fall on her knees and shed copious tragic tears either. She's strong and carries a no-nonsense attitude - almost aggressive, one would imagine - but it won't take an observer much time to read the tired lines on her face and extreme sadness in her eyes. Yes, disappointment can paint us all over into completely different creatures.
Mickey takes the metro back home everyday from school a little after noon. He's usually sweaty and grimy, like all children his age should be. His face is almost cherry red from the sun and the incessant scrubbing of his face to wipe off the sweat. His father refuses to provide him with a hearing aid too, so he lip reads everything his mother says. He doesn't bother about anybody else around him.
Mickey lives in a world of his own - the kind children build for themselves to escape the brutality of reality. He almost entirely exists in it; so much so, that he tends to not notice or even take note of any kind of attention. It must make him wonder, all the attention, and it's sad that he only has human instinct to guide him.
I have seen him focus on the real world only twice - and in both instances they were children. There is an annoying lady who goes oo-la-la and gaga over kids whenever she sees them, and because all her attention is verbose and loud, Mickey gets none of it. He lives in silence after all and so she doesn't know what to do with him. The discomfort is palpable and makes for an amusing sight, truth be told.
The first instance, Mickey boarded the train with a fellow schoolmate. Let's call him Donald. Donald is slightly better off because he has a hearing aid, and so is gradually learning speech. The absolute affection between Mickey and Donald was quite charming - a rowdy bunch of boys, making all kinds of signs at each other, laughing at their private jokes, which no one would understand. They looked after each other in a strange way - almost knowing that if either of them were alone, the world would trample all over them because they can't speak for themselves. And we human beings love asserting our superiority over those who aren't in a position to challenge or question it. It amazes me, this cowardice. And what amazes me even more is how accurate instinct can be for those who need to look after themselves a little more than others.
But I digress.
The moment that took my heart away that afternoon was when Donald had to get off at his station. Mickey, suddenly realizing that Donald won't be back that day, was immediately shattered. He nearly ran to the door in his anxiety - ironical, isn't it, how absence can drive home impending loneliness? As Mickey comprehends the situation, he leaves Donald with a gift that would make him return tomorrow - an almost imperceptible flying kiss, which Donald promptly returns.
Life I believe is truly made of such moments - when kindness and all things wonderful show themselves to you when you least expect it.
The second instance would make for a different story. :)
Back
Wow. So I haven't blogged in a while - the last time I wrote something that went on Blogger was a whole bunch of sentimental stuff that seems quite funny when I read it now. I mean the despondence and misery with which I would publish those posts fascinates me!
This time around, I'm hoping to channelize all that emotion into better words - into stuff that makes a difference. I'm not 16 anymore, and currently not lovelorn either, so as long as the good times roll, let's try and and do something constructive. All opinions welcome!
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