Growth Wallah’s: Yeh Dil Maange More

Arundhati Roy and P Sainath  are voices that counter the neoliberal growth narrative of growth at any cost and painting growth as a linear story line. A story line where labor rights, environmental commons are commodities to be discarded as these cannot be listed in an IPO on Dalal Street. I grew up during the late 80’s and the 90’s where I transitioned from Doordarshan to Cable TV to 4G internet on the phone and where a vada pav in the mall costs 50 rupees. Where having an overpriced KFC is cooler than having tandoori chicken in the popular culture now a days. IT Sector has created a class of socially mobile class of credit cards and cool cars, but cannot finance them as IT firms are retrenching them. Suddenly, class consciousness hits home. Growth is not cool, when you are handed a pink slip in one hours notice.

Growth means the communities at the margin in Langigarh and Jaitapur have no voice in the resource and nuclear capitalism of Shining India. The growth discourse is panned out in tv panel debates and the holy shrine of Davos.

Arundhati Roy’s Capitalism : A Ghost Story is a class essay book on the fissures of the growth story. Growth has a rosy narrative when it is painted in Malabar Hill and not Dharavi or a Middle Class Mira Road in Mumbai. The middle class are sold the aspirational growth stories for them to buy in when a techie-MBA education does not render the critical thinking skills to understand the globalisation dynamics which help us to assess the next work wave.

Dibakar’s 2012 film Shanghai showed that a lands owner sells his land in lieu for being a security guard in a mall on the same piece of land ironically drinks bottled water with pride.  As Asim Shrivastava’s seminal book Churning the Earth demonstrates a treatise on how the SEZ boom is a land grab scam and how industrialisation causes ecological degradation in every respect.

Mr Modi has made development as the national totem. Although non inclusive growth is not cool, when religious minorities feel unsafe. One year of decent selfie taking does not make for development. Modi’s Foreign Policy and Defence Regime is aggressive and competent though. There is a long way to go in order to accommodate all aspirations. Delhi is not Amdavad oops Peking.

Piku : A Bengali Masterclass

Piku, directed by Shoojit Sircar of Madras Cafe and Vicky Donor fame has an stellar ensemble cast of Amitabh Bachchan as Bhakor Banerjee, the seventy year old retired ITC Executive with a constipation paranoia who lives with his fiercely independent architect daughter ‘Piku’ played by Deepika Padukone. A film set in CR Park (the Bengali Community Hub in Delhi), as in Vicky Donor; Sircar has his nuances of an upper middle class Probashi or ‘Out of Bengal’ Bengali family and its dialectics of conserving culture on one end and moving on with adopted city’s sense of modernity. Irrfan as the Saudi returned Cab Service Owner Rana, is delightful as he has his accent right and the mannerisms of a gulf returned civil engineer, forced to do business in which he is often not at ease. The ‘Kafala’ system of Gulf Countries is brought in the conversation with the mention of the employer with holding Rana’s passport once he reached Saudi Arabia, and got terminated once he made an issue out of it.

Amitabh Bachchan, the legend has his Bengali spot on, with a large part of the film in Bengali and English. Stereotypes are circulated and reaffirmed but fortunately Sircar has the nuances perfect. Deepika Padukone as Piku is hyper, articulate , nyaka but straight forward Bong Girl with the dense kajal lined eyes who wants her space and sex on her own terms, but there is a longing for a stable hetrosexual relationship which her ageing father is rather aggressively discouraging towards.

Complex human relationship between an ageing father and his dutiful daughter is zoomed in which is the heart of the story. The health mad ageing father with his constipation problem and his rebellious daughter and their banter is characteristic of a bengali household. The Bengali Lady with her loyal Boyfriend-Business Partner ‘Syed’ played competently by Bengali Actor Jisshu Sengupta is under stated but vital in the story line as Piku is wooed by Rana who himself drives the Father-Daughter duo to Kolkata from Delhi via the beautiful ghats of Varanasi as Bhaskor wants to visit his paternal home housed by his younger brothers family who are scared that Piku might sell off the property to a realtor as is the case with many ancestral homes in Kolkata with the children based in other cities for work opportunities, and not interested to come back. The undertone is strong and clear, that heritage and culture matters.

The character actors such as the help of the family Badun, and the loud, boisterous maternal aunt of Piku played by veteran actor Moushumi Chatterjee adds ballast to the film which is rather based on a cultural narrative.

Editing is crisp with camera work takes a documentary mode in sections with Anupam Roy’s earthy music lends authenticity.  Shoojit Sircar has made a very good film, worth a second watch. There were parts in the film that drew a tear in the corner of my eye, as I have middle aged parents too and have these same conversations with them as Piku had them with Bhaskor.

Bollywood with Kahani and Byomkesh and now with Piku has made being Bengali, real cool. A film that has soul and substance, Piku is a film to have in your DVD Collection.

Fragility

Fragility is beautiful, as feel yourself at your weakest, simultaneously makes one feel free while helpless.

A chance to gather the ashes from the past, a seed for a new plant

Obsession & indifference are extremes yet human

Pain is the fuel for moving ahead, yet very human again
Happiness does not feel as motivating as pain

May be it is a blessing, an opportunity to paint an alternative imagination

May be that alternative is not alternative at all

Only a reflection of your deepest desires and aspirations beneath

Yet Fragility and Pain are synonyms for the most intense expressions of the soul

Yet so beautiful, yet so human

Move on the mind says, the heart lingers on

But there is no way but to keep walking and move on

And transform the sentiment into pale words of modest expression….

The Food Court

“Have you eaten” or “Makan Sudah” in Bahasa Melayu is often heard from friends here in Singapore exemplifies the value of eating out to socialising and community building in Singapore. The cacophony of sounds from a smattering of Hokkein  at the noodle soup hawker stall to Tamil and Urdu at the Indian Halal corner dishing out colourful rojak adds to the “Makan” or eating out culture which is central to the Singaporean ethos.  A nation which is passionate about its food, takes eating out seriously as its running culture thanks to splendid NParks connectors.

A few weeks back Minister Mentor Lee passed away, and an entire nation grieved in collective consciousness. On the 29th of March i wrote on my Facebook Wall  to capture the sentiment of the moment:

“Watching the State Funeral Service of Mr. Lee on Channel 8 (Chinese Language Station) in my packed local food court with kopitiam Aunties and Uncles whom I have known over years is a solemn occasion. Never felt so much a part of the community before. It is an inflection point and locus of convergence for the national ethos. A misty eyed rainy afternoon indeed. Farewell Mr. Lee ‪#‎Sg‬ ‪#‎LKY‬

and

“A full food court in standing ovation in mark a minutes silence with the National Pledge and Anthem was moving. National spirit is alive and kicking in this often chided concrete city where commerce takes precedence. Today is a different ‪#‎Singapore‬ .”

As the last line depicts, the food court plays a huge role as a common public space although intimate. This multi-racial society mingles and connects over Tiger Beer and Kopio in its food courts. In a busy city, where cooking the evening meal is an occasional chore, the Food Court plays a critical social lever in everyday lived experience.

Gluttons : Makansutra by the Bay, near the City Centre packages the food court in a very glam manner as does Kopitiam at the Shoppes at Marina Bay Sands, the upper social strata version though lacks the soul of Adam Road Hawker Center and its epic Mutton Soup or the Novena Food Court, which are social institutions of note.

All sorts of characters can be observed in this common place where all festivals and mundane evenings are panned out. The senses are overvelmed with the Chicken Rice and the Steam Boats and the energetic feel of a meal time.

The Kopitiam or the Food Court is a Singaporean Institution; with the qualities of the nation. Hygienic, Cost Conscious, Systemic and Multi-Cultural.

Now, Cheers over the Malted Beverage!

Dibakar’s Byomkesh Bakshy: Connecting History and Regional Literature Seamlessly

Dibakar Banerjee with Byomkesh Bakshy has extracted the gold which lies hidden in our vernacular regional literature, and painting that specific narrative on celluloid for a South Asian and International audience will certainly make it the best phillum of 2015. My father read Feluda and Byomkesh Bakshy’s detective stories as a child in Bolpur-Shantiniketan while growing up, and these were writings which had captured the popular imagination of reading masses of Bengal. Bengali popular literature has detective stories as a legit genre, may be  cultural  loan from its British Colonial Masters. A rich legacy, which the Calcutta film industry has tapped at least for Feluda by Satyajit Ray and his son and now Bakshy by Delhi bread Dibakar who recognises himself more with West Delhi’s Rajender Nagar than Uttarpara in Kolkata as is evident from ‘Oye Lucky’ , a previous production of his. I was greatly moved by his film Shanghai, the first movie i watched in Mumbai after I left Singapore to move back to Mumbai in 2012, where I wrote in a  changethinker.com blog post titled ” Is a DTH Box, Development” :

The cinematic narrative of the Dibakar Banerjee film ‘Shanghai’ played out in real life. Pragati or Development seems to have been relegated to the real estate hardware component rather than human development indicators such as education, healthcare access or employment generation. Special Economic Zones are fantastic instruments to jump start economic activity in an area because of the Tax Holidays, but what about the farmers who sells out his land, has a lot of cash to deploy but does not have the knowledge to invest to properly to diversify his livelihood since he knows nothing else apart from the generational vocation of farming.”

1943 Calcutta’s Wartime Chinatown with the Narcotics Trade and the World War 2 Japanese Campaign in SE Asia connects the local to global beautifully. There is a subplot in the film that captures the naivety of the young in the years leading up to Independence by the capitalist class who were hand in glove with the imperialists, whether the British or the Japanese or even the ruling elite. Dibakar Banerjee’s film making has a socio-political angle, relevant to the times, which makes his films a joy to watch with the thinking cap on. Shanghai, realised in April 2012 had the SEZ Land Acquisition context with the Activist Bengali Liberal Arts Academic played by Prasenjit, the popular Bengali Movie Actor bumped off by the political elite for economic profits while wrapping it in a rhetoric of growth and the entire cover-up of the affair. Excellent film, not so popular as a Salman Khan film, but throughly engaging. Do get the DVD if you liked Byomkesh.

Sushant Singh Rajput as Byomkesh shines without the over acting and Swastika as the actor femme fatale Anguri Devi and  Indian Idol Contestant & Dentist turned Singer-Actor Meiyang Chang as Kanai/Ching Ling have meaty performances. The ensemble cast of popular bengali actors defying the stereotype yet authentic, Chinese and Japanese Actors wielding the sword and knifes add to the artwork. The cinematography deducting the  crime scene chronology is inspired by Sherlock Homes movie part one, where the deconstruction visually is borrowed from in the technical perspective. There is a scene in the film where Patna lad Sushant uses his Bihari Hindi aka Bhojpuri well, which is very genuine. The takeaway dialogue from the movie is : “The lie closest to the truth is very hard to distinguish”. A punchline indeed. Dibakar certainly knows his actors strengths well. 

The stage design and the background score is its true hero capturing the nuance of the times and the energy of the film. Detective Bakshy’s Bête Noire Dr Guha is the  powerful anti hero in true terms. LSD and Shanghai was just the trailer for Dibakar, with Bakshy he has an Asian Sherlock franchise on its hands. Outstanding film making, at its sincere best.

Welfare, is not a bad word?

Welfare has unfortunately turned into an undesirable word in the political discourse from Delhi to Athens. The Greek public had an emphatic no vote to the EU Deal in terms of voting in the leftist Syriza. The Maverick Academic Finance Minister of Greece later had to tone down its rhetoric of leaving the EU. But, a bold voice never the less. A fresh breath in the hackneyed discussion. There are a few factors which brought Greece to its tether such as a huge bureaucracy but the structural transformation program (read brutal cost cutting) is simply humiliating for an ancient civilization. The Goldman Sachs instruments only added insult to injury. Since Narendra Modi’s BJP Government has come to power, Welfare has taken back seat. The Work for Employment Scheme aka MNREGA has been slashed as the Food Security Bill. While, Corporate Tax Holidays has increased in the words of Development Journalist P Sainath.

Even, the proposed projected 25.5 Billion Dollar outlay (Livemint, 27th March 2015) for the Universal Healthcare Plan in India on the lines of ObamaCare has been halted in the tracks. Billions of dollars can be spent for Defense and Tax Breaks but for treating a poor man for his heart ailment in a hospital is simply not worth it as is putting food on the table of the hungry, only to be feted by awards from the Davos Elite while sipping flutes of champagne. The AAP Victory is Delhi was a vote for welfare and compassionate capitalism where the urban poor in Mahipalpur near the airport wanted to have a voice in the discourse rather the  chic GK’s, ironically both in South Delhi. I have very been pro welfare in stance since a while especially on Food Security in October 2013 when I came on Al Jazeera to make a moral case for Food Security. Welfare is often the last resort of the poor and, inefficiencies and pilferage in the political economy of service delivery should not be used as an excuse to snatch away access to basic health care from the marginalized and subaltern. The Indian State is often a far away entity to the common man on the street and a void is often filled by faith based or community organizations in healthcare. There is a point to start and then iterate with the mechanics but do not deny the facilities if proper service delivery mechanisms cannot be constructed and maintained.  Building systems takes time and great systems such as the NHS in the UK and Social Security in the US have taken their own time. ObamaCare  or The Affordable Care Act has brought in 16 million additional people healthcare solutions. In a recent Atlantic article it has been argued that the social security cover has made America more risk taking and entrepreneurial. In this years Budget, Singapore which has been a poster-boy of free-market capitalism in Asia has nudged to the left with increased social protection platforms for its poor. The media coverage in the Singaporean press has been covering a lot of social stories including migrant worker food issues and ways to get the urban poor at better shot at social mobility. A new social contract for a left leaning Global City as a recent Strait Times Op-Ed quipped, should be real cool.

It can be said that the author has had a comfortable upbringing and what do i know about being poor. It needs empathy as the Middle Class is three skipped mortgage payments away from developing a class consciousness. Ask about being very little money in my account and without work and I do know what it feels like in that desperate situation. Corporate Tax Breaks and access to state infrastructure to develop industry and then call for government to be not in the business of business is a flawed argument. A lot of corporate profits are cross subsidized by the state ask the Gulf Owned Air Carriers. Private profits are just but feeding a poor man is a waste of money?

Welfare with proper checks and balances creates a more equitable society over the long term. Lets create more humane communities, one neighborhood at a time. A policy push sets the direction, and welfare plays a major role.

NH10 : Gurgaon as Urban Cinematic Narrative

Gurgaon is a classic case study in unplanned urbanization from the the shady, character laden  Chakkarpur’s of the World to the  global DLF Cyber City’s which inhabit a parallel universe. Take an auto out of DLF Cyber City and the realities of the crime rid city confront you in the face. Law and Order depends on your good fortune rather than the local cop. Last year, Aurangzeb was a film to watch out for dealing in the murky real estate mafia of Gurgaon, where ‘Katta’ or the country made pistol and Koffee co-exist at ease. The film starts off with a punchline line : ” Mere Baap ka Gaon, Gurgaon” or my fathers village is Gurgaon. This year, it is Anushka Sharma’s NH10 taking the cinematic discourse forward with the dualities of life in Gurgaon. 

NH10‬ is a gritty film with nuanced contrasts between the medieval and the modern of my former work town the corporate DLF Cybercity, Gurgaon and its Jat hinterland with Khap Panchayats with gotra linked gruesome honor killings. Realistic lingo of a modern corporate couple is refreshing with panoramic shots of MG Road Shopping Malls with my work DLF building number 5 shown in one flickering sequence with the infamous Sahara Mall. These shots made me nostalgic. The on screen couple Meera (Anushka Sharma) and her Tamilian Husband chatting on their laptops while sitting on the same bed, is something that a Gen Y Couple can only understand. Love and attraction in the office space is discussed at ease and sex is portrayed for pleasure rather than procreation. This is where the director tries to establish the polar opposites right away, early on in the film. This a powerful contribution to the conversation on relationships in Urban India.

Raw violence has been utilized effectively as a cinematic device. The punch lines of Gurgaon being a youngster throwing tantrums and that the constitution ends at the shopping malls of Gurgaon being very symbolic of the urban mess with a rustic soul called Gurgaon wa! Certainly Anushka’s breakthrough act with a realistic ensemble cast, with a razor sharp edit, a must watch film of the year!

Move in the ‘Write way’ : reflections on writing

I have been writing since I was young, normally more mature than my age group at school. So I did not really find a platform apart from the ambitious English teacher who saw potential in me, as normally my stuff was not fit for the school magazine but for the India Today Magazine. But i still got things on to those limited school time platforms anyway such as good grades in english.  I always believed in creating value apart from the school textbook and exams. Both my parents being academics, I was fortunate to have a library of my parent’s books to my disposal and lots of daily newspapers to read. I was well read as a teenager, but my limited interest in studying for grades apart from English and Social Science did not instill my parents confidence in me as grades were key to successive progressions. I did well in them and in Biology and Chemistry until Grade 12 as I am memory-based person. I remember things well, so History and Politics (somehow connected, still have not fully understood the connection) fascinated me and I was in awe of how individuals ran society. I had floated one day to my father the idea of studying History in Grade 8, and he like a concerned Indian parent shot it down. I was discouraged by other folks too when I started writing. A few people told me that writing is not my cup of tea as my writing was not up to the mark, as per the hallowed high priests of liberal arts academe. So dreams of being a Ram Guha was stopped in its tracks pretty early. I do not normally take a no for an answer, and which my detractors soon found out to their peril.

I studied Engineering for utilitarian reasons as a good Indian boy but reading my undergraduate engineering degree in Oman exposed me to fellow wannabe writers/policy wonks. So I wrote research papers on bioethics to socio-linguistics to public policy in those four to five years travelling throughout South Asia, South East Asia and the Middle East studying, working and exploring my self. The real break came in Singapore when I started writing for Green Business Times and started this platform. I got opportunities to write for other platforms and reading public policy and sociology really helped in fine-tuning my writing and thought processes. This got me on to International TV debates as an independent analyst and the gravy train started rolling.

My writing journey started pretty late in my opinion for a person who took writing seriously. I read diverse genres from Magical Realism to Fukuyama. Writers such as Pankaj Mishra and Pico Iyer are my literary man crush. I have never been to a creative writing course but reading the non-fiction master- pieces has been an education. I believe that writing is not a liberal arts majors territory only, because writers translate experiences of pain and angst in to words, and writing is a product of hard work as the Guru of Global Literature Haruki Murakami eloquently writes in his semi memoir on life, writing and running known as ;“What I Talk about When I Talk About Running” . This transformational read resonates with me as a writer. Writers according to Murakami have to work hard to churn out a narrative for the audience in mind, day in and day out. It is not purely, a function of talent alone but of diligence and discipline if one has to churn out a global writing and speaking career across decades and still your readership grows like this recent convert. One has to tailor his lifestyle according to his trade, like Murakami left running a Jazz Bar to write full time, moving across cities throughout the globe, to write, run and live. Till one does not stretch ones limits and trains in a disciplined manner in his passion or profession, a person cannot be successful in either one of them.

I rather used to be lazy to write on a regular basis, but I realized one fine day that as an Individual of limit talents, I was born to write and express my humble ideas in the public discourse on ideas. To write for me, is to exist. I am fortunate to have friends to read my work: Good, the not so Good as well. Writing is about exercising agency and writers are folks who write stories of their inability to communicate their expression of love to a woman, that too after she starts to date another guy they love in person but they would rather mold it in a fictional context in the written word and explore passions in the head rather than in the flesh.

I am currently writing a book (a multi year effort it is turning out to be as I have exacting standards sadly of myself) on the human experiences of urbanization and developing a long essay series on things and stuff in places where I live and experience in my personal capacity apart from having a fascinating day job in Policy Research. Fortunately, I do work in a place where I can write too. Passion and Professions can emerge if we wish to take the risk. Dr. Tharoor is a special kind of writer. Take a pay cut, if it comes down to that.

Keep Writing, as there is nothing more satisfying then someone relating to your story.

A Scribble in Singapore Diaries: Notes from the ‘Field’

An interesting incident made my week. Here is the anecdote:

Today afternoon, when i went to the Indian food stall at the Arts Canteen here for some veg fare (i rarely eat Indian food during the week); the Uncle across the counter, addressed me as ‘Bhaiya’ and i was rather pleasantly surprised by the Mohd. Rafi song ‘Kisne April Fool Banaya’ from the 1964 Biswajeet starrer ‘April Fool’ played on full volume. Simple moments like these make life joyous. Rafi Saab with his soulful voice even after half a century makes his presence felt from Kanpur to Kent Ridge.

“April fool banaya to unako gussa aaya
To mera kya qasoor zamaane ka qasoor
Jisne dastoor banaya”

‪#‎Singaporestories‬