The State of Indian Independence

India is 76 today.

It’s a day for patriotic sayings, Bharat Mata-honoring songs, flag-waving, lighting up popular structures with the tiranga, and saluting as the Indian flag rises. But are we truly content with being 76 today? Remember, thousands of people fought and sacrificed their lives for freedom. But today, all we see is fear, misery and hatred. Who and what have we become into today?

On August 15, 1947, India presented itself with a daunting challenge. We fantasized about a place where people’s minds and hearts would be unrestricted. Even while we created our Constitution in 1950, we were debating this intellectual foundation. But after the seven decades that followed, right now we are standing at the edge of the cliff where any chance of those aspirations coming to pass is getting gradually destroyed. The country is struggling with its underperformance in many of global indices in recent years.

India dropped from 101st to 107th place in the Global Hunger Index (GHI) 2022, among 121 nations. In 2020, India has the largest number of impoverished people in the world (228.9 million), according to the Multidimensional Poverty Index study. India slipped to rank 40 among 60 countries in the Global Economic Competitiveness Index published by the World Economic Forum. We frequently hear about how excellent and affordable India’s digital network is. Unmentioned is the fact that India leads the globe in Internet shutdowns and that this “mother of democracy” is where more than half of all government-enforced Internet restrictions occur.

India is in the 77th position in the Rule of Law Index, which is not surprising to us considering what is going on all around us, including the ongoing misuse of the investigative agencies, the increasing frequency of lynching of minorities, the regularity with which police from BJP-ruled states attack Opposition leaders in other states, and the indefinite detention without bail of activists and dissenters. Despite all the sacred rhetoric about our right to free speech and expression, Twitter has received thousands of demands from India for takedowns and bans. This is due to the fact that anything critical of the government, especially of the Prime Minister, is now impermissible in the world’s largest democracy. The 2023 Index of Economic Freedom gave India a total score of 59.8 out of 100, which is its lowest in six years. In the Index, India is placed at the 121st spot out of 184 nations. The country slipped 11 places to 161st rank in the World Press Freedom Index, 2023 which highlights a worrisome situation in India’s media and reveals the vulnerabilities and biases of our democratic system and political leadership.

According to the Centre for Monitoring Indian Economy (CMIE), India’s unemployment rate, which reached a 45-year high of 6.1% in 2017 just three years after the Modi-led government took office, is at 8.11% as of April 2023. Despite India’s large educated young population that enters the labor force each year, the current government has presided over the reduction of the workforce. India’s ranking in the Gender Gap Index is 127 out of 146 countries. The increasing number of crimes against women and disrespectful mentality towards women has become the face of the nation. India’s poor ranking of 132 in Human Development index which measures the life expectancy, health, literacy etc. demonstrates how the nation’s resources are not effectively utilized to improve the welfare and quality of life for its citizens.

The narrative of the nation is experiencing the biggest change now three-quarters of a century later since its independence. The secular, liberal founders of India and the country’s freedom fighters are being forgotten about and blamed for the tragedy of Partition. The Modi administration aims to make India into a more Hindu, assertive nation where minorities and Dalits are not tolerated and are expected to be thankful and obedient. The BJP sponsored violence in Manipur where the Union government turned a blind eye to the cultural conflicts, caste and race atrocities is the recent example to this. On the other side the feeders of the country- the farmers- are struggling for their life under the current regime. The debt-ridden suicides and cruel negligence and attack towards farmers’ protest and their demands are exposing the lie behind “Sabka saath, Sabka vikas”. The attempts to bring the unconstitutional CAA-NRC which  clearly discriminates people on the basis of religion convey the bitter truth that Indians are not free and independent inside their so called-democratic independent country. In that same country the citizens’  rights and autonomy are forcefully snatched without their consent that we witnessed in the abrogation of Article 370. In fact, four years without Article 370 has done little to benefit the people of J&K. The ongoing agenda to implement Uniform Civil Code is another deliberate attack on the constitutional protections of marginalized communities of India which are religious minorities and cultural groups such as tribes.

India’s governing philosophy and what the “idea of India” means today have altered throughout the nine years the BJP-RSS association has been in power. It has changed from being a multifaceted society that values diversity to a majoritarian one that fears and wants to oppress its minority. Muslims have been lynched by Hindus after they were thought to have possessed meat. Human rights advocates- Christians, Muslims and Dalits- who were working for the underprivileged, have been detained by the central government under national security legislation, frequently without being charged and without being granted bail.  Bulldozers are used to raze the homes of Muslims who have opposed the regime. In addition to criminals awaiting trial, dissident human rights activists, journalists, authors, and other people whose voices a previous India would have honoured are housed in Indian prisons.

Yet, under these deteriorating conditions where the question of true independence is raised constantly, the authority is busy with celebrating Azadi Ka Amrit Mahotsav and performing Har Ghar Tiranga. Don’t they appear as performative and commercial and a mere effort to get attention? It clearly shows the intention of the right government to utilize the occasion as an opportunity to rewrite and distort the history of the epic fight of the Indian people for freedom from British oppression. In fact, today’s India under BJP-regime is a reiteration of British oppressive laws which is arrayed in a different propaganda language.  In order to carry on the tradition of our freedom fight with all Indians advancing towards more equality, justice, and fraternity as guaranteed by the Indian Constitution, this demonic propaganda of changing the character of the Indian Independence must be opposed and defeated at its roots. Independence, Democracy and Socialism must prevail!

Let Them Be

Here I am revisiting some of my food memories which I recollected during the first phase of lockdown in 2020 march . And purposefully they all are related with some or the other realizations of mine which I could explore through in those free days..

_ “Mango: not just a fruit but a feeling

Nostalgia is always a very sharp rooted emotion which brings contradictory feelings at the same time. Be it happiness, grief, disappointment, anxiety or anything, nostalgia plays an important role in framing those responses inside me. To be honest, the low moods and uncontrollable tears that I came to face with, in Delhi, were mainly because of these sensations of missing and nostalgia. Be it for Amma, home, field and farm in the home compound, milk man, fishmonger, newspaper boy or anything else, this feeling made me plunge into deep sorrows and whimpers when I shifted to Delhi. I used to lie on my bed and start thinking about various things I was doing in Kerala and how different it is now here in this city. The main among those were the mangoes which grow vastly in our home fields. The mango season itself is a festival of joy for all of us in our home. The very act of plucking mangoes, its scenic beauty, sourness of raw mango, sweetness of ripen moovandan mango, gathering of everyone in our ancestral home (mango seasons are in the vacation time, so most of us will be there in our ancestral homes) in the evening to cut and share the mango pieces,,…altogether bring a high mood of happiness which when remembered from Delhi- where life was often dry- present a sorrowful nostalgic feel in the heart.

But this quarantine period was a relief from those laments. Having healthy food made with vegetables and fruits grown in the home-farm coupled with the much awaited mango and jackfruit season gives me an inexplicable happiness. Relishing the tastes of mambazha pulissery(ripe mango curry), mango milk shake, manga achar(mango pickle) and raw mango juice and keeping a healthy food routine was really a comfort in this pandemic period.

Vaazha- The all rounder

‘Vaazha’ is a very popular term in Malayalam. Apart from being ‘Banana tree’, it has an indirect meaning which gets used in everyday conversations of every Malayali as well as vastly in Malayalam memes. Though ‘Keralam’ is known for its abundance of wide varieties of ‘Kera’ or coconut trees, vaazha is not at all ready to stay an inch back in this case. In trolls it is compared with the younger generation in every house where parents think about farming a vaazha in their house, because it is far better than having such a useless son or daughter in the house. Though we can only take it as a simple joke, it is very much relatable with the high utility of banana trees in day-to-day life. Each and every part of this tree is as much as useful for a Malayali that a Kerala home without any essence of vaazha is unimaginable. 

From the very banana leaf on which we serve food to the pazham payasam which we have at the end of every Kerala sadya, there are several vaazha dishes to speak of.

Pazham varattiyathu, pazham nurukku, unnakkaya, pazham puzhungiyathu, unnithanduppery, chips, varthuppery, kaaya upperi, kaaya elissery, pazhampori, sharjah shake…and the list tends to infinity. Sometimes it is a curse for my brother and me because amma will irritate us by making a lot of vaazha dishes in the adjacent days when the harvest period comes. Still the love and intimacy for vaazha will remain the same, no matter if it is nendravaazha, njalipoovan, mysore, kadali or whatever (these are the vaazha varieties in my home farm).

This quarantine period, I had most of these vaazha dishes and the fluffy “Kaarolappam” aka “Unniyappam” captured the place as one among daily dishes in my evening snacks!

Kanjichammanthi!

Most of the time, adaptations are meant for a positive outcome in our life. The transplantation to Delhi was no exception! What else can we call it when the pure non-veg me turned to a craver for veg dishes! Yes, I was a non-veg girl till my 12th standard that I haven’t had any interest in vegetable curries throughout those 17 years.  Amma had to put at least a single piece of chicken or fish in my lunch box, then with the smell of that piece I will have the rice (that also a very less amount compared to my thin friends who can proudly say their metabolism rate is high, haha). Since I was a fatty girl during my high school and higher secondary days, no one noticed the deficiency of vegetables in my diet, but amma knows the truth.

A small bowl of rice with 2 pieces of fish or chicken (mostly fish though), curd and some upperi; this was my daily lunch and if it got replaced by any vegetable curry, then that day I won’t have a single bolus of rice. 

That non-veg me when returned back from Delhi for the first mid-semester break made her mother wonder to the extent of her thinking “if this is my daughter or not”!. Staying away from home made me miss even those things I disliked earlier. 

Kanji and Chammanthi was one among them. Kanji was always a fever dish for me, because other than my fever times I never used to prefer kanji as my food. And on those days I used to get astonished to see Harikrishnettan(my eldest brother) having kanji mixed with chammanthi and papadam with a very pleasant expression on his face using his bare hands. I wondered as to what and how he enjoyed this rice and water mix!

And today Delhi life has taught me that even kanji and chammanthi has a special taste and feel when it is not available for you. Every home curry and dish have a special taste which you will come to realise when you stay away from your home (I know that majority knows it already from their home itself, but for me it was a new lesson.)

Yes, Jackfruit is Love

Chakka (jackfruit) always reminds me of my father. In my early childhood notions, his tallness and the broad and wide body full of hairs can be related with the big size and prickly nature of the fruit. But inside he is sweet as the flesh of a jackfruit. In early childhood, I hated men, especially those who had a bold mustache. I don’t reach out to them when they approach me with their lovely pampering and care. This was the same reaction towards my father too in the early days of my birth. But now Amma explains how he became an exception then. He was the one who removed my childhood stereotype and taught that outer structure doesn’t define the nature of inner core. (I was a baby and these all are the things what my amma told and I follow believing till today).

Today also this is the same emotion every child has towards my father. He is very lovely and kindly towards everyone that anyone who knows him can define his nature with only one word, that is ‘love’. 

Now everyone else will consider it very strange to relate him with a jackfruit, but for me it’s perspicuous. See, the thorny nature and big size of jackfruit are not at all likeable for a child like me who hates every masculine character. But since I know the sweetness inside it, once I see the outer cover itself, I will fall for my love towards chakka. And this time I had one of my favourite dishes “Chakka elissery” which is prepared with raw jackfruit in my Chitta’s very own unique cooking style.” _

Yes, here I am cherishing those privileged memories which are still the endearing ones…

Let Our Music Free From Your Rules…

The origin of Carnatic music has a strong connection with the Hindu culture. Indian music is said to have originated from the Vedas. The whole religious concepts and traditions were nerve and sinew of our music. Temples were the hub of all musical activities. Music was hold to be one of the best forms of worship. It is believed that through Nadopasana the gods get pleased and the worshipper will be blessed. The Vedas, the Upanishads, the Puranas all carry citations to music. Composers of the earlier periods like Sadasiva Brahmendra, Bhodendra, Narayana theertha, all composed music in honour of the Divine. The musical trinity Thyagaraja, Muthuswamy Dikshitar and Shyamashastri were all religious people who composed on their ishta devata or on the temples , that is mainly compositions on gods and goddesses. Many ragas are named after gods on the credence that each god or goddess has a favourite raga.

The religious influence can be seen through out the growth of carnatic music in different eras. But is the bond an unbreakable one that the art can’t go beyond any concepts of the religion..Should it be tied and kept inside the so called upper class-hindu tradition forever.. Evaluating from a view that considers an art purely as expression of human being, the answer should be a NO. Then what happened when you practiced your NO in your music…?

Four singers- Aruna Sairam, Nityasree Mahdevan, O.S. Arun and P. Unnikrishnan- were targeted on social media for singing songs in praise of Jesus. Following the threats, Arun cancelled his participation in a programme organised by a Christian body while Nityasree clarified that she will not sing anymore compositions on non-Hindu gods.

courtesy:facebook

Carnatic musician TM Krishna has always been the victim for various hindutva groups and conservative mass as plenty of his programmes being cancelled inside and outside the country only because of his incorporation of modern values and god of other religions into Carnatic music.

The debate on Carnatic musicians singing devotional songs of other religions began when Carnatic vocalist O.S. Arun got involved in a Christian musical event called ‘Esuvin Sangama Sangeetham’. The singer had to ultimately withdraw his participation from the event after a critical verbal attack from S. Ramanathan, founder of Rashtriya Sanathana Seva Sangam (RSSS) came out. In a report by The Wire, during a telephonic conversation, the RSSS founder asked Arun, “Why are you singing for Christians, being a Hindu?”
It is conjectured that T.M. Krishna took this decision to release one Carnatic song every month on Jesus or Allah after his clear exasperation of seeing the influence of the RSS creeping into Carnatic music as well.

Yes, of course you can oppress them..You can sit and wait to suppress and physically and mentally harass the future buds also who are gonna take part in this movement..Let your anger get settled…Let all your religious pride get flourished…But realise…atlast a point of time will reach where there will not be any single drop of music left upon which you wished to shower your fascism…..

Who Owns Music?

  • What is a musical work? “Musical work” means a work consisting of music and includes any graphical notation of such work but does not include any words or any action intended to be sung, spoken or performed with the music. A musical work need not be written down to enjoy copyright protection.
  • Who is the author of a musical work? The composer.
  • Who all have rights in a musical sound recording? There are many right holders in a musical sound recording. For example, the lyricist who wrote the lyrics, the composer who set the music, the singer who sang the song, the musician (s) who performed the background music, and the person or company who produced the sound recording.
  • Is it necessary to obtain any licence or permission to use a musical sound recording for public performance? A sound recording generally comprises various rights. It is necessary to obtain the licences from each and every right owner in the sound recording. This would ,inter alia, include the producer of the sound recording, the lyricist who wrote the lyrics, and the musician who composed the music.
  • What are the rights in a musical work? In the case of a musical work, copyright means the exclusive right :
  • To reproduce the work
  • To issue copies of the work to the public
  • To perform the work in public
  • To communicate the work to the public
  • To make cinematography film or sound recording in respect of the work
  • To make any translation of the work
  • To make any adaptation of the work.

The above given information are the summary of the copyright rules and ethics regarding music works, provided in the Hand Book of Copyright Law published by Government of India. The performances, cover songs, remixes and remakes that are being conducted in India are more or less in accordance with these copyrights. Still the controversies on this matter are getting accumulated day by day . Roshan Brothers and Ram Sampath Case, Infringement Against Dabang 2 Song, Barobax and Pritam Chakraborty, Ae Dil Hai Mushkil and World War Z are some of the music infringement cases in Bollywood.

courtesy:youtube

While coming to Tamil music industry, the spat that clashed between two elder musicians in the name of copyright hits a sudden blow to the listeners’ relishing sensation. The audience witnessed a messy legal tangle involving music composer Ilaiyaraaja and singer SP Balasubrahmaniam in 2017 , after the former served a legal notice on the singer when he was performing concerts in the US.

The notice stated that if they continued to perform his compositions, they would be denying the copyright law and would have to pay huge financial penalties with facing other legal action.

“As an Indian I feel very said. This legal notice could have been completely avoided. As a south Indian myself, I have grown up listening to both Shri Illayaraja’s music and Shri SP Balasubrahmanyam’s voice,” intellectual property rights lawyer Prathiba M Singh said.

This was and still a saddening thing for each and every music listener or art lover in the country.There arrived a high need for making the laws clear to the ordinary audience as well as the music industry people to avoid this kind of discrepancies. As in a commercialised era of music art, the concept of pure art is already at the point of death. The ambiguousness in these practices will only favour in constructing the art more exclusive.

Still the question remains, Who owns music? The music culture which dates back to centuries is the basis of all the musical works that are being produced today. The sapthaswaras are the primary foundation for all of the finely tuned as well as controversial songs ..It is true that the composer’s effort and talent have a great value but is it necessary to make these kind of competitions and enmity in the field apart from the popularity and acceptance that the composer is gaining? This is the way how the commercialisation trends are perfectly achieving the complete destruction of pure art sense from the audience minds…

Art Is No More Pure

“Therefore, this court feels that the petitioner made out prima facie case. The balance of convenience more rests on the petitioner. Unless an ad interim injunction is granted the petitioner would be put to irreparable loss and hardship.” This is an excerpt from the Chennai City Civil Court statement dated March 14,2019 which stayed the South Indian Cine,Television Dubbing Artists Union’s expulsion of Tamil playback singer Chinmayi Sripaada. It is a great victory and relief for the veteran singer in the music field as well as in the dubbing field as the elimination was about to demolish her job career forever. But does the court order make all congenial for her to resume her ever glowing career in a sudden morning? Is the court order pretty enough to erase all the gender barriers and discrimination she faced so far? Will it lead the accused artists in the petition to realize their faults and rethink upon it and will Chinmayi be able to regain her popularity in the stream?………. The singer’s own response unveils the amount of debarring and rejection she is facing and how her work offers got dried up after her divulging of a loathsome truth. How it happens and how could the advocates of the so called pure art behave like this when the court itself declares the balance of convenience more rest on her side? Yes, it brings out into the open that whatever adjectives you use to attribute the purity of art (innocence, kindness, love anything it can be..) ,the evil of gender discrimination is ample to make it impure.

image courtesy:New Indian Express

All the issues got started in the period of the me too movement when the playback singer Chinmayi Sripada accused Tamil poet lyricist Vairamuthu of harassing her. She tweeted her #me too story after sharing stories of anonymous survivors for days.

Despite the applause and support Chinmayi gained through her disclosure (naming Vairamuthu as a sexual predator), the price she had to pay for #me too was heavy. She has been cast out of the dubbing union in Chennai. That means she can no longer give her spoken voice to women on the big screen. All her work offers in music got dried up. She continued to receive threat calls for weeks and months. Remember, all it was during the time when a film she dubbed and sang every song for is being celebrated through out the land.

But she didn’t remain silent. She continued posting lists of artists in the industry who got accused in the me too wave. In fact, the president of the dubbing union Rdha Ravi was one among them which made the union so thirsty for the end of Chinmayi’s cinema career. The singer fought against the union in the High Court also which gave her the result as the above mentioned order.

Still do you think Chinmayi could engage in the industry as the way how she was there before? If she could , will the industry allow her? It is an unvarnished truth that the relief is temporary and a long battle ahead .

Why people are still insisting on the notion of pure art… Not only one Chinmayi or any other singer,, the bigority and molestation being faced by female artists in the classical as well as in the cine field of music art is in such a high manner that it is being continued since decades… Yes,, Art is impure…