<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Dr. MS Swaminathan changed the fortunes of an entire nation and was instrumental in guiding it in the journey towards better agricultural produce. He was not just an agricultural scientist, but a visionary who had a wholesome picture of the Indian reality.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Pallava Bagla, one of the most proficient science journalists in India talks to Anand Haridas in The AIDEM Interactions to pay tribute to the Father of Indian Green Revolution.

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Dr. MS Swaminathan changed the fortunes of an entire nation and was instrumental in guiding it in the journey towards better agricultural produce. 

Remembering Dr. MS Swaminathan

People and Places impact every one in diverse ways. There are those who get influenced and inspired by renowned philosophers, political personalities, writers, artists and other sorts of celebrities. And there are others who go to the grassroots to draw knowledge and inspiration. Some others are eclectic in their choice of people and places. Balagopal Chandrasekhar, lifelong visionary entrepreneur, former civil services officer and former Chairperson of The Federal Bank has consistently acknowledged the influence and inspiration he has got from people and places. And, if his informal narrations are anything to go by it is quite an assortment of the known, lesser known and unknown.In this series of conversations with The AIDEM, Bala, as Balagopal Chandrasekhar is called by friends, shares his long experiences with and thoughts on “People and Places”. Tune in, Watch this space.<hr>To subscribe to us on YouTube, <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">Click Here</a>.<div class="mdp-liker-box after-content two-buttons style-border-fill row-right" style="--mdp-liker-bg-color-active:rgba(255, 33, 40, 1);--mdp-liker-bg-color-hover:rgba(255, 33, 40, 1);--mdp-liker-bg-color:rgba(255, 33, 40, 1);--mdp-liker-border:1px;--mdp-liker-radius:50px;--mdp-liker-text-color-active:rgba(255, 255, 255, 1);--mdp-liker-text-color-hover:rgba(255, 255, 255, 1);--mdp-liker-text-color:rgba(255, 33, 40, 1);box-sizing:border-box;font-size:initial;font-weight:initial;margin:0px;padding:0px;" id="mdp-liker-23936" data-memory="on"><div style="align-items:center;box-sizing:border-box;display:flex;justify-content:space-between;margin:0px;padding:0px;"><div class="mdp-liker-description" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:medium;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;max-width:60%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">&nbsp;</div></div></div> &nbsp;

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People and Places impact every one in diverse ways. There are those who get influenced and inspired by renowned philosophers, political personalities, writers, artists and other sorts of celebrities. 

People and Places with Bala- Coming Soon!

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">The Indian Parliament is passing through one of the worst periods in its history with the suspension of as many as 141 MPs in a matter of just two days. The serial suspensions were triggered by the vociferous demands from the MPs for an explanation from the Prime Minister and Home Minister on the security lapses that led to the December 13 attack on parliament by a group of young people. Political Analyst, Economist and Social Activist Paranjoy Guha Thakurtha analyses the current context and points out that all this is linked to the Surveillance Raj being built up by the Modi Regime.<hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">To receive updates on detailed analysis and in-depth interviews from The AIDEM, join our WhatsApp group. Click <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/GLYY7P2H0Xw5eYoczxtsSav">Here</a>.&nbsp;To subscribe to us on YouTube, <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">Click Here</a>.

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The Indian Parliament is passing through one of the worst periods in its history with the suspension of as many as 141 MPs in a matter of just two days.

Parliament Attack, Suspension of MPs And the Surveillance Raj

<span style="-webkit-text-stroke-width:0px;display:inline !important;float:none;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">In an exclusive interview given to The AIDEM, Parakala Prabhakar, renowned economist and author of, ‘The Crooked Timber of New India’, underscored his apprehensions about the ways in which the electioneering system of India is being manipulated by the ruling BJP.&nbsp;He also observed that the country is drifting day by day into absolute red in terms of the economy as the Modi led regime at the Centre has added rupees hundred lakh crores to the national debt.

We may not see Free and Fair Elections in India: Parakala Prabhakar

<span style="-webkit-text-stroke-width:0px;display:inline !important;float:none;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">As the marathon Lok Sabha election enters its final phase SM Yasin, a senior functionary of the management team of the Varanasi Gyanvapi masjid talks to The AIDEM – Risala Update PollTalk and shares his perceptions and concerns on the election trends and the future of the Masjid. He is of the view that whatever the final outcome of the polls, the future of the Masjid would depend on a fair trial in the judiciary in the cases related to it. Watch the full conversation in Hindi here.

Elections And The Future Of The Gyanvapi Masjid

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">This was an idea that renowned writer and activist Arundhati Roy stressed on when a group of students asked her about authoritarianism and fear of authority. She also added that the people’s struggles against authority is an elevating experience and not a sad one as many would imagine. The students in this Q&amp;A session had gathered from different parts of South India at Sacred Heart College, Thevara, Ernakulam on January 27, 2023.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">The Interaction was moderated by Venkitesh Ramakrishnan, Managing Editor, The AIDEM.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Watch the full interaction here: <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/even-a-fairy-tale-is-a-deeply-political-thing-arundathi-roy-in-conversation-with-venkitesh-ramakrishnan/">Part 01</a> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/mother-tongue-globalisation-and-fear-of-authority-arundhati-roy-with-students/">Part 02</a>.

To Remain Safe is To Remain Boring

<img src="https://strapi.bangalore2.com/uploads/images_34_770x393_796d24e9a6.jpeg" alt="images-34-770x393.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_34_770x393_796d24e9a6.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_34_770x393_796d24e9a6.jpeg 500w,https://strapi.bangalore2.com/uploads/medium_images_34_770x393_796d24e9a6.jpeg 750w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">Prolific documentary filmmaker R.P Amudhan’s body of work is unique and striking, especially in the manner in which his creations address issues and concerns of the marginalised sections of society. He is known as a media activist too. Hailing from Madurai, in Tamil Nadu, he founded the Marupakkam Media Activist Group (MMAG) in in his home district. The MMAG produces documentaries, screens films, and conducts workshops. He has over 20 documentaries to his credit. His films primarily focus on caste and labour issues. In this Interview with poet and writer Rashida Nasriya, filmmaker Amudhan RP discusses his craft, concerns and challenges.&nbsp;Rashidha Nasriya: What do you consider as the most significant challenge you have faced during the making of your documentaries?Amudhan RP: The biggest challenges I have faced in documenting the kind of social issues I have chosen to film are threefold. First, identifying a crucial topic which requires in-depth understanding and sufficient data to substantiate the narrative. Once I have a clear understanding of the topic, I would conduct thorough research and convince people, that is the characters in my film and their kith and kin. This has been my approach from my very first film, Leelavathi, a documentary on a Communist Party of India (Marxist) – CPIM- cadre killed in Madurai in 1997. I was relatively young at that time and the task of persuading her family and the district CPIM committee took a lot of effort. I finally did get their consent. It was a difficult task to get their trust.The second challenge – although a joyful one – is researching and gathering credible information, while the third is securing funding. As a solo filmmaker, I have learned to be self-sufficient. But still finding funds is a challenge. Any filmmaker would go through these challenges in varying degrees.<img src="https://strapi.bangalore2.com/uploads/images_35_721e230496.jpeg" alt="images-35.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_35_721e230496.jpeg 208w,https://strapi.bangalore2.com/uploads/small_images_35_721e230496.jpeg 500w," sizes="100vw" width="undefined" height="undefined">Nasriya: Did your activist background influence your decision to become a filmmaker?Amudhan: During my MA studies, I attended a workshop in Madurai organised by Center for Development of Instructional Technology (CENDIT), an organisation based in New Delhi. Here, I was exposed to several powerful documentary films. This experience opened my eyes to the significance of political documentaries. I was introduced to the concept of using film as a tool for social change, and I immediately knew I wanted to become a documentary filmmaker and an activist. This workshop sparked my passion for creating and screening films that inspire critical thinking and trigger meaningful conversations. It was a turning point that led me to merge my interests in social activism and filmmaking, ultimately shaping my identity as an activist-filmmaker. Activism and filmmaking are deeply intertwined for me – they’re two sides of the same coin. My filmmaking is an extension of my activism, and vice versa; the two are inseparable.Nasriya: Your film “My Caste” examines the intersection of caste, hegemony, and consensus in Indian society. What has driven your focus on caste in your activism and filmmaking?Amudhan: I wanted to take on the Caste issue from the perpetuator point of view rather than from the victim’s or survivor’s point of view. I wanted to get into the minds of the people who either follow or negotiate or negate caste in their lives. I wanted to know what happens in people’s minds when they deal with caste matters. That’s why I made the film ‘My Caste’ ‘recording the views of various people on caste related questions.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:951px;" id="attachment_30033" aria-describedby="caption-attachment-30033"><img src="https://strapi.bangalore2.com/uploads/IMG_20240927_WA_0021_d0a7a9b78c.jpg" alt="IMG-20240927-WA0021.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_IMG_20240927_WA_0021_d0a7a9b78c.jpg 154w,https://strapi.bangalore2.com/uploads/small_IMG_20240927_WA_0021_d0a7a9b78c.jpg 495w,https://strapi.bangalore2.com/uploads/medium_IMG_20240927_WA_0021_d0a7a9b78c.jpg 743w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30033">Amudhan speaking at an event</figcaption></figure>Nasriya: Can you give some details on how you investigated labour exploitation in Tirupur’s garment industry for your documentary “Dollar City”?Amudhan: Many of my films focus on labour issues, with a considerable number exploring labour practices. For my trilogy on hegemony and consensus, I chose Tirupur as a case study. This city exemplifies how consensus is manufactured to prioritise the industry’s interests.In Tiruppur, a tacit understanding exists among industries, trade unions, workers, NGOs, and political parties to protect the industry at all costs. The prevailing narrative is: ‘Without the industry, we cannot survive.’ This consensus leads to widespread compromise and adjustment, perpetuating the exploitation.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:739px;" id="attachment_30028" aria-describedby="caption-attachment-30028"><img src="https://strapi.bangalore2.com/uploads/images_36_2e37ef3154.jpeg" alt="images-36.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_36_2e37ef3154.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_36_2e37ef3154.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30028">During production of Amudhan’s documentary</figcaption></figure>I want to capture this complex dynamic in my film, highlighting how Tiruppur’s industry-centric consensus affects labor rights and social justice.&nbsp;Nasriya: How did you approach exploring the complex and sensitive topic of manual scavenging in your film “Pee (Shit)”?Amudhan: I wanted to make a Tamil version of Lesser Humans – a documentary on Manual Scavenging in Gujarat by Stalin K. Although I wanted to make a similar comprehensive film about Tamilnadu, my encounter with Mariamma, a sanitary worker in Madurai convinced me to make a short documentary which practically covers every aspect of the work.I realised a shorter format could powerfully convey the urgency of this issue, making a compelling argument against manual scavenging. This inspired me to create the film titled ‘Pee’ (Shit) [Watch Below], highlighting the harsh realities of manual scavenging.<div class="raw-html-embed"><iframe width="640" height="480" src="https://www.youtube.com/embed/a0eWOHAvVn4" title="Shit - a documentary by Amudhan R.P." frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;Nasriya: What inspired you to create a documentary about Mercury pollution in Kodaikanal?Amudhan: The film ‘Mercury in the Mist’ was initiated by workers from the Kodaikanal thermometer factory, who had been fighting against the company’s harmful practices. They sought my help to create a documentary supporting their cause, highlighting the devastating health effects of mercury exposure and their ongoing court battles. It was partially funded by the workers and their well wishers like Nityanand Jayaraman and others.&nbsp;Nasriya: Do you think the documentary can contribute to the border understanding of the challenges facing Indian democracy?Amudhan: Documentary watching is, in my opinion, one of the most engaging and intellectually stimulating activities. It offers a unique blend of education, art, and social awareness, empowering individuals to become responsible citizens. By watching documentaries, we gain perspectives on the world around us, exercising our right to informed decision-making and participatory governance. Through my screenings, I aim to create opportunities for social and political education, fostering a culture of critical thinking and civic engagement. Documentaries provide a valuable platform for raising awareness on critical issues, making meaningful conversations and inspiring social change.&nbsp;Nasriya: How crucial is creative freedom in documentary filmmaking for fostering critical thinking and public debate?Amudhan: In documentary filmmaking, merely reporting or recording is not enough. It is an opportunity to critically examine any subject, sparking meaningful discussions. We must be courageous enough to ask difficult questions, amplify marginalized voices and confront uncomfortable truthsUnlike commercial cinema, documentary filmmakers must take risks, challenging the status quo and pushing boundaries. By doing so, we humanize overlooked stories, Inspire critical thinking and foster empathy and understanding.&nbsp;Nasriya: How did your initiative “Marupakkam” come about…?Amudhan: Marupakkam is a network of people collaborating to promote documentary filmmaking and social change. We invite participation from individuals across India in various capacities, including funding, research, topic development, filmmaking, screening, and documentary workshops.&nbsp;<figure class="wp-caption alignright" style="border-width:0px;box-sizing:border-box;display:inline;float:right;height:auto;margin:5px 0px 20px 20px;max-width:100%;padding:0px;vertical-align:middle;width:1080px;" id="attachment_30029" aria-describedby="caption-attachment-30029"><img src="https://strapi.bangalore2.com/uploads/Screenshot_20240927_1713542_bec309fa73.png" alt="Screenshot_20240927-1713542.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Screenshot_20240927_1713542_bec309fa73.png 245w,https://strapi.bangalore2.com/uploads/small_Screenshot_20240927_1713542_bec309fa73.png 500w,https://strapi.bangalore2.com/uploads/medium_Screenshot_20240927_1713542_bec309fa73.png 750w,https://strapi.bangalore2.com/uploads/large_Screenshot_20240927_1713542_bec309fa73.png 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30029">Homepage of Marupakkam [Visit <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="http://marupakkammadurai.blogspot.com/?m=1">Here</a>]</figcaption></figure>Our activities involve screening documentaries, researching social issues, making films on relevant topics, teaching documentary filmmaking, and showcasing films made by others. Through these efforts, we aim to foster a community that inspires social change through documentary filmmaking.&nbsp;&nbsp;Nasriya: As a prolific documentary creator what advice would you give to emerging filmmakers?Amudhan: To young and upcoming filmmakers, I say: read widely, travel extensively, and cultivate an open-minded perspective. Listen to diverse voices, even in everyday settings like markets, where numerous perspectives converge. If you don’t have an open mind, you will only hear the voices that confirm your existing views. But with an open mind, you will identify and appreciate the varied voices, even within the same marketplace.</div></div>

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Amudhan’s Craft, Concerns and Challenges

<img src="https://strapi.bangalore2.com/uploads/IMG_20241127_WA_0007_770x470_f163a9a841.jpg" alt="IMG-20241127-WA0007-770x470.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_IMG_20241127_WA_0007_770x470_f163a9a841.jpg 245w,https://strapi.bangalore2.com/uploads/small_IMG_20241127_WA_0007_770x470_f163a9a841.jpg 500w,https://strapi.bangalore2.com/uploads/medium_IMG_20241127_WA_0007_770x470_f163a9a841.jpg 750w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">As young debutante filmmaker Payal Kapadia’s Cannes award winner “All We Imagine as Light” is creating waves across India after its theatrical release in the third week of November, senior film writer Shoma A Chatterjee caught up with her to talk about the film as well as the larger motivations of the director. Shoma finds out that there is more to Payal than meets the eye and the interview too underscores this.<hr>If you are meeting Payal Kapadia for the first time, she would come across as a young, sprightly woman with a sweet, simple smile. But as you spend more time with her and start to talk about her life and art you realise that she is neither sweet nor simple. And all of a sudden you remember that old saying; appearances are indeed deceptive.We – both connoisseurs of good cinema and the mere consumers of everyday news from different sources – know Payal as the girl who took everyone in the film world by surprise when her debut feature All We Imagine As Light became the first Indian film to play in competition at <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.festival-cannes.com/en/f/all-we-imagine-as-light/">Cannes</a> in 30 years. Our sense of surprise intensified when the movie also became the first to win the festival’s coveted Grand Prix, deemed to be the Cannes silver medal.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:620px;" id="attachment_30740" aria-describedby="caption-attachment-30740"><img src="https://strapi.bangalore2.com/uploads/images_2024_11_27_T165349_946_c9c8e0b2c0.jpeg" alt="images-2024-11-27T165349.946.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_11_27_T165349_946_c9c8e0b2c0.jpeg 234w,https://strapi.bangalore2.com/uploads/small_images_2024_11_27_T165349_946_c9c8e0b2c0.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30740">Cast members celebrate the victory at Cannes</figcaption></figure>But Payal is not as sweet as she looks. She is a gutsy young girl who, in 2015, was among the 35 students arrested for protesting against the Narendra Modi led Bharatiya Janata Party (BJP) – National Democratic Alliance (NDA) government’s choice of a new FTII chairman. The arrests took place on day 68 of a nearly 5-month demonstration against the government’s appointee, the actor-turned-politician Gajendra Chauhan. Chauhan, as most of us know, got this coveted position owing to his deep connections with the BJP.Kapadia was later stripped of her scholarship and the chance to participate in a foreign exchange program. She managed to complete her education. Later, the FTII supported her travel to Cannes in 2017.The FTII even got around to financially support her travel to Cannes in 2017, along with her short film, Afternoon Clouds. But this does not take away from the fact that the criminal case against her, and against several dozen fellow students, remains open.After the recent release of “All We Imagine As Light” across Indian screens, Kapadia opened up to the Press. Even as she welcomed the media interactions including one-to-one interviews she requested all, rather sternly, that the questions remain confined to her film. However, I was lucky and got Payal to talk not just about All We Imagine As Light but her oeuvre as a whole, including her experience as a documentary and docu-feature filmmaker. Excerpts from the interview.&nbsp;Shoma A Chatterjee: Tell us a little about your choice in filmmaking, especially your earlier docu-feature shot in Black-and-White called the Night of Knowing Nothing.Payal Kapadia: It is a dramatized story set against the very real backdrop of the student protests at FTII, which the film chronicles in vivid detail. This film also debuted at Cannes in 2021, where it premiered in the Directors’ Fortnight section, and won the L’Œil d’or award for Best Documentary. Since I tend to make films on the margins of India’s movie industries, telling stories that directly rebuke India’s political institutions, I need to seek funding from non-mainstream sources. Sometimes, it comes from international sources that support independent cinema. Much of it is French. I have sort of gravitated towards marginal people or the issue of marginalization of people so getting funding from Indian producers is a big question.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:666px;" id="attachment_30741" aria-describedby="caption-attachment-30741"><img src="https://strapi.bangalore2.com/uploads/night_of_knowing_nothing_8_protest_march_1ca63070c8.jpg" alt="night-of-knowing-nothing-8-protest-march.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_night_of_knowing_nothing_8_protest_march_1ca63070c8.jpg 245w,https://strapi.bangalore2.com/uploads/small_night_of_knowing_nothing_8_protest_march_1ca63070c8.jpg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30741">A scene from ‘Night of Knowing Nothing’</figcaption></figure>SAC: What was the trigger that drove you to this very unusual story that we see in “All We Imagine as Light” is?PK: When I was in the final year at the FTII, a family member was admitted for treatment in a hospital. I visited the hospital everyday and noticed how tough it was for the nurses to work and also lead their lives because so many of them come to the city from different corners of India to Mumbai. I had felt that I should make a film on many such nurses uprooted from their native homes as they come in search of a livelihood.SAC: How did you decide on the casting?PK: I had decided to cast Kani Kusruti as Prabhawhen even as I began to write the story. And having watched Chhaya Kadam’s performance in a Nagraj Manjulefilm in Marathi I instantly became her fan. When I began to work with her, I realized that she had similarities with the character she was portraying. She had a clear picture of the background of the character of Parvati. She too originally belonged to Ratnagiri, a noted seaside town in Maharashtra but lived in a Mumbai suburb now. She had vivid knowledge of people who lived in coastal areas and the importance of aqua beings like fish and crab. And as for Divya Prabha, who plays Anu in my film,I discovered her in a film I had watched on Netflix, in which, right through the film, she wore a face mask and emoted only through her eyes.<img src="https://strapi.bangalore2.com/uploads/Screenshot_20241127_165555_Drive2_7357b4012b.jpg" alt="Screenshot_20241127_165555_Drive2.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Screenshot_20241127_165555_Drive2_7357b4012b.jpg 216w,https://strapi.bangalore2.com/uploads/small_Screenshot_20241127_165555_Drive2_7357b4012b.jpg 500w," sizes="100vw" width="undefined" height="undefined">SAC: All We Imagine as Light is now commercially released in Indian theatres. What are your expectations from the box office?PK: For filmmakers like myself, this very concept of the box office is extremely challenging. It is so very difficult to get a producer willing to produce my kind of film. I do not have any facebook presence at all. So, the very fact that people are spending money to buy tickets just to watch my film is a very happy situation to be in.SAC: What was your initial reaction when you heard your film had won the Grand Prix at Cannes?PK: I was informed by someone from the organizers’ side that I was winning a prize. But he had not said which prize and for what exactly. I have heard stories of winners actually having gone home without taking the award they had won. So, I was not surprised either way. Of course, this is a great, great honour for the entire team. When those whose films I had grown up on were announcing the prize, I almost fainted with joy.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:739px;" id="attachment_30743" aria-describedby="caption-attachment-30743"><img src="https://strapi.bangalore2.com/uploads/images_2024_11_27_T165330_984_15701e20f1.jpeg" alt="images-2024-11-27T165330.984.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_11_27_T165330_984_15701e20f1.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_2024_11_27_T165330_984_15701e20f1.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30743">Cast and crew of the movie on the red carpet in Cannes (Kani Kusruthi’s watermelon handbag was viral on social media. It highlighted solidarity with the people of Palestine.)</figcaption></figure>SAC: In one scene, we see Anu removing her top and exposing herself in front of the camera. How did the CBFC pass the scene without a single cut?PK: This was indeed a big surprise for all of us. I had not the faintest idea about how to approach the censors if they decided to snip that scene. I had also prepared a longish speech to deliver if needed. Thankfully, nothing of the sort happened and the shot remained.SAC: Among those who have watched your film, there is a stream of negative comments too, especially about your projection of marginal people, their poverty and their life stories. How do you react to these comments?PK: All creative people have to face this at one time or another. You want to present a particular perspective. But some react to this with their own interpretation which may be completely different from yours. Not everything is under our control, right? Yet, as a director, I will always try to project my own thoughts and my film will put forth my personal feelings and thoughts about women, I being a woman myself. If people interpret my thoughts expressed through my film differently, I cannot help it, can I?SAC: Unlike the macho, muscled heroes in mainstream cinema, the men in your film are depicted in a low and very subtle key. May I ask why?PK: Well, I feel that often, even men are victims of patriarchy. The gender discrimination our society is ruled by does not benefit anyone. My film does not deal with a single male character from among those who are responsible for this discrimination so they are completely absent from my film. I have personally witnessed while meeting many women before beginning to work on the film, that there are wives whose husbands are working in Dubai or elsewhere, women whose fathers-in-law back in the village do not allow them to wear even the salwar kameez forget about jeans and tees. Beginning with costumes and ending with contraception, the entire responsibility is vested with women. That is why these small bytes appear in my film. For instance, Anu is not afraid to date a Muslim boyfriend or wear Western attire or buy a burkha even if it is for once. She is afraid of going back to her village to get married to a boy of her parents’ choice.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:720px;" id="attachment_30744" aria-describedby="caption-attachment-30744"><img src="https://strapi.bangalore2.com/uploads/Screenshot_20241127_165533_Drive2_70a876af37.jpg" alt="Screenshot_20241127_165533_Drive2.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Screenshot_20241127_165533_Drive2_70a876af37.jpg 219w,https://strapi.bangalore2.com/uploads/small_Screenshot_20241127_165533_Drive2_70a876af37.jpg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30744">Anu, played by Divya Prabha, in the movie</figcaption></figure>SAC: What is your response to Laapata Ladies joining the Oscar Race?PK: I am very happy despite many stories and gossip that floats around about the Oscar race among Indian films. But it is certainly heartening that woman’s voice is finally getting heard. It does not matter whether it is my film or Kiran Rao’s or RimaDas’ or Sandhya Suri. We are all women, aren’t we? And that’s what is important for me.And on that note, we part.</div></div>

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Payal Kapadia and All That We Imagine About the Filmmaker

<img src="https://strapi.bangalore2.com/uploads/IMG_20241203_WA_0049_f3dccab44f.jpg" alt="IMG-20241203-WA0049.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_IMG_20241203_WA_0049_f3dccab44f.jpg 245w,https://strapi.bangalore2.com/uploads/small_IMG_20241203_WA_0049_f3dccab44f.jpg 500w,https://strapi.bangalore2.com/uploads/medium_IMG_20241203_WA_0049_f3dccab44f.jpg 750w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">On the International Day of Persons with Disabilities (December 03), Vancouver-based Spice Radio journalist Gurpreet Singh speaks with Manjira, the daughter of the late Prof. GN Saibaba, a physically challenged scholar who died due to health complications created by inhuman jail conditions after being incarcerated under trumped up charges for questioning power.&nbsp;&nbsp;Here are some excerpts from the conversation:<h3 style="box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:20px;line-height:1.2;margin:0px 0px 15px;padding:0px;text-align:left;">Q: What can you tell us about some early memories of your dad?&nbsp;</h3>A: In my early childhood, like for the first five-six years of my life, I spent it with my grandmother, because both my parents were full time activists some days traveling all over the country. They were not settled in one city and I would always look forward to the time when my dad would come. I was really tiny at that time, I used to like to get on top of my father’s stomach and I would not leave him alone till he told me many stories of different things. I would constantly keep asking and I had to be put to sleep with some effort. He would sing me a song about a worker working so hard doing everything for us. So he used to sing revolutionary songs about workers to me as lullabies.&nbsp;That’s like one of the earliest memories that I still remember so fondly about him.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:423px;" id="attachment_30819" aria-describedby="caption-attachment-30819"><img src="https://strapi.bangalore2.com/uploads/image_10_50916aeff4.png" alt="image-10.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_image_10_50916aeff4.png 137w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30819">Prof GN Saibaba with daughter Manjira (left) and wife Vasantha (right)</figcaption></figure><h3 style="box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:20px;line-height:1.2;margin:0px 0px 15px;padding:0px;text-align:left;">Q: Being an educator, what else did he teach you as a child, apart from helping you in learning your school lessons?&nbsp;</h3>A: Both my parents, they taught me that there is this inherent inequality in society, in the way things are structured and some people are in a position of privilege and power. And at first I didn’t understand things exactly. You know, when I was a kid, I would attend all these meetings and protests my parents would be a part of, but I never understood or felt that glaring inequality of wealth, of class and caste.But that was one of the first things my dad told me about. I was really fascinated by all these western things when I was a kid. When I was in fourth or fifth grade, my dad took me to a new mall that had been built in Delhi and he told me that all these brands are built on top of exploited workers’ labour. He told me that before the mall was built there used to be a slum here where so many people lived.&nbsp;He used to bring such lessons and awareness everywhere and in all little things he did in life. But for me, the one key thing my parents have taught me is to recognise the privilege and inequality that exists in the world and to question it. Also to hope and aim for a society and a world that is filled with equality and ideas of liberty and solidarity.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:856px;" id="attachment_30818" aria-describedby="caption-attachment-30818"><img src="https://strapi.bangalore2.com/uploads/image_11_bcec62d844.png" alt="image-11.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_image_11_bcec62d844.png 187w,https://strapi.bangalore2.com/uploads/small_image_11_bcec62d844.png 500w,https://strapi.bangalore2.com/uploads/medium_image_11_bcec62d844.png 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30818">Prof. GN Saibab with his wife Vasantha (left) and his mother G Suryavathi (right)</figcaption></figure><h3 style="box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:20px;line-height:1.2;margin:0px 0px 15px;padding:0px;text-align:left;">Q: How challenging was it for you to be the daughter of a human rights defender, who had to face persecution?</h3>A:&nbsp;There are two different sides to this. One side is that it is definitely not easy in India right now. To be a human rights activist itself, is a life threatening job. Whether it is my mother, my father, several of my family friends that I know, you are treated almost like a terrorist. The moment UAPA is slapped on you, whether you are proven guilty or innocent, with the atmosphere of fear that the government creates you are immediately treated as a criminal.Society and people look at you through that lens without even digging deep into the matter and looking into all the false cases that has been initiated against human rights activists. To defend peoples’ rights and demand equality has become such a big crime. So that is one aspect which is certainly threatening. Several people I know face this constant fear as to what will happen next.&nbsp;But on the other hand, if you tell me to go back in the past and ask me to tell my dad not to do what he was doing I would never do it. I am sure even he would not think to go back to the past and stop doing his activism. He was not worried whether he was in danger of getting arrested or tortured.Clearly, my identity is based on my dad as an activist. He would not be able to get a peaceful sleep if he wasn’t defending people’s rights because he himself has come from such a place of struggle.</div></div>

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“My identity is Based on My Dad’s As an Activist” Says GN Saibaba’s Daughter Manjira

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Dancing To Her Tune

Malayalam (ml)

Tamil (ta)

English (en)

Hindi (hi)

Telugu (te)

Kannada (kn)

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An Unwritten National Autobiography

<img src="https://strapi.bangalore2.com/uploads/images_1_6258d15665.jpeg" alt="images-1.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_1_6258d15665.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_1_6258d15665.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">People who read literature in India knew him, MT Vasudevan Nair. Language was no hurdle for his works to reach out beyond the state borders of Kerala. While Malayali diaspora took a handful of nostalgia along to the places they went, a little bit of MT was also in that.Today, the big business of literature finds translators to translate anything that moves. All tetrapods of literature are given awards that stink of corporate imperialistic nexus. But MT belonged to a different era when blood recognised blood, genius recognised genius. He got translated not once but several times.Basheer, Takazhi and MT were the triumvirate that could transcend the borders and stand tall among the Indian modernist literature. Yes, MT’s literature also had a fair amount of auto-fiction but he hoodwinked it with the magic of text. He was a persuasive minimalist both in writing and in person.An unsmiling MT could generate generations of readers who could smile through tears. MT wrote about a collapsing social structure that divested the old feudal class with their ill-gotten properties. But their social capital remained intact and could exert a lot of influence among the readers by becoming the surrogate emotional ethos of a transition time of Kerala’s socio-political history.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:1196px;" id="attachment_31084" aria-describedby="caption-attachment-31084"><img src="https://strapi.bangalore2.com/uploads/mt_1024x575_251dd09907.jpg" alt="mt-1024x575.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_mt_1024x575_251dd09907.jpg 245w,https://strapi.bangalore2.com/uploads/small_mt_1024x575_251dd09907.jpg 500w,https://strapi.bangalore2.com/uploads/medium_mt_1024x575_251dd09907.jpg 750w,https://strapi.bangalore2.com/uploads/large_mt_1024x575_251dd09907.jpg 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31084">MT during his Interview with Sabha TV (Watch <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/watch?v=NttnjeaVqn0">Here</a>)</figcaption></figure>When society evolved into a different being altogether, MT turned to the treasure trove of myths and itihasas to eke out allegories that explained the pain of loss, of class, roots and love. His literature spat on the face of bigotry, whether it was religious or familial. He was so stoically poised in his literature that none could have challenged him and expelled him from the world of literature.MT’s literature spoke of love and separation as vehemently as he wrote about the changing social complexions. But he was not sentimental. There was something in his writing that touched some chord in every reader. Before initiating themselves into Ambedkarite politics, the Dalit ideologues also, in their torturous nights of youth, pined for MT’s characters.Those who call the modernists, Dad Vibes, have really lost the sight of the forest while focusing on shrubs and thicket. MT was a forest that moved, as in the great tragedies. He remained a serious writer while the post modernists fell in the trap of publishers and wrote lightning stories and became laughing stokes.MT remains, so is the MT critique. That’s the beauty of a great writer’s life and of course, death.</div></div>

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MT: A Forest that Moved

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An ‘Overture’ Stringing The Pope, Yesudas and the ‘Songster Chaplain’

<img src="https://strapi.bangalore2.com/uploads/1_cc9df0fe47.png" alt="വലതുപക്ഷവുമായുള്ള-സംവാദത്തിൻ്റെ-വ്യർത്ഥത-1.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_1_cc9df0fe47.png 245w,https://strapi.bangalore2.com/uploads/small_1_cc9df0fe47.png 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whom thou say’st,“Beauty is truth, truth beauty,—that is allYe know on earth, and all ye need to know.” (John Keats, Ode on a Grecian Urn)<img src="https://strapi.bangalore2.com/uploads/6_904b2e9f2a.jpg" alt="6.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_6_904b2e9f2a.jpg 147w,https://strapi.bangalore2.com/uploads/small_6_904b2e9f2a.jpg 470w," sizes="100vw" width="undefined" height="undefined">Siddharth Tagore, Founder Director of Delhi’s <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.facebook.com/artkonsultindia/photos">Art Konsult</a> Gallery is no more. He cannot be contained in such a cold statement, so matter of fact like death itself. Besides the gallery, he founded magazines such as Art and Deal, Travel and Deal and many other publications. Even when he knew that he wouldn’t make any profit out of the publications, he invested money in them because he knew art wouldn’t survive without the literature surrounding it.&nbsp;Yet another venture of Tagore’s was an auction house, namely Art Bull. The name was perfect for a bullish art market of the 2000s. But the glitch was this: Siddharth Tagore was not bullish. Nor was he bearish. He was cherubic, complete with a benign smile on his face and a burning cigarette between his fingers. Whenever I came out after having a meeting with him, I would ask myself, was he cut for this business?&nbsp;Tagore could have been a poet and dreamer like his internationally renowned namesake of yesteryears.. After the pandemic period I met Tagore after a gap of four years at the Visual Art Gallery, India Habitat Centre where Art Konsult had organized a group exhibition. After the inaugural function, I shook hands with him and I realized that his hands had lost the firm grip though the warmth remained. “I have not been keeping well,” he told me.&nbsp;<div class="gallery galleryid-31051 gallery-columns-3 gallery-size-full" style="box-sizing:border-box;margin:30px -8.96875px 0px;padding:0px;" id="gallery-1"><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/c_768x993_a7cec9742c.jpg" alt="c-768x993.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_c_768x993_a7cec9742c.jpg 121w,https://strapi.bangalore2.com/uploads/small_c_768x993_a7cec9742c.jpg 387w,https://strapi.bangalore2.com/uploads/medium_c_768x993_a7cec9742c.jpg 580w," sizes="100vw" width="undefined" height="undefined"></figure><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/b_768x985_3f8fb449e6.jpg" alt="b-768x985.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_b_768x985_3f8fb449e6.jpg 122w,https://strapi.bangalore2.com/uploads/small_b_768x985_3f8fb449e6.jpg 390w,https://strapi.bangalore2.com/uploads/medium_b_768x985_3f8fb449e6.jpg 585w," sizes="100vw" width="undefined" height="undefined"></figure><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/a_7888f94e4b.jpg" alt="a.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_a_7888f94e4b.jpg 121w,https://strapi.bangalore2.com/uploads/small_a_7888f94e4b.jpg 385w,https://strapi.bangalore2.com/uploads/medium_a_7888f94e4b.jpg 577w," sizes="100vw" width="undefined" height="undefined"></figure></div>Then on another occasion, at the same gallery, I met him again, this time without the crowd. He preferred to wear a pair of fading blue jeans and white shirt, a reminder of those romantic 1970s when every youth in West Bengal dreamt of poetry, love and revolution. Jeans and Shirt were the uniform of love and revolution. I think, when Tagore came to Delhi as a young man, he carried those qualities along, plus his sense of dressing. Lovers in those days smoked rather constantly and drank Old Monk Rum.&nbsp;On that day when I met him, Tagore told me that he had quit smoking, which was news to me. I couldn’t have imagined the man without a cigarette between his fingers or at least a packet of cigarettes to fuss with. I understood the gravity of the situation.&nbsp;Then again, we met when Praveen Upadhyay of the Progressive Gallery at Laddo Sarai organized a talk session with art professionals that included Tagore, Prayag Shukla, Vinod Bharadwaj and myself. Tagore was supposed to talk about the art market. When the mike was handed over to him, he fussed with it for a while and said that he always wanted to make it big by promoting young artists, but somehow, he never made huge business.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:689px;" id="attachment_31054" aria-describedby="caption-attachment-31054"><img src="https://strapi.bangalore2.com/uploads/7_768x511_149563fe01.jpg" alt="7-768x511.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_7_768x511_149563fe01.jpg 235w,https://strapi.bangalore2.com/uploads/small_7_768x511_149563fe01.jpg 500w,https://strapi.bangalore2.com/uploads/medium_7_768x511_149563fe01.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31054">Siddharth speaking to the media at Art Konsult</figcaption></figure>Then I remembered Tagore telling the same during the market boom years that lasted in India for around ten years starting from 2005 to 2015. In 2008, the world market had collapsed, but the Indian art market using its cunning and reserve withstood the pressures and dragged the impending failure for a few more years only to revive itself by the beginning of the third decade of the new millennium.&nbsp;Had Tagore acquired a penchant for failure despite his resilience in running a gallery, publications and an auction house for over three and a half decades ? Did he enjoy calling himself a failure in the art market? Was he romantically involved with the idea of failure even when he kept others who were with him in the business, floating? I don’t know for sure. But Tagore remained grounded and rooted; he tried his best to keep himself away from the nefarious market practices.&nbsp;There were a few people who stood with Tagore in his highs and lows (lows that lasted for not some months but for years together), never deserting him, following his orders. Prashant Seal and Rajula Bisht are two people I remember. These two people have been so close to his heart and even after his twin daughters joining him in the business, both Seal and Bisht never lost their position as the confidantes of Tagore. He loved them like family.&nbsp;I met Siddharth Tagore in 1995. He had started Art Konsult in Hauz Khas Village. Meena Tagore (now Meena Varma) was with him then. Late Vijayan Kannanpally was the editor of Art and Deal. With the growth of art scene, Tagore’s gallery also grew in stature. Art Konsult was one of the few A listed galleries in the city. Tagore took it to South Delhi’s art district, Laddo Sarai during the boom years and later relocated it to Hauz Khas again.&nbsp;<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:562px;" id="attachment_31055" aria-describedby="caption-attachment-31055"><img src="https://strapi.bangalore2.com/uploads/0_768x512_88eabd3bbc.jpg" alt="0-768x512.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_0_768x512_88eabd3bbc.jpg 234w,https://strapi.bangalore2.com/uploads/small_0_768x512_88eabd3bbc.jpg 500w,https://strapi.bangalore2.com/uploads/medium_0_768x512_88eabd3bbc.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31055">Siddharth Tagore with art critic and curator Jyoti A Kathpalia at the Art Konsult, New Delhi</figcaption></figure>It was in his Laddo Sarai phase that I joined him as the Editor of Art and Deal. It was the same when he decided to start Art Bull and Travel and Deal. I brought out around ten issues of Art and Deal between 2010 and 2013, with a gap in 2012 when I joined the United Art Logistics to establish the United Art Fair. Tagore literally lent me to the other organization with a promise that I could walk into the editor’s office at any time that I wanted. And I did go back.&nbsp;As a part of Tagore’s team, he gave me full freedom to edit the magazine and curate exhibitions. I curated a few shows and introduced a few new artists of which some are very reckonable names in today’s art scene. The exhibition ‘Merging/Submerging’ was a showcasing of contemporary photography art and ‘R.A.P.E’ (Rare Acts of Political Engagement), an all-woman show responding to the brutal murder of Nirbhaya in Delhi. This exhibition was a super hit and was discussed in all the print and television media. Art Bull did do a couple of exhibitions and auctions. I did not take much interest in it though Tagore hoped that his auction house could change the scenario and also break certain monopolies. Tagore also initiated an Art History Lecture series which I conducted on his behalf.&nbsp;Siddharth Tagore remained true to his calling. With a kind of detachment, he sponsored exhibitions that he knew well, would not bring any business. He was an avid collector of folk and tribal art and together with Meena Varma, he initiated an organization called ‘Art of the Earth’ for promoting the folk and tribal art of India, much before the ‘folkploitation’ of today’s art market became rampant. Tagore helped whoever came to him with a request for an exhibition or an immediate financial relief. &nbsp;<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:640px;" id="attachment_31053" aria-describedby="caption-attachment-31053"><img src="https://strapi.bangalore2.com/uploads/3_e1734762508660_669x1024_7c977a7959.jpg" alt="3-e1734762508660-669x1024.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_3_e1734762508660_669x1024_7c977a7959.jpg 102w,https://strapi.bangalore2.com/uploads/small_3_e1734762508660_669x1024_7c977a7959.jpg 327w,https://strapi.bangalore2.com/uploads/medium_3_e1734762508660_669x1024_7c977a7959.jpg 490w,https://strapi.bangalore2.com/uploads/large_3_e1734762508660_669x1024_7c977a7959.jpg 653w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31053">Siddharth Tagore signing the <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://amzn.in/d/4TijcgO">book</a> “Ganika- In the visual culture of the 19th-20th Century India” at the Art Konsult</figcaption></figure>&nbsp;<img src="https://strapi.bangalore2.com/uploads/4_560x1024_090314e000.jpg" alt="4-560x1024.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_4_560x1024_090314e000.jpg 85w,https://strapi.bangalore2.com/uploads/small_4_560x1024_090314e000.jpg 273w,https://strapi.bangalore2.com/uploads/medium_4_560x1024_090314e000.jpg 410w,https://strapi.bangalore2.com/uploads/large_4_560x1024_090314e000.jpg 547w," sizes="100vw" width="undefined" height="undefined">When artists in Calcutta packed their wares and set out for Delhi, they knew Siddharth Tagore was there if nothing else worked (perhaps he was their primary destination), along with cigarettes and Old Monk Rum. He never discouraged the people who came to him with a clear intention to exploit. He was not cautious about relationships that brought him a fair amount of heartburn. As I said elsewhere, Tagore was a poet in his heart, with a heart ready to bleed for love and art.</div></div>

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