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City of God- The Brazilian Godfather

Cidade de Deus, or, City of God is a Brazilian film, directed by Fernando Meirelles, released in the year 2002, tells the story of life in the slums of Rio de Janeiro, in an area known as the Cidade De Deus, the City of God. Fortunately or unfortunately, you are left in a world you don't want to visit, it won't be featured on a post card, and it's said to be the city ignored by god himself. This movie makes you feel uncomfortable, puts you on the edge of your seat- you are right into the middle of the City and you too are caught up in it's violent temptation. More importantly, it's about the triumph of the human spirit against all odds.

"What are you doing, you're just a kid?" "I steal, I kill, I carry a gun, how can I be just a kid? I am a man."

The Opening Sequence- Most Amazing!


The one thing that stands out so well in City of God is the photography, narration and above all razor sharp MTV style editing that flaws most films with their own styles. Fernando Meirelles really does ram this film home and paints a really bleak image of Brazil the world is none to familiar with. Among many things that amazed me-
  • The cinematography is some of the best I have ever seen- with a very visceral, jerky feel, very reminiscent of Saving Private Ryan.
  • The editing is a kinetic amalgamation of the old styles, and bringing them up to date with the most flashy and modern hip hop styles.
  • I've never seen such amazing character building in such a short time. Especially that of Knockout Ned, it took a mere 10 mins to bring this character from the nowhere to the lead.
  • The very first scene of the film, especially tracking the hen from top followed by the most daring jump cut sequence ever!
  • The football, the music, the heady culture of samba and carnival joie de vivre that never looses its charm. Its Brazil's answer to The Godfather.
  • Screenplay has never been this good. The way it involves the viewer is an amazing craftswork. You tend to forget that you're watching a Brazilian film. Subtitles fade away as you gasp and close your eyes to this fast paced roller coaster ride!
Well, if you ask me, a gangster film never looked this good. It is as if the camera is released in the wide open beaches, and kicked around like one of Ronaldinho's headers. It starts on the sand and moves steadily across. It picks up on the story but then heads into the sun. It then leaves us, in a journey you'll never forget.

Anabhra Ratri Ki Anupama

Anabhra Ratri Ki Anupama is a collection of 101 poems by Sourav Roy "Bhagirath". This book is available. To grab a copy for yourself, contact sourav894@gmail.com

Front Cover




Back Cover




Introduction To Anabhra Ratri Ki Anupama By Rajat Agarwal 
I have seen people who are philosophers. These people who are essentially feelers by nature, the ones who seem to understand human emotions to the core. Making use of analogy and art, these people are masters at expression. Then these are those who are workers. These are the people who take the philosophical guidelines and convert them into actions. Logical and work oriented, they are straightforward and direct. Sourav has been a pleasant surprise to this understanding of mine. He is a philosophical worker. A person who thinks and feels.
It is hard to believe that a person at such a young age can feel human emotions the way he does. Behind his youthfulness you will find a very sensitive person. His poems are a window into the contemporary society. His poems speak about human pain in a mesmerizing manner that is sure to leave a deep impact in your heart. Sometimes while reading the poems he has written, I have felt my reasonable self give way to the emotional self, felt my heart feel the emotions the poet in him depicts so beautifully.
I am sure Sourav's work will make its mark in the field of literature. And for you, it is surely going to be a wonderful reading, heart touching reading.
Rajat Agarwal
Sankalp India Foundation


Here are some glimpse of the book launch-
(Click on the thumbnail to visit the album)

Anabhra Ratri Ki Anupama 1st Edition Launch


Anabhra Ratri Ki Anupama 2nd Edition Launch


The first edition of this book was launched on 15th August, 2009. It was launched in a seminar hall among my people, my family; the Sankalp volunteers.


The second edition of this book was launched on 4th November, 2009. It was inaugurated by my department HOD, Dr Ashwatha Kumar.






"Rashtragaan" in author's voice


"Kramshah" in author's voice


"Joker" in author's voice


"Chappal Se Lipti Chahatein" in author's voice

Price- Rs 140 (Postal charges extra)
Contact- sourav894@gmail.com

Vertigo- Hitchcock's visual poetry on obsession


"Vertigo" is a 1958 film directed by Alfred Hitchcock. A film about obsession. I would put it among the 5 greatest films ever made. I must confess here, that this blog is also inspired by this film. The showman of popular cinema, Mr. Hitchcock directed a remarkable sequence of films in a row, each of them a classic; Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). Never has a director made four such genuinely great movies in such a short space of time, either before or since. The pick of this high standard bunch is undoubtedly Vertigo. From the opening titles, with their circling spiral imagery, to the dramatic final scene this is a movie that takes you to a different time and place. 

Talking too much about "Vertigo" is not a good idea. There's too many obvious spoilers in recounting the plot of the film. "Vertigo" is a uniquely personal film, not only for Hitchcock, but for a broad array of viewers who, like me have latched onto its tragic story. 

The Official Trailer
 

My favorite scene?
Well... There are many actually. A particular scene with mesmerizing camerawork is when James Stewart(Scottie) and Kim Novak hug. We see from Scottie's point of view- the ghostly figure appears in the eerie green-tinged neon light reflected from the hotel sign outside the window. Her metaphysical, spiritual figure assumes solid shape as she moves out of the ghostly green light and crosses the floor to him, to embrace and kiss passionately. The camera pans and swirls around them (their background surroundings dissolve and place them in the livery stable in Scottie's subjective imagination, a location very important to the film)- the sensation must be the same distorted but gratified feelings Scottie is experiencing- vertigo. Completely lost in the dream, overlapping fantasy and reality, the loving couple continue kissing in front of the pale, greenish haze of the window. Also the definitive dolly zoom effect (the camera is pulled away from a subject whilst the lens zooms in to create the "falling-away-from-oneself feeling") on the staircase of the bell tower to create the vertigo dizziness. 

This film is just breathtaking with all its visuals and its aura is just amazing. The cinematography and of course the directing and impeccable acting is just many of the ingredients to Hitchcock's masterpiece. It is a cinematic masterpiece, it is one of the best pictures caught on film, so pure and enigmatic to film history, it flows like good wine, spirally- like the stuff that dreams are made of :)

2001: A Space Odyssey- Beauty is the word!


2001: A Space Odyssey is a 1968 science fiction film by Stanley Kubrick (who happens to be my favourite director as well). Being my favorite film, I have recommended this it to almost everyone I know. This blog is more like an answer to those who found this film slow-paced, and for those yet to watch it, you may continue to read this as a disclaimer to the film-

I'll give you a word- 
Beauty 

Beauty is an under-rated concept. Sure, you'll often see nice photography and so on in films. But when did you last see a film that contains beauty purely for the sake of it? There is a weird belief among cinemagoers that anything which is not plot or character related must be removed. This is depressing hogwash. There is nothing wrong with creating a beautiful sequence that has nothing to do with the film's plot. A director can show 15 minutes of spaceships for no reason than that they are beautiful, and it is neither illegal nor evil to do so.

'2001' requires you to watch it, in a different way than you normally watch films. It requires you to relax. It requires you to experience strange and beautiful images without feeling guilty that there is no complex plot or detailed characterization. Don't get me wrong, plots and characters are good, but they're not the be-all and end-all of everything. There are different kinds of film (this being the best of all), and to enjoy '2001' you must tune your brain to a different wavelength and succumb to the pleasure of beauty, PURE beauty, unfettered by the banal conventions of everyday films.

'2001' is primarily a technical film. The reason it is slow, and filled with minutae is because the aim was to realistically envision the future of technology (and the past, in the awe inspiring opening scenes including an amazing jump cut sequence). The film's greatest strength is in the details. Remember that when this film was made, man still hadn't made it out to the moon... but there it is in 2001, and that's just the start of the journey. To create such an incredibly detailed vision of the future that 35 years later it is still the best we have is beyond belief - I still can't work out how some of the shots were done.

The Official Trailer


The film uses invisible but powerful forces to manipulate the plot but perhaps the most overwhelming one is the picture's vision of man... In Kubrick's fantasy, the Golden Age of man was a neglected instant between a man-ape's exaltation at discovering the first weapon and a nuclear-powered spaceship floating in a graceful orbit around the Earth. Man has indeed evolved As a spectacle "2001" assaults the mind, eye and ear, with stimulating images and suggestions. We are surrounded by a totally believable futuristic environment.The film is filled with brilliant sequences and extraordinary moments: The first interesting minutes in which the story of the apes is told visually, without a single line of dialog; the zero-gravity toilet with its great list of instructions; the stewardess defying gravity by walking the walls calmly upside down; the frightening moment when we realize that HAL is reading the astronauts lips; the magical alignments of Sun, Moon, and Earth; the "Starchild" returning home to charm the orb. "2001" is filled with poetic imagery: the view of the Sun rising over the Earth; the tossing of the bone into the air in slow motion; the slow images of the giant spaceship revolving in a cosmic ballet. "2001" is also a work of great visual acuity. It allows us to view more than the mystery of existence and destiny implicit in every man. Its end troubles many viewers as they demand clarity where there can only be mystery. They insist upon an answer where there can only be a question. Every viewer had a different explanation of the mysterious end of Kubrick's film. But for those who can accept mysticism, the climax is deeply moving. 

"2001" is unique among films in content and scope. The cinematography is out-of-this-world, the special and visual effects are breathtaking, and the classical music is sublime. Stanley Kubrick's "2001: A Space Odyssey" is art in the highest sense, like Leonardo da Vinci's "Mona Lisa", or Van Gogh's "The Starry Night". It is actually more than that!

"Rashomon"- the greatest cinematic exploration of the unfathomable human psyche

"Rashomon" is a 1950 Japanese film by Akira Kurosawa, highly regarded for its philosophical undertones and its exploration of the unfathomable human psyche, "Rashomon" is a brilliantly spun riddle. It is about the four people, who give four different versions of the testimonies at the court, on the recently occurred crime. I'd like to focus here on what I think is the rarest of Kurosawa'a abilities: the way he changes the eye of the camera- and the composition of the world it creates for us, for each of the narratives- some are impressionistic; some flat and full of contrast; some deep. Some are composed around people, some around the environment with people in it, some around fleeting motion. Sometimes the words are the organizing principle, sometimes images.

The story itself deserves a mention: A husband & wife traveling through woods are attacked by a thief, who ties up the husband and rapes the wife. This is as much of the story as we can be sure of. The husband ends up dead of a stab wound. How did he die? Who was responsible? Each of the three give their accounts before a court (the dead husband through a medium!), and each account is entirely different. A woodcutter who witnessed the events gives a fourth, entirely different, account. 

The Theatrical Trailer- 

"Rashomon" is very much a visual film. It would be reduced to unimportant and insignificant fare without the cinematography, which captures the mood and feel of the jungle perfectly, as does the score. The film achieves an epic feel very rare for films filmed in fullscreen, especially during the battle between the bandit and the samurai during the last telling of the story. Kurosawa was also wise enough to choose a location for the film that would accurately capture the eerie, slightly disturbing mood of the story. 

According to my teacher Mr. P M Krishnaraj {Reference}-
"Worth mention is also a line in the movie where the bandit says “it was a very hot afternoon. I was lying under a tree and resting. I saw a samurai who was moving with his wife in a horse. I would not have anything but for a cool breeze…which moved the veil move from the lady’s face and i was mesmerized by her beauty”
Now, how will a normal director shoot this scene. I can think of 3 shots which are cut like this-
shot 1: Bandit lying under tree. Sweat on his face (to denote hot afternoon)
shot 2: Moving shot of bandit and his wife on a horse
shot 3: Wind machine blowing and the veil of lady flowing
But Akira shot this in a very innovative way. And I think that speak volumes about his sheer talent. Here the bandit is clearly shown as a man who has walked long under hot sun and observe the shades of the leaves over his body. In the scene, bandit is sleeping in this state and suddenly the shades on his face starts moving. Not a wild movement, but a gentle move which clearly captures the phrase “cool breeze”. So without using that wind machine, you have shown what was the intention in the script."

My favourite shot in the movie is one which starts with the husband and wife kneeling, facing each other, a view of the wife over the shoulder of the husband; the camera then moves round to the side and simultaneously zooms in on the wife's profile; then pulls back behind the wife, ending with a view of the husband's face over the shoulder of the wife - a mirror image of the initial shot in the sequence. Absolutely awesome! And dating from 1950! Unbelievable!

8 1/2, an autobiographical masterpiece

8 1/2 is of the most original and spellbinding films I know of. One of the beauties of cinema is to merge the artist's memory and fantasy; Fellini certainly utilized this magic to present his story and characters that embody both humanity and mystery. This film is an autobiographical piece (of Fellini himself) about a movie director named Guido, how his life is consumed by his increasing obsession with work. He avoids questions and problems as if they will go away somehow, only to experience more questions and problems. Ultimately, Guido realizes the only way to solve his problems is to face them rather than escaping, accepting himself instead of wishing he was someone else.

The opening dream sequence is most deftly crafted. Guido is trapped in a traffic jam. He loses his breath while unsuccessfully trying to escape from his car. People around (in their vehicles) are starring at him. The whole scene is mute (except the constant monotonous sound) and, from time to time, it freezes. Suddenly, he is free, and flying towards sky. Then, one of his assistants pulls him down to earth. The sequence brilliantly captures Guido's problems (which are dealt with in the rest of the picture) and exposes them metaphorically: him STUCK in traffic, TRAPPED in smoke, SUFFOCATING, wanting to escape, and pulled back down by his peers. Guido wants to make a movie about his (and Fellini's) MEMORIES: how once upon a time he learned about a chant that moves pictures, and the time he danced with the fat feminine prostitute figure. The other main component of his movie involves launching into space, a FANTASY that reflects Guido's (and Fellini's) desire to escape from worldly matters. 

The Opening Sequence-
 

In real life, Guido is having problems with everything from his wife to his movie. So he thinks a beautiful actress, whom he fantasizes but knows little to nothing about, will be the solution to all his problems. When Guido meets the actress, he realizes she can't solve his problems, only he himself has the choice. This realization leads to the film's closure, with Guido having learned what's important to him and the inevitability of taking responsibility. There is also a scene where he is persuaded to ask a catholic priest for an advice about the content of his next film (since his films are widely released there is a moral issue). But he apparently has an aversion towards Church. And then, during a conversation with this priest, Guido suddenly associates his early childhood event (watching a dance of a prostitute Saraghina, and the subsequent punishment by one priest). So, the current event forces its cause to come out of his subconsciousness. Then, there is a scene – quarrel between Guido and his wife (played by Anuk Aimee) while sitting outdoors. She is complaining about his mistress(es) and he is denying everything. Then, his mistress (Sandra Milo) suddenly arrives and, after she saw Guido with his wife, sits to one table not so close. Guido's wife noticed that and realized that woman is his mistress. So, she is continuing her quarrel with him. And then comes one of the most visceral and fascinating scenes in the Movie History. Suddenly, wishful fantasy starts… Guido's wife stands up, coming towards mistress. They are kissing each other like longtime friends and making a nice conversation. Then, Guido enters his house from the childhood (which is shown before) with some presents in his hands. And, there are like 20 women around him fighting for his attention. He is whipping them (dominate them). And there is his wife – peaceful, calm, conservative, loving… So, under the pressure of all-around-him messes he is fantasying. This is psychologically known as the regression to the pleasure principle and is very common. This scene is known as "The Harem Scene" and like others is followed by brilliant, very suitable music score. From time to time, Guido is fantasying a beautiful young woman (Claudia Cardinale). She is another projection of his narcissism – an ideal woman to please all of his wishes not making a single complaint. Rosella represents (symbolizes) his super-ego. Pay attention to their phone conversation. Also in Harem scene (harem is actually his Id, fulfilling all his infantile fantasies) she is ABOVE him making complaints. His producer is "paternal figure". All his father's wishes, demands to Guido are now "reactivated" with producer. Pay attention to very interesting first "fantasy" scene in the movie (on the grave). Father asks a man something like:" How is my boy doing"? and the man makes face like: "Well...". Later we discover that the man is his producer. Guido's wife and his mother, the same thing. And we discover this in the same scene when his mother turns into his wife. Critical writer may represent his raw intellect but also artistic vanity while Conocchia is his neglected emotional aspect. At the end of the movie, he eventually becomes aware of the causes of his confusion and self-deceptions (this sudden awareness is symbolized by "shooting himself", shooting his confusion that is) and having a final monologue: "...Accept me as I am. Only then can we discover each other..."

It isn't really possible to place `8 ½' in any simple category. It is a comedy and a tragedy, a satire and a celebration, a movie about love and about the lack of it, a movie about making art and a movie about living, an autobiography and the most challenging kind of fiction, a masterpiece of style and a movie that's really about something. It's not for everyone, but it should be, and it's quite possibly the single greatest movie I have ever seen. 11 out of 10.

Bharat Ek Khoj

I still remember how much I waited for the four amazing television shows on Doordarshan. Those days were simply the most glorious days of Doordarshan-
1. Vyomkesh Bakshi
2. Bharat Ek Khoj
3. Malgudi Days
4. Surabhi
'Bharat Ek Khoj' was aired for quite a long time. This was first aired in the year I was born. There were 53 episodes, each for a day of the week. 53 episode television series that dramatically unfolds the 5000 year history of India from its beginnings to the coming of independence in 1947. It is a series of explorations into the different periods of Indian history and was made in 1988 by the writer, director and producer Shyam Benegal. The serial is based on a book written by Pandit Jawaharlal Nehru, The Discovery of India.
This series was telecast on Doordarshan. The starcast included Om Puri and Roshan Seth. Pandit Nehru was portrayed by Roshan Seth, who had previously portrayed Nehru in Richard Attenborough's Gandhi in 1982. With an amazing pictorial presentation of Roshan Seth and enchanting tough voice of Om Puri making the serial one of the best TV series aired in India along with Malgudi Days. Categorizing it with documentary, it is the best documentary aired in India along with Surabhi. It portrays the Indian history with some fictional stories to make it more interesting. The timeline and the historical records it provided was a good source of knowledge about Indian history.
The starting track is a great composition by Vanraj Bhatia derived from Rig Veda, Book 10, Hymn 129





नासदासीन नो सदासीत तदानीं नासीद रजो नो वयोमापरो यत |
किमावरीवः कुह कस्य शर्मन्नम्भः किमासीद गहनं गभीरम ||

सृष्टि से पहले सत नहीं था
असत भी नहीं
अंतरिक्ष भी नहीं
आकाश भी नहीं था
छिपा था क्या, कहाँ
किसने ढका था
उस पल तो
अगम अतल जल भी कहां था

सृष्टि का कौन है कर्ता?
कर्ता है वह अकर्ता
ऊँचे आकाश में रहता
सदा अध्यक्ष बना रहता
वही सचमुच में जानता
या नहीं भी जानता
है किसी को नही पता
नही पता
नही है पता
नही है पता

वो था हिरण्य गर्भ सृष्टि से पहले विद्यमान
वही तो सारे भूत जाति का स्वामी महान
जो है अस्तित्वमान धरती आसमान धारण कर
ऐसे किस देवता की उपासना करें हम हवि देकर

जिस के बल पर तेजोमय है अंबर
पृथ्वी हरी भरी स्थापित स्थिर
स्वर्ग और सूरज भी स्थिर
ऐसे किस देवता की उपासना करें हम हवि देकर

गर्भ में अपने अग्नि धारण कर पैदा कर
व्यापा था जल इधर उधर नीचे ऊपर
जगा चुके व एकमेव प्राण बनकर
ऐसे किस देवता की उपासना करें हम हवि देकर

ऊँ! सृष्टि निर्माता, स्वर्ग रचयिता पूर्वज रक्षा कर
सत्य धर्म पालक अतुल जल नियामक रक्षा कर
फैली हैं दिशायें बाहु जैसी उसकी सब में सब पर
ऐसे ही देवता की उपासना करें हम हवि देकर
ऐसे ही देवता की उपासना करें हम हवि देकर

The list of episodes-
  1. Bharat Mata Ki Jai
  2. The Beginnings
  3. The Arrival of the Vedic People (the Rigveda)
  4. Caste Formation
  5. Mahabharata Part 1
  6. Mahabharata Part 2
  7. Ramayana Part 1
  8. Ramayana Part 2
  9. Republics and Kingdoms
  10. Negation and Acceptance of Life
  11. Chanakya and Chandragupta Part 1
  12. Chanakya and Chandragupta Part 2
  13. Ashoka Part 1
  14. Ashoka Part 2
  15. The Sangam Period: Silapaddirakam Part 1
  16. The Sangam Period: Silapaddirakam Part 2
  17. The Classical Age
  18. Kalidas and Shakuntala Part 1
  19. Kalidas and Shakuntala Part 2
  20. Harshavardhana
  21. Bhakti
  22. The Chola Empire Part 1
  23. The Chola Empire Part 2
  24. The Delhi Sultanate and Prithviraj Raso Part 1
  25. The Delhi Sultanate and Prithviraj Raso Part 2
  26. The Delhi Sultanate and Padmavat
  27. Synthesis
  28. The Vijayanagar Empire
  29. Feudalism
  30. The Fall of the Vijayanagar Empire
  31. Rana Sanga, Ibrahim Lodi and Babur
  32. Akbar Part 1 (Din-e-Ilahi)
  33. Akbar Part 2
  34. Golden Hind
  35. Aurangzeb Part 1
  36. Aurangzeb Part 2
  37. Shivaji Part 1
  38. Shivaji Part 2
  39. Company Bahadur
  40. Tipu Sultan
  41. The Bengal Renaissance and Raja Ram Mohan Roy
  42. 1857 Part 1
  43. 1857 Part 2
  44. Indigo Revolt
  45. Mahatma Phule
  46. Sir Syed Ahmed Khan
  47. Vivekananda
  48. Extremists and Moderates
  49. And Gandhi Came Part 1
  50. And Gandhi Came Part 2
  51. Separatism
  52. Do or Die
  53. Epilogue 
This series has been telecasted many times on Doordarshan and is a must for any intellectual. It has a characteristic Shyam benegal style of concentrating on mental conflicts rather than showing war details or opulence of courts. Anyone who keeps on branding Veda communal will have an idea of deep philosophy inherent in them by listening to the tracks. Costumes of all the ages have been captured very efficiently and some of the episodes are my favorite like one on civil disobedience in 1930, quit India in 1942 , Shivaji 1 (It is the only televised account of Shivaji in which his conflicts with local Hindu chieftains are shown). There were some episodes with more philosophical value rather than historical like one in which India law on parentage is illustrated by a boy being branded shudra though his mother was a vaisya, his biological father a Brahman and his adopted father was a kshatriya king or the one involving Ashoka's brother and how he turns to become a Buddhist monk. It is evident that more emphasis is placed on social and economic moorings. Now this may be depiction of Portuguese Mughal conflict for trade interests or an episode where small songs for each of six seasons were sung in traditional tones. I remember the days when it was being telecast and not many had heard of it and had any inclination for it as well. But those of us who did watch it- it was a lifetime experience, from Om Puri intro voice to the actors enacting the days and era gone by- it was mesmerizing for kids like us. What separated it from the Ramayana and Mahabharata of the days was the bare and realistic approach to the facts- It had no pomp or grandeur and there lied the strength of the director.
Timeless Nostalgia.....Continues :) 

क्रमशः

क्रमशः 

I
वो आंसू पीता हुआ बोला -
"हमका माफ कर दीजे हुजुर"
पर ठेकेदार पीटता रहा -
"बहुत देखे तेरे जैसे मजूर !
नेतागिरी दिखाते हो ?
कामचोरी करते हो ?
पहले तो काम के लिए रोते हो..
जो मिलता है तो सर पर ही चहड़ जाते हो !"
"मगर हम तो..."
"चोप्प साला ! बहस करता है
मुह ना दिखाना |
पेट सीने में दफन हो जाए
तब भी ना आना |
बहस करता है !
आँख दिखता है |"
ठेकेदार ने हाँफते हुए आखिरी लात लगायी
थक गए थे जनाब |
थूक कर चलने लगे...
"हाँ कमजोर को तो सभी सताते है साहब !"
बाकी मज़दूरों ने उसे उठाया
"मालिक लोग का
मू काहे लगते हो ?
इन्ही का रहम से घर में कभी कभार चूल्हा जलता है..."
वह चुपचाप वहां से चल दिया..
मुह के खून को भी गोट लिया...
थूकता तो मालिक गुस्सा करते !


II
लड़खड़ाते कदम
अपनी झोपड़ी की ओर बढ़ते जाते थे |
कोई देहाती गीत मानों लबों पर आते थे
पर कराहने से फुर्सत न मिलता |
"साला... कहता है कि कामचोर है
बहस करता है
पगार बढ़ाने कि बात
की थी
मु... मुन्ना बीमार है..."
आंसू पोंछ उसने दरवाजा खटखटाया
अन्दर चुप्पी थी |
उसने दरवाज़े पर अपने लड़खड़ाते हाथ दे मारे |
बीवी ने कपाट खोला |
"का हुआ जी इतना खून...!!"
"का कर रही थी इत्ती देर !
कबसे दरवाजा पीट रखे हैं हम..
तनिक जल्दी नहीं आ सकती थी !"
"आ ही तो रही थी, वो मुन्ना..."
उसने बीवी के बाल झपट लिए
उसे ज़मीन पर गिरा दिया
और बेरहमी से पीटने लगा |
बीवी रो रही थी - "काहे मारते हो..
कमजोर को काहे सताते हो..."
"बहस करती है
आँख दिखाती है !"
वो मारता जा रहा था |


-क्रमशः

                                            -Sourav Roy "Bhagirath"

चप्पल से लिपटी चाहतें

चप्पल से लिपटी चाहतें... 

चाहता हूँ
एक पुरानी डायरी
कविता लिखने के लिए
एक कोरा काग़ज़
चित्र बनाने के लिए
एक शांत कोना
पृथ्वी का
गुनगुनाने के लिए |
 

चाहता हूँ
नीली - कत्थई नक्शे से निकल
हरी ज़मीन पर रहूँ |
चाहता हूँ
भीतर के वेताल को
निकाल फेकूं |
खरीदना है मुझे
मोल भाव करके
आलू प्याज़ बैंगन
अर्थशास्त्र पढ़ने से पहले |
चाहता हूँ कई अनंत यात्राओं को
पूरा करना |
बादल को सूखने से बचाना चाहता हूँ |
गेहूं को भूख से बचाना चाहता हूँ
और कपास को नंगा होने से |
रोटी कपड़े और मकान को
स्पंज बनने से बचाना चाहता हूँ |
इन अनथकी यात्राओं के बीच
मुझे कीचड़ से निकलकर
जाना है नौकरी मांगने...||


                                             -Sourav Roy "Bhgirath"

"Debt-ridden farmers announce that their villages, and some their kidneys, are for sale"- THE HINDU





"Kidney Sale Centre," proclaims a banner sprawled across a ramshackle bamboo tent at Shingnapur village in Amravati district of Maharashtra. The farmers here are threatening to sell their kidneys. "We have invited the Prime Minister and the President to inaugurate this kidney shop. They should allow us to sell our kidneys. We are all ruined by debt. Many farmers are killing themselves. Our kidneys are all we have left to sell," says Madhavgir Champat Giri, who sold all his land to pay his bank loan.
Residents of Shingnapur and other villages such as Dorli, Lehegaon and Shivni Rasulapur in the Vidarbha region have adopted a novel way of highlighting their plight by declaring that their village is up for sale. Farmers are no longer able to survive off the land. Every day, local newspapers report at least two cases of suicide by farmers. Since June 2005, 309 farmers have killed themselves, unable to bear the pressures of huge debts, grim poverty and loss of self-esteem. However, it is the first time that people have protested.
"Earlier, I even had money to dig a well on my field. Now, I have nothing," says Madhavgir. "I sold my land. I can't find work. No one can afford to pay farm labourers. There's no food at home, no clothes. We have become hungry and are roaming like dogs. We just drink water to fill our stomachs and go to sleep."
This once-prosperous cotton belt in eastern Maharashtra has faced the brunt of 15 years of liberalisation. Production cost of cotton has multiplied three to five times, but its market price has fallen from Rs.2,500 a quintal in 1991 to Rs.1,785 now. Prices of other crops have also fallen. Most farmers are running up huge losses and have to borrow heavily to keep afloat. Since most of them have defaulted on loan repayments the banks are unwilling to extend fresh loans. Their only recourse is to borrow from the trader-moneylender at 60 to 120 per cent interest. This has ensured that the farmers are trapped in debt.
"This year has been very bad," says Suryapal Chavan, an All India Kisan Sabha activist from Shingnapur. "Both the soya and cotton crops were washed out by heavy rains. Worse, the government has lowered the price at which it procures cotton by Rs.500. People are worried about how they will run their homes and get money to sow in the next season," he says.
It is the end of the harvest season, but the government has not even opened procurement centres to buy cotton. Yards that were once crowded with bullock-carts loaded with cotton and where farmers waited for days to sell their produce are now deserted. Farmers now sell to traders since they offer a rate that is only slightly lower than the government rate - Rs.1,500-Rs.1,700 a quintal. "There was a time when cartloads of cotton would leave this village. This year not a single cart has left," says Giri. Government procurement is just 6.25 lakh quintals this season where as it was 185 lakh quintals last season. Last year, the government opened 410 procurement centres. This year, there are only 160.
Once cotton was considered `white gold', and Vidarbha's black soil was perfect for its cultivation. There are 2.5 million cotton producers in eight districts in Vidarbha. With liberalisation, the `white gold' became worthless. The government has withdrawn market controls, tariffs and subsidies for agriculture, leaving Indian farmers to compete with farmers in the United States and the European Union who are protected by trade restrictions and provided with billions of dollars as subsidy. The 2002 Farm Bill in the U.S. alone gave $190 billion to large companies growing cotton, wheat, corn, soybean, rice, barley, oats and sorghum.
"Ten years back, the international price of cotton lint was $1.10 a pound ($2.42 a kilo) but now it is 52 cents. The retail price of cotton then was Rs.40 a metre, and it is now Rs.80. Retail prices have doubled but farmers are forced to sell their produce at half the price," says Vijay Jawandhia, an activist of the Shetkari Sanghatana. The government does not even provide proper infrastructure such as irrigation or marketing facilities.




A banner that announces the "sale" of the village.


The Central government can protect its producers from imports and crashing international prices by hiking the import duty on cotton. At present it is only 10 per cent. Import duty on other products such as sugar (60 per cent), rice (80 per cent) and secondhand cars (180 per cent) are much higher. "The government is willing to protect sugar farmers and foreign car manufacturers here but not cotton farmers. Imports have flooded the market and prices have fallen," says Jawandhia.
The U.S., the E.U., Japan and Canada restrict trade from developing countries by keeping tariffs on food products at 350 per cent to 900 per cent. India provides incentives to agricultural imports. But the `free market' does not apply to all agricultural goods. Some are favoured more than others. For instance, Maharashtra's politically powerful sugar cooperative lobby has ensured that sugar remains protected. "The Central government regulates the flow of sugar into the market so that its price is steady. Why don't they do the same to protect cotton farmers?" asks Jawandhia. Left with no alternative, farmers in the region are threatening to abandon agriculture and to sell their kidneys.
The flashpoint in Shingnapur came when suicide struck closer to home, in the village. On the night of December 16, 2005, Jagdish Deshmukh, 40, killed himself by swallowing pesticide. "We held a meeting and decided that we have to organise people. So we started this kidney sale agitation. What other solution? People are so desperate that some would really sell their kidneys, if given a chance," says Chavan.
Jagdish's wife Sangeeta is left to look after their three children and repay the debt. He owed the bank Rs.11,000, but she does not know how much he had borrowed from moneylenders. "This season we got nothing, just 20 kg of cotton and no soyabean. Bank officials came to demand the loan five days before he killed himself. They also came three days after," said Sangeeta.
Now she grows vegetables on their farm and sells them to earn Rs.10 to 20 every day. "We have an electricity bill of Rs.7,000. Yesterday they came and threatened to cut our connection if we don't pay. If they do that, then I won't be able to grow vegetables without the water pump. We'll be left with nothing." Her 12-year-old son Sandeep dropped out of secondary school. Now he goes around the village selling vegetables.
The recession has affected all aspects of village life. People are selling off their cattle. For the first time, landless labourers from Shingnapur have migrated to cities. Meet the `Mumbai Return' gang - the eight who ventured out to try their luck in the big city. Their first adventure outside their village did not last long. "We went to a construction site at Nerul, where we worked for two days. Then there was no work and two of our friends got malaria, so we spent all our money to put them in hospital. As soon as they got out of hospital, we hopped on a train ticketless and came back home," said Maruti Ade, a landless worker.
Maruti and his wife Reena find it more difficult to get work even once a week. Those who own land cannot afford to hire people for work. "Many are shifting to soyabean, and cultivating less cotton and jowar because their prices are so low. That means less work for us, because there is no need for much labour in soyabean harvesting. Cotton harvesting gives women a lot of work, and men are needed for the jowar crop," said Reena. "Those who used to grow tur and jowar and distribute them to us don't have grain in their own homes now."
The crisis has affected all - rich and poor. Meet Anil Tatte of Lehegaon in Amravati district. He won a Krishi Bhushan award from the State government. His innovative farm techniques made his yield double that of other farmers. But, today he is sinking along with the rest of this village. They too have declared that their village is up for sale. He said: "This year I even tried Bt cotton. It is expensive. I spent Rs.80,000 on my 10 acres (4 hectares) and got only Rs.50,000."




The "Farmers'kidney Sale Centre" in Shingnapur village.


Lehegaon, situated in what was once called India's Orange County, was once prosperous. "In the last five years there has been very little water. I have had to cut all the 2,000 orange trees in my orchard. They all dried up," says Anil Tatte. As in most places in Vidarbha, the problem here is irrigation. Only 10 per cent of land in the region is irrigated. In Lehegaon, even private wells have run dry, as the water table has fallen. "The Upper Wardha dam is near our village, but we don't get water from it. Pipelines from there go to the adjoining Wardha district," Tatte said.
The ginning factory in the village, which used to employ 400 people, has not opened this season. Dairy has collapsed. "Ten years back we had 600 cattle. Now we have 60. The price we get for milk is too low. There is a bank here. But now only a few traders go there. Recently the government arrested many moneylenders. Even they have stopped lending. They were the only source of funds for farmers," says Nilesh Tatte, a young farmer.
Residents of Shivni Rasulapur, next to Shingnapur, has also said that they will mortgage the entire village to pay off their debts. "The only time officials visit us is when the bank officers come to collect our loans. Or when the electricity board threatens to cut our lines. Otherwise no one has bothered," said Purshottom Bansod, a farmer leading the agitation.
"I want to sell my land. But no one has the money to buy it," says Arun Chambhare, a small farmer from Dorli, the first village to be "put up for sale". "We are living in darkness. They cut my electricity line. My daughter studies for her Class XII exam with a lantern," he says. Dorli, a predominantly Dalit village, has 47 families, of which 32 are registered as below the poverty line. Many more are sliding further downhill. And many more villages will be put up for sale.

Read the report in The Hindu