Pub Date : 2022-08-25DOI: 10.1080/14746689.2022.2115732
Sarita K. Heer
ABSTRACT Social Psychologist Michael defines banal nationalism as ordinary iconographies communicating a sense of nation and permeating daily existence (8). Postage stamps are vehicles of banal nationalism, as they are ephemeral and small government-issued items that seem innocuous. However, the images chosen to be on postage stamps are carefully considered and chosen, and commonly reflect the ideologies of the dominant political party at the time of production. Yet many citizens do not take the time to contemplate why a certain image has been produced on this medium of government authority. In my paper I will unpack the Bharatiya Janata Party’s philosophy and rise to power in 2014 and then discuss how postage stamps issued in 2017, specifically the series on Indian food, reflects the party’s implied ideologies. The government chose to depict twenty-four different foods and broke them up into four categories, two of which are tied to religious, predominantly Hindu, occasions. To print these foods on postage stamps allows the subconscious spread of BJP philosophies.
{"title":"Food for thought: India, postage stamps and banal nationalism","authors":"Sarita K. Heer","doi":"10.1080/14746689.2022.2115732","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115732","url":null,"abstract":"ABSTRACT Social Psychologist Michael defines banal nationalism as ordinary iconographies communicating a sense of nation and permeating daily existence (8). Postage stamps are vehicles of banal nationalism, as they are ephemeral and small government-issued items that seem innocuous. However, the images chosen to be on postage stamps are carefully considered and chosen, and commonly reflect the ideologies of the dominant political party at the time of production. Yet many citizens do not take the time to contemplate why a certain image has been produced on this medium of government authority. In my paper I will unpack the Bharatiya Janata Party’s philosophy and rise to power in 2014 and then discuss how postage stamps issued in 2017, specifically the series on Indian food, reflects the party’s implied ideologies. The government chose to depict twenty-four different foods and broke them up into four categories, two of which are tied to religious, predominantly Hindu, occasions. To print these foods on postage stamps allows the subconscious spread of BJP philosophies.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"331 - 348"},"PeriodicalIF":0.3,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46343050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2089458
S. Mehta
ABSTRACT This paper argues that while fusion music in Shoaib Mansoor’s film Khuda Kay Liye (KKL) (2007) serves to reclaim Pakistan’s South Asian heritage, there are moments in KKL when non-Muslim South Asians are othered. I examine these contradictory elements in the film with respect to two songs. I first look at ‘Bulleh Nu’, an anti-casteist ‘kafi’ attributed to the seventeenth/eighteenth century Sufi poet Baba Bulleh Shah, born in present-day Pakistani Punjab. I then contrast ‘Bulleh Nu’ with the film’s problematic representation of the Sikh as a ‘villainous’ other. Subsequently I analyze ‘Neer Bharan’, a ‘bandis ki thumri’ associated with the cosmopolitan ethos of the nineteenth century kingdom of Awadh, now located in the Indian state of Uttar Pradesh. Alongside my analysis of ‘Neer Bharan’, I write about how KKL only partially distances itself from the conflation of religious and national identities in Pakistan. The minoritization of non-Muslims from the subcontinent in the film is consistent with how they are represented in certain Pakistani educational and cultural texts. Therefore the desire to embrace Pakistan’s pluralistic traditions in Khuda Kay Liye is juxtaposed with a relatively uncritical stance towards non-inclusive notions of citizenship.
摘要本文认为，在肖伊布·曼苏尔（Shoaib Mansoor）的电影《胡达·凯·利耶》（Khuda Kay Liye，KKL）（2007）中，融合音乐有助于恢复巴基斯坦的南亚传统，但在KKL中，也有非穆斯林南亚人被排斥的时刻。我通过两首歌来审视电影中这些矛盾的元素。我首先看的是“Bulleh Nu”，一个反种姓的“kafi”，被认为是十七/十八世纪苏菲派诗人Baba Bulleh Shah的作品，他出生在今天的巴基斯坦旁遮普省。然后，我将《Bulleh Nu》与电影中有问题地将锡克教描绘成“邪恶”的另一半进行了对比。随后，我分析了“Neer Bharan”，这是一个与19世纪Awadh王国（现位于印度北方邦）的世界主义精神有关的“bandis ki thumri”。除了我对《尼尔·巴兰》的分析，我还写了KKL如何与巴基斯坦的宗教和民族身份混为一谈保持部分距离。电影中来自次大陆的非穆斯林的少数化与他们在某些巴基斯坦教育和文化文本中的表现是一致的。因此，在Khuda Kay Liye接受巴基斯坦多元传统的愿望与对非包容性公民概念的相对不加批判的立场并列。
{"title":"Fusion music and fault lines in Shoaib Mansoor’s Khuda Kay Liye","authors":"S. Mehta","doi":"10.1080/14746689.2022.2089458","DOIUrl":"https://doi.org/10.1080/14746689.2022.2089458","url":null,"abstract":"ABSTRACT This paper argues that while fusion music in Shoaib Mansoor’s film Khuda Kay Liye (KKL) (2007) serves to reclaim Pakistan’s South Asian heritage, there are moments in KKL when non-Muslim South Asians are othered. I examine these contradictory elements in the film with respect to two songs. I first look at ‘Bulleh Nu’, an anti-casteist ‘kafi’ attributed to the seventeenth/eighteenth century Sufi poet Baba Bulleh Shah, born in present-day Pakistani Punjab. I then contrast ‘Bulleh Nu’ with the film’s problematic representation of the Sikh as a ‘villainous’ other. Subsequently I analyze ‘Neer Bharan’, a ‘bandis ki thumri’ associated with the cosmopolitan ethos of the nineteenth century kingdom of Awadh, now located in the Indian state of Uttar Pradesh. Alongside my analysis of ‘Neer Bharan’, I write about how KKL only partially distances itself from the conflation of religious and national identities in Pakistan. The minoritization of non-Muslims from the subcontinent in the film is consistent with how they are represented in certain Pakistani educational and cultural texts. Therefore the desire to embrace Pakistan’s pluralistic traditions in Khuda Kay Liye is juxtaposed with a relatively uncritical stance towards non-inclusive notions of citizenship.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"149 - 164"},"PeriodicalIF":0.3,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43941533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2089462
Harsha Vincent
ABSTRACT Food is an important means of signification in cinema and forms a vital part of its semiotics. The article attempts to analyse food symbolism in the Assamese movie, Aamis (2019), directed by Bhaskar Hazarika. In the film, Bhaskar Hazarika parallels the taboo associated with certain meat-eating traditions in Northeast India and the forbidden relationship between a married woman and a young man to create a unique aesthetic rich in food symbolism. In this way, the film tries to destabilise the age-old societal conventions and moral codes. The paper attempts to problematize the cultural imaginary of Aamis (2019) rooted in the vegetarian/non-vegetarian binary. It scrutinises how Bhaskar Hazarika’s attempt to create a subversive critique of societal norms and morality ends up in reiterating and appropriating the binary oppositions and cultural associations rooted in hegemonic discourses.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2089463
Debajit Bora
ABSTRACT Mobile theatre being the one and only regional fully commercial cultural industry in Assam (India) has significant representation of the Assamese culture. The theatre medium started as a socially responsible cultural forum later translated itself into a commercial enterprise. The 1990s repertoire of Mobile theatre can be seen as popular and it often resonates the regional-political events, while by the 20th century, it took an entirely commercial shift and created a ‘populist model’. This paper aims to understand this shift between these popular (political) and populist, through some of the classic theatre productions like Soraguri Sapori (1983) and Titanic (1996). While the first case study attempts to read the performance against the backdrop of Assam Movement and its subsequent emergence of insurgency in the state. Then, the other tries to develop an understanding on the populist shift against the socio-political and neo-economic changes in 20th century. The paper takes performance analysis approach while studying the productions and also trying address the debates around the idea of ‘Popular’.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2089460
Ritika Pant
ABSTRACT Globalization and transnationalism have expanded the physical territory of television and are responsible for global reshaping of media industries and cultures. In the contemporary mediascape, Indian television industry is an interesting site for excavating new transnational patterns wherein the circulation of Indian TV content extends beyond the diaspora and caters to non-diasporic audiences, especially, in South Asia and South-east Asia. The popularity of Hindi language TV soaps in Indonesia, Vietnam, Sri Lanka, etc., have aided in mapping a new ‘tele’-visual geography of popular culture that deems Western media influence as almost insignificant, if not absent. Chronicling the success of two Indian TV programmes – the story of a ‘child-bride’ Balika Vadhu (2008–16) in Vietnam and a Hindu mythological Mahabharat (2013–14) in a Muslim-populated Indonesia; this paper traces the transnational circulation of Indian TV content amongst non-diasporic markets in South-east Asia. Drawing from Daya Kishan Thussu’s notion of ‘contra-flows’ and Brian Larkin’s conception of ‘parallel modernities’, the paper argues that the success of Indian television programmes in non-West media markets diverts our attention towards new kinds of transnational media flows which I have termed ‘neo-global’ flows that operate amongst emerging centres of media production and need not be mapped against dominant Western flows.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2091313
Sudha Tiwari
ABSTRACT Year 2021–22 was celebrated as the birth centenary of Satyajit Ray. The Film Finance Corporation (FFC) and National Film Development Corporation (NFDC) were two of his important financiers and producers. Ray’s Charulata (1964), Nayak (1965), and Goopy Gyne Bagha Byne (1968) were financed by the FFC. NFDC produced some of his later films, viz. Ghare Baire (1984), Ganashatru (1989), and Agantuk (1992). This article remembers Ray by recalling the Corporation’s support towards and celebration of the Master’s films. It revisits Ray’s views on Indian films, New Cinema movement of the 1970s, and films and audience in general with a view to highlight his curious relationship with the alternative cinema movement of India.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2090676
Pragya Trivedi
ABSTRACT Mani Ratnam’s Dil Se (1998), 22 years after its release and its subsequent flop in the Indian box office, was included in Hollywood Insider’s ‘Master of Cinema Archive’ in 2020. Its songs appeared in surprising places, including Spike Lee’s Inside Man (2006), and in 2020, Canadian music artist Tesher’s mashup video, ‘Young Shahrukh’. Ratnam’s use of fantasy-like scenes places the film and its songs in an earlier pre-2000 genre of the song sequence. Song picturizations in pre-2000 Hindi cinema, usually filmed after the song was recorded, were called ‘situations’ and song composition often took place around them (Morcom 31). Film songs and their picturizations functioned as the forerunners of ‘non-resident’ media, a term used to designate media not intended for the audience consuming it (Athique 111). In looking at the film’s transnational movement, I attend to its songs’ imagistic qualities and interpret ‘Satrangi Re’ (The Colorful One), one of the most remarked upon songs in the film, as a translation of narrative, rather than an escape from it. The film’s intradiegetic movement during its transition from narrative to dream- like song sequences and its transnational circulation are marked by a resemblance between interiority and exteriority. In its transnational movement, the link between song and narrative weakens, but at the same time, brings forth new forms of visuality. Such visual presence, already at work in song sequences within their original narratives in pre-2000 Hindi cinema, is the first and preliminary movement of song picturization’s transnational circulation.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2089461
Prateek
ABSTRACT This article explores the poetics and politics of the Indian aunty. I argue that the aunty in the movie The Lunchbox (2013) negotiates with the ancient Sanskrit tradition of akashvani (celestial voice). In the first part of the article, I track the aunty’s trajectory from a loan word in Hindi to a political statement. I then study the aunty through an analysis of Ritesh Batra’s The Lunchbox to demonstrate how the aunty figure rewrites Bollywood’s eroticizing gaze and challenges unpaid female domestic labor. Overall, I examine how the Indian aunty offers another idiom of resistance against the discourse of patriarchy.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2089465
V. Kalra
the of the farmer’s movement against the Indian is to be considered as an example of people power in principle and action, then the importance of the coalition of farm labourers, workers and landowners has to be recog-nised. When the kisan morcha began in November 2020, a dismissive attitude towards it highlighted the male, dominant caste leadership and questioned the possibility of a progressive politics coming out of this subject position. However, through the process of the long struggle, every issue that faces North Indian society came to the fore and the question of caste and the position of those who have no access to land, let alone the dream of ownership, was continuously highlighted from within and outside the movement. It is in that context, that the film Landless by Randeep Maddoke needs to be viewed. This is not only because Randeep himself spent a year at the Delhi borders, participating as an activist-photographer/filmmaker, but this brilliant documentary forefronts those who are at the absolute bottom of the rural labour hierarchy – landless, daily-wage earning, women. This film is an unrelentless and incisive insight into the lives of Dalit labour, predomi-nantly women, daily wage workers. They are at the bottom of the economic hierarchy, their bodies gnarled and hardened, by the harsh, rugged working conditions in which they labour. Perhaps the most powerful segment of the film juxtaposes a tractor fair in which a group of singers are entertaining the wealthy landowners, who are looking to buy farm machinery. The lewd lyrics of the singers are sequenced with the case of a young Dalit woman who is raped by Jat -boys on her way back from school. The abuse by dominant caste men and the trap of economic necessity sets the context of patriarchal exploitation, a brutal system laid bare by Maddoke’s aesthetic framing. The film takes the viewer deep into rural life, with the use of still shots that stay in the frame for what seems a long time, creating an intimacy that is shaken by the violence and hardship of the lives presented.
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Pub Date : 2022-05-04DOI: 10.1080/14746689.2022.2090682
Srijani Ghosh
ABSTRACT Since the process of economic liberalization began in India in the 1990s, globalization opened channels for the circulation of Western popular literature and culture in India, which led to their localized adaptation. An illustrative example of this phenomenon is Indian chick lit, which features plots that have a lot in common with Western chick lit but are adapted to reflect urban Indian popular culture, complete with popular Indian stereotypes like the arranged marriage to make it more relatable to the target Indian audience. Through an analysis of Swati Kaushal’s Piece of Cake (2004) and Advaita Kala’s Almost Single (2009), this essay will illustrate how Indian chick lit represents a newer version of Rupal Oza’s post-liberalization ‘new liberal Indian woman’ and glocalizes the influences of Western culture. I also suggest that Indian chick lit requires a broadening of the understanding of agency to include the choices that privileged subjects make even if they do not dismantle hegemonic power structures.
摘要自20世纪90年代印度开始经济自由化进程以来，全球化为西方通俗文学和文化在印度的传播开辟了渠道，并导致了它们的本土化适应。这一现象的一个例证是《印度小鸡灯》，该片的情节与西方小鸡灯有很多共同之处，但经过改编以反映印度城市流行文化，并加入了流行的印度刻板印象，如包办婚姻，使其更能与目标印度观众产生共鸣。本文通过对斯瓦蒂·考沙尔（Swati Kaushal）2004年的《一块蛋糕》（Piece of Cake。我还建议，印度年轻人需要扩大对代理的理解，包括特权主体所做的选择，即使他们不拆除霸权权力结构。
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