Category: Fashion

  • Seraphic Sush | Verve Magazine

    Seraphic Sush | Verve Magazine

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    Photographs by Atul Kasbekar. Styling by Nisha Jhangiani. Make-up by Mahendra Gupta. Hair by Madhuri Nakhale. All furniture, from Eastern Treasure Lifestyle, Mumbai.

    This feature was originally published in Verve Magazine’s Volume 12, Issue 4; September-October 2004.

    Rust silk ruched gown, by Shantanu And Nikhil; white and brown diamond bracelets and earrings, all from Royal Orchid Jewellery, Mumbai. Silver heels, by René Caovilla, Venezia. Diamond solitaire ring, Sushmita’s own. 

    Forget her forgettable Bollywood roles; forget her impactful presence in Main Hoon Na — more lofty presentation than talent; forget her Miss Universe status as old hat; and the fact that we applauded her for adopting little Renee, against all odds…. And then, having peeled off these obvious layers, discover the goddess. Love the fact that she thinks about things with a quicksilver mind, that she quotes from popular songs that somehow add meaning to her life, that she smacks you with a forehead kiss the first time she sees you, that she throws herself wholly into whatever it is she is doing. And, that her rare beauty draws you in, warming instead of leaving you cold.

    She does not see herself as a goddess until a naughty thought occurs — why not the deity of everything. Why not Ma Durga herself. She who is the amalgamation of seven gods, drawing into herself the power of every element that exists or does not exist. “For, from her brow arose the goddess Kali; her mind symbolises Saraswati, the goddess of learning….” Suddenly, she discovers herself among the pantheon of the elevated, the exalted, the divine…and isn’t she just loving it!

    Earlier this year, she reaffirmed to herself, her select status of goddess incarnate. A freak accident on the sets at Films Division, saw her in hospital, thrown by a huge fan. The verdict, protrusion of the spine, of the worst kind. She dreamt of a black stone with a red tikka, so like a photograph, that ‘where is this place?’ she asked. Soon she was heading for Vaishno Devi — by chopper, since she could hardly walk. Bad weather and a VIP visit, however, ordained that she trudge barefoot, seven hours at a stretch. After some initial difficulty, “I was walking so fast that I unknowingly left my family behind. Mobbed by people, I could not see them anywhere and it took them 45 minutes to catch up. Back in Mumbai, the X-rays pronounced a near perfect spine. A miracle…?”

    In the large and comfortable trailer that is her rarefied preserve, she is visited by a rapturous lady. Unbidden tears spring to the young fan’s eyes. “How wonderful to be free to emote what you actually feel,” says her idol. Making me think, more than anything, here is the goddess of illusion — in real life as much as on celluloid. Verve endeavours, through the power of the elements that represent the gods, to demystify the seraphic ‘Sush’.

    Airy Faerie

    “Air symbolises life, freedom, to me. In the last 10 years, I have valued nothing more than freedom. When I had (adopted) my daughter, my mom and dad sat me down and said, you now have a responsibility, you will have to curb yourself. But, being a mother does not mean that I sacrifice myself. I must live my life as I do and share it with someone else. Air, which has been shut in a room, goes stale. It must spread all around. In a strange way, air also symbolises to me the mind and dreams. Like air, the mind is free to go where it likes and where it is driven.”

    Cream georgette pleated jacket, gold sequinned bra, tulle net horse-riding pants with shiny velvet embroidery, by Pria Kataria Puri; ‘Sassy’ three-row necklace in yellow gold with amethyst, pink tourmaline and freshwater cultured pearls, from Bvlgari’s Allegra collection, New Delhi. Freshwater pearl ring and Victorian pearl, blue sapphire and diamond ring, at Vipul Arts, Mumbai. Gold shoes, by Enzo Angiolini.

    Grounded or in the air? I am an extremely passionate person. When I am grounded, I am one hundred per cent grounded and when I let go, there’s no grounding me.

    Personal style Asleep at night, I must be as invisible as air. I am very delicate and vulnerable when I sleep. I wear things that are almost not there — soft satins and silks.

    What blows me away A well-mannered man…A moment that overwhelms me…A child’s innocence…A rare, momentary feeling of helplessness…When a man loves a woman more than she loves him…And, if I decide to have a child biologically, outside of marriage, my mom will blow me away!

    My autobiography Butterfly, with only the last line already written. ‘What the world calls the end of a caterpillar’s life, God calls a butterfly’.

    Fiery Aphrodite

    “Fire, to me, is courage, a killer instinct, the power to go for what you want instead of merely wishing for it. Determination, too, is very fiery.

    I am a very romantic kind of person. Life becomes far more exciting to bear and to live, when you romanticise it.”

    Unbeatable romantic fantasy I like abandoned places, when it comes to romance. Places that have a lot of silence so that when the man breathes next to you, you can hear it. Like the people who came with us, forgot to take us back.

    Flaming attribute I never leave things halfway. I genuinely do not have a single thing in my life that I did not finish. Even like making a mistake, I make it completely.

    Raging thoughts… I want to do La Femme Nikita, a French film, a classic, an action film…. I quite liked myself in Main Hoon Na…. My favourite painting, ‘The Sage’ by Prashant Hirlekar, gifted to my solicitor…. I collect old windows of churches; at Chor Bazaar, they call me as soon as they hear of one…. Hispanic men are hotter than Italian men, they have a soul…. I like designers Roberto Cavalli, Gianfranco Ferre; Neeta Lulla and Manish Malhotra for my films; Malini Ramani and Sabyasachi for myself…. Wearing a G-string is like being in a bad relationship.

    Hottest part of my anatomy My mind because you can try everything with it and never really know it. Live with it, talk with it, stimulate it but it always remains free. My mind is a mystery to me also.

    Favourite song Baz Luhrmann’s ‘Everybody’s Free (To Wear Sunscreen)’.

    Golden halo Highlights by Adhuna Akhtar.

    Electric quote from a mum (Shubra Sen) “She has always had this effect on people, that she draws them to her….”

    Earth Mother

    “Earth symbolises stability, the perception of being grounded. A sense of nurturing, of being a mother. Also, all our materialistic instincts and desires. Desires are an important aspect of life.

    I love nature, I am very close to it and I am a big nature watcher. Nature, of course, symbolises earth. Earth is also a school that you learn from.”

    Off-white and beige georgette blouse and skirt with satin belt, Gauri and Nainika Karan for Magnetic Rag; uncut diamond pendant with pink tourmalines (used as brooch) and uncut diamond purple ‘archery’ thumb ring, both at Vipul Arts; kundan, emerald and ruby pendant (used as brooch) and kundan and semi-precious stone kada, both at Jaipur Gems. All in Mumbai. Beige sandals, by Gucci.

    Mother goddess Two months ago, I entered the kitchen for the first time. My daughter had insisted that I make breakfast for her. I was on the phone the whole time with a friend to figure the egg part of it. The kitchen was a mess. The breakfast, mediocre. My daughter loved it.

    Standing tall Five feet, eight inches in my socks. With shoes, the sky’s the limit.

    Personal style At home, I am very grounded…a very jeans and ganji kind of person.

    Grounded thought A goddess must be very approachable. If you cannot reach her, how will you look up to her?

    Earthy decision Rather than a wishy-washy heroine, I prefer to play the other woman and make it more exciting for everyone concerned.

    Elemental calculation The beauty of all the elements is that they teach you that nothing is permanent. The nature of existence is momentary. Air can be vacuumed, earth consumed by water, water evaporated, fire extinguished. But, in their moment, their existence is complete, teaching you to live in the present.

    The rock How dare the media credit some high-flying industrialist for giving me this ring! Surely I can buy it for myself.

    Water Nymph

    “The greatest part of being a woman is being a nymph. One of the joys of womanhood is being very light-footed. It is part of her poise to be nymph-like.

    Younger, I had a very bad temper. I teased my mom that the temper side of me is Kali. Then, I thought that I should be rock steady as a mountain. Now, I realise that I would rather be flowing water, since water can cut through mountain. The temper part of me was mountain. The endurance part of me, that my daughter has taught me with her endless questioning and wonder of things, is flowing water.”

    Aqua corset with bead, crystal and sequin embroidered net sleeves and layered georgette skirt (stole not shown), by Suneet Varma; Peridot and crystal silver and gold rings, at Vipul Arts, Mumbai. Diamond studs, Sushmita’s own. Blue beaded shoes, by René Caovilla, Venezia.

    Water sign Scorpio

    Teary moment I always wanted to be a princess. When I finally wore the crown (Miss Universe 1994), I held my mother tight all night long, howling and saying now finally I am a princess.

    Seafood Sushi, my most favourite food in the world. I enjoy my sushi in a particular way — there has to be mayonnaise in it, caviar all around it….

    Cool description of self I am a thin, lanky girl.

    Personal style When I present myself to the world. I am like water — very ‘flowey’, very fluid.

    Famous last line No one is perfect. I am the goddess of imperfection.



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  • Pench Tree Lodge | Pugdundee Safaris

    Pench Tree Lodge | Pugdundee Safaris

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    After our stay at Kanha Earth Lodge, we weren’t nearly done with being in nature so we drove to Pench Tree Lodge with Pugdundee Safaris and had another mesmerizing stay in the midst of forests and wild animals. Located close to the Karmajhiri gate entry to Pench National Park, this happens to be the lesser crowded and commercialised of the gates so you technically have to wait in smaller queues at the start of the day to enter the park.

    True to the name, we stayed in a tree lodge that was literally built atop a Mahua tree with stilts for support ofcourse. Lush green views to wake up to for the perfect French press coffee and birds chirping around. The Pench Tree Lodge has 6 cottages and 6 tree houses that are far enough away from each other to provide complete privacy to their occupants and regular sightings of jackals, wild boars and even a jungle cat from time to time.

    Our gorgeous bedroom

    Loved watching the sunset from the bed The most!

    With a beautiful dining and recreational area by the poolside, breakfasts, lunches and dinners are all bound to be equally special each time. They have so many books and board games to play with on the upper deck, not to mention the best sunset viewing spot up there too. We enjoyed many beers while watching the sun go down!

    A lot of the produce comes from their own organic kitchen garden. The rest is procured fresh from local vendors.

    One of the experiences I had a blast during was the cycling both on and off-road. We did about 12 km right up to the buffer zone of the national park and it was so refreshing to not be doing anything else other than changing the gears on your bike and watching the forest and village life go about it’s business as usual.

    Our safaris into the Pench National Park were just as exciting. With spottings of jackals, gaurs, sambhar deers, wild boars and a plenitude of spotted deers..


    Such a beautiful stay with the warmest hospitality, great food and lots and lots of nature talk! Can’t wait to be back here!

    Hope you enjoyed the post!
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  • The Clement Retreats Rajasthan with Vilasa Luxury

    The Clement Retreats Rajasthan with Vilasa Luxury

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    With domestic travel booming in a big way because of covid, more and more people, including myself are always on the lookout for those untouched, well-kept secret places that we can escape to away from the city and discover more about the land that we live in. Which is how I discovered Vilasa Luxury, a travel portal that creates and curates bespoke travel itineraries just for you that cater to your tastes and travel preferences. I was looking at discovering more about Rajasthan even though I’ve visited it so many times before and boy did they deliver! My friend and I had an amazing road trip from Delhi to Dera Vilage, Kalakho and then onwards to Dera Dune, Jamba and we got to see Rajasthan in a completely new light – right from the warmth of the people, to the middle-of-nowhere locations we got to see, to the food we ate and ofcourse the absolutely brilliant experiences we were whisked away on. We came back so refreshed!

    We started with Dera Vilage at Kalakho which is about a 6 hour drive from Delhi. Nestled in an obscure location on the map, the property is in the middle of gourd plantations that get visited by hyenas at nights and witness the local farmers firing their air-guns in the air to scare them away. With 16 cosy cottages, Dera Village almost reminded me of the times I enjoyed the Infantry Officer’s Messes back when my father was still serving in the Army – a close knit family vibe, lush green lawns with an outdoor bar setup, options to play badminton, a pool room equipped with a beautiful fireplace for chilly winter evenings and a common dining area for all the guests to gather and eat together. I LOVED it!

    I must make a special mention of how incredible the food at both the Clement Retreats properties was – they mostly use fresh, organic produce grown in their own farms surrounding the properties while the remaining is obtained locally to support the neighbouring farmers. It reminds you of yummy ghar-ka-khaana with unmatched freshness while at the same time introducing you to typical Rajasthani dishes and preparations that you may never have heard of. Brilliant!

    Dera Dune, Jamba is another 8 hour drive from Dera Village but can also be easily accessed via Jodhpur if you prefer flying. Again, located smack in the middle of nowhere, atop a sand dune, with 16 cottages and stunning 360 degree views of the land around, you get to witness some spectacular Rajasthani sunsets, have beautiful spaces all over the property to relax by yourself, catch up on some reading and a gorgeous pool as well!

    We also got to experience some amazing places like nearby salt pans in a village called Baap, a local potter who opened up his home to us, visitng a weaver’s home where he and his wife hand weave the most on-trend rugs, witnessing thousands of Demoiselle Cranes flying in from Mongolia to stop over in Khichan to feed on Jowar that’s kept for them in a safe enclosure to protect them and help them on their incredibly long migratory journey and ending our stay with a desert camel safari and a beautiful sundowner (with the best banana bread you ever had, no jokes). Can’t wait for you to see the lovely pics from this experience with Vilasa Luxury and The Clement Retreats.

    Dera Village

    Chilling outside our cottage

    Simply amazing to chill in the winter sun with some piping hot potato wedges and beer!

    We even managed to get in a game of badminton and multiple games of pool.

    Dera Dune in the distance while we went for a sundowner walk to the nearby sand dunes

    Our lunch spot under the winter sun on one of the days

    Inside the weaver’s home

    The nearby temple in Jamba which is absolutely stunning during the sunset

    Like I said, the sunsets we got to experience were a thing of utmost beauty.

    Our cottage at Dera Dune

    It was nothing short of phenomenal to witness these thousands of Demoiselle Cranes in Khichan early morning to come feed and take a short break before flying off in their amazing arrow shaped formations.

    At the salt pans at Baap

    At the potter’s home

    The sundowner on our final evening at Dera Dune. Such a lovely evening spent with Anjali of The Clement Retreats!

    Touristy things on our sundowner walk around the sand dunes of Dera Dune

    Extremely touched by the warm hospitality of the entire staff. It was also very special to be a part of the flag hoisting on Independence Day while we were there. We sang the National Anthem and ate laddoos after. Felt as excited about it all as we used to be when we were kiddos!

    Hope you enjoyed the post!
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  • Lingerie Shopping Guide For Spring Vacation | Amante Lingerie

    Lingerie Shopping Guide For Spring Vacation | Amante Lingerie

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    I have already started dreaming of my travel plans in the spring. With travel planning comes the very exciting activity of shopping for your travels! I’ve really been in the mood to indulge in some lingerie shopping to look and feel fashionable during my vacations! Isn’t that what lingerie really is for!? I stumbled upon the amanté Lingerie website and found some really lovely styles that I think I’m gonna be picking up for myself. I’m sharing my favourite picks here that I believe will cover all sorts of moods/occasions and needs for all women. 6 Amante panties and 6 bras that will have all your lingerie needs met perfectly.

    Classic Sleek Bras
    Love the stripe details on the red bra here…makes it seem very chic and sleek. And a nude color underwire padded bra is so essential in any woman’s wardrobe. I usually wear mine under anything white or literally anything else like all the fun tee-shirts that I’ll be wearing while travelling. It is the most versatile piece of lingerie you’ll carry while on vacation.

    Fancy & Fun Bras for Different Moods
    This halter top style lacy bralette makes for a fun element in your look. You can wear a slouchy t-shirt that tends to fall off the shoulder…a bit to show a hint of the blue lace. So good! Or you can wear the bralette as a top..
    A strapless bra is another must-have in everyone’s wardrobe. And red is a super fashionable and a classic colour. Meant for your strappy or off-shoulder dresses that you will be wearing for all your sundowners.

    I have a personal bias for non-padded, lacy, underwire bras which is why this red one makes it to my list 🙂 . Also, personally, non-padded bras are so much easier to pack because you can fold them flat with the rest of your clothes.
    This cool, basic, solid black bra has a Moisture Management Technology in place which makes it sweat absorbent and regulates moisture, keeping you fresh all day long. A great piece to carry for when you know you will be out all day exploring new places and need a bra that will carry you throughout the day.

    Panties
    This red panty matches the first bra I shared, and a matching pair is another must-have in your wardrobe. And a black lacy one is a must have, they are trendy and fun! A black lacy panty is great under any black outfit all the while making you feel uber comfortable underneath.

    A cute, ditsy floral print panty to keep things light. I’d ideally wear this under casual jeans. And a nude color lacy panty – another essential that everyone must have. Goes best under white/skin color or literally any color outfits.

    I like high-waisted panties because they tend to conceal any waist bulges that you may not be happy with and make all the contours smooth 🙂 . Will go perfectly under the high-waisted jeans I like to wear most of the time while travelling.
    I like the purple panty mostly for its unique color! Always fun to carry a different color for a pop.

    Hope you enjoyed the post!
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  • How to Choose the Perfect Sports Bra

    How to Choose the Perfect Sports Bra

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    No matter what sports you are into, training in the wrong sports bra makes you suffer. It makes you feel the sort of discomfort, soreness and sagging you never want. Here, nothing helps but a perfect bra type and fit. In this handy guide, you will be learning how to find the right sports bra for you.

    With each running stride and body move, breasts move not only up and down but also side to side, simulating a butterfly pattern. If not supported, lifted, and held tight to the degree needed for a particular sport, breasts move excessively and cause a lot of inconveniences. Even worse, permanent stretching can cause breasts to drop. The best bra fit can maximize your lift and comfort.

    How to find the best sports bra?
    Here is a surprising fact! Most women wear a smaller cup and a larger band than needed. Only 15 to 20% of women wear the best bras for their shapes. If you cannot go to a fitter for breast measurements every time you need a sports bra, check out the following details to determine which option works for you best.

    Compression or encapsulation
    – Compression: Shelf bra styles are ideal for smaller cup sizes (A and B) or low to moderate-impact workouts.
    – Encapsulation: Scurr’s research suggests that women with large breasts than compression-style ones should opt for individual cups sports bras.

    Racerback or wide straps
    – Racerback: They have a cinch in the back, so the straps anchor the bra closer to the body and provide more support.
    – Wide straps: Compared to T-backs, shoulder straps distribute weight better and are more adjustable and padded.

    Pullover or back clasp
    – Pullover: Tank styles give the back more covering than clasps do. Those with all-over stretch, on the contrary, lack the rigid front straps, adjustability, and support to anchor large chests.
    – Back clasp: Clasps allow you to tighten the band, from which 70 percent of the bra’s support comes. They are ideal fits for larger breasts, which place more demand on the band.

    DIY test for a perfect sports bra fit

    Including the side panels, the cups, the band, and the straps are three points from which the support comes in sports bras.
    Straps
    Hold together the top of one strap and the centre of the corresponding cup in both hands, then pull. The less stretch gives the more motion control.
    Cups
    Tug the top and bottom of each cup for a stretch test. Again, the lesser gives more motion control. Then put on the bra. In both cases, whether compression or encapsulation style, the cup should hold the whole breast with no slippage.
    Band & side panels
    Slide your finger beneath the band between your breasts. It is a good fit if you should not able to pull the finger more than an inch from your chest. Set the clasp on the first eyelet for an adjustable band; if you have to use the last eyelet to get a snug fit, you had better go with a smaller band. Furthermore, stretch your arms overhead. If the band creeps up, it’s bigger than needed. Go for a smaller size in both cases.



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  • Boutique Homestay | Kanha, Madhya Pradesh

    Boutique Homestay | Kanha, Madhya Pradesh

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    I had the pleasure of visiting a beautiful homestay in Kanha, M.P. (a MIAGO partner-stay) on the boundary of the Kanha Tiger Reserve (near the Mukki Gate) late last year. And I have stunning photographs from my visit which I just could not go without sharing on the blog here 🙂

    The tiger reserve had not yet opened up for the season so we could not go for a safari in the depths of the forest but we got to enjoy some gorgeous sights in and around the area. The sunsets during the monsoons hit very different. The slow tribal life, young boys playing football next to a beautiful water reservoir, really good Blue Tokai coffee all the way here in the middle of literally nowhere, walks through patches of tall grass, insane yum food cooked by the couple that runs the homestay, a tribal wedding, Scamp the doggo, the hundreds of collected beer bottles on display on top of the bookshelves. It was all so cosy and easy somehow. Like we were going back home. It was lovely!

    You can ofcourse book your stay here through the MIAGO website HERE and get all the other details and info you may be looking for. I’m just here sharing the photos that still manage to steal a chunk of my heart 🙂



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  • WestStyleClub at Goa | Westside

    WestStyleClub at Goa | Westside

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    I was recently invited to Goa for a 2 day event with Westside celebrating women on Women’s Day and introducing us to their fresh mew summer collection. In a first from what I’ve seen an Indian brand do, Westside had gathered some of their loyal female customers and treated them to a lavish 2 day Goa stay at Taj Fort Aguada with fun activities, interactive sessions on fashion trends, home décor, skincare & makeup, a lingerie seminar and an intimate and personal conversation with actress Sameera Reddy, over a lot of champagne and really great food 🙂
    It was a very well thought of and curated event and by the end of it we were all a huge group of really good friends with barely any inhibitions (we had ofcourse all discussed our boobs and then some during the lingerie seminar while sipping on champagne!)
    I’m glad I got to be a part of what will hopefully be the first of many WestStyleClub events that promotes further brand loyalty and is frankly a win-win for everybody 🙂
    Sharing some pics from the 2 days!

    All the fabulous women I got to meet and get to know through Westside


    Wearing all Westside – Dress, Footwear and the bra too 🙂

    With Sameera after a fun and intimate chat sesh with her

    My gorgeous room at Taj Fort Aguada

    Just before the lingerie session at Taj Holiday Village

    The stunning view from my room at Taj Fort Aguada

    All Westside home décor products used to setup a cosy bedroom. Displayed at Villa Siolim



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  • “The Position of Party Office is that of Queer Anarchism”: A Conversation with artist-curator Vidisha-Fadescha

    “The Position of Party Office is that of Queer Anarchism”: A Conversation with artist-curator Vidisha-Fadescha

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    Interview by: J. Shruti. Photographed by Akanksha Pandey. Assisted by Asad Sheikh.

    The “party” in Party Office seems like a subversion of the term’s traditional use, but it also offers an expansive way of looking at it by acknowledging that the bodies that exist in clubs, in public spaces, are inherently political because of how they are perceived. Could you tell me how you arrived at this name?
    One of the ideas behind the practice of Party Office is that the gathering is a site where people can engage with each other without a formal commitment to something. The way the neoliberal system judges what is “partying” is to think of it as this wasteful thing where you are doing nothing, but I think that “nothing” is actually a space where you are not participating in the capitalistic system. When you are failing, that is when you are challenging the capitalistic system. I am interested in that failure.

    On the 2019 election result day, I threw a party called ‘Mangone’ because, right before that election, the PM had done an interview with Akshay Kumar about eating mangoes. People wanted to sleep through the day after it became evident that morning that BJP was going to win, but then many did show up for the party because such collective grieving is very important so that you remember you are not alone. This collectivity is anti-systemic, as any system tries to isolate you and make you cynical.

    So, after Modi was re-elected, I started working on nightlife because academic spaces build these theories and critiques, but when it comes to practise, they don’t invest in it. At a club, you have at least three events a week. We would speak to and train the bartenders and security, including about how to make infrastructural changes for a hospitable space for trans people; for instance, “you cannot touch people” or “you cannot use their dead names”. There is no police because we are anti-policing; they criminalise us by rendering us a menace. Here, we help people consume drugs and alcohol safely, have sex safely, and I think that’s what a party should be.

    “Party Office” draws from offices of political parties. And, it also plays around with the institution of an office, an institution which asks for a certain kind of productivity, a certain kind of architecture, a certain kind of gendering of space — so I am also trying to bring queerness into that type of office institution.

    I have had experiences where I felt safe, felt seen and accepted. We know what pleasure is because our pleasure is not necessarily found or represented. Parties become important to transpeople as a site where we can be our full selves; nightlife is also where one finds employment. It is primarily either the entertainment or sex work industries that employ people who are queer or trans. So, I am creating my own space, where we are familiar with each other’s vigilances, and/or respect boundaries.

    “Party Office opens at a moment where, as a generation, we don’t relate or have any associations with our present political parties.” This is from your manifesto. Many academics say that people born after the ’90s are likely to have a consumerist mindset instead of a political one, and that is especially true if you are upper caste and upper class and likely benefitted from the privatisation policy. How do you reason with or explain this feeling of disconnect that is ubiquitous amongst younger leftists in the social space you have created?
    I don’t actually believe in a “left” in India. Firstly, what is claimed as such is communism, and that was appropriated by upper-caste brahmins. And second, the form of communication that communism took was academic writing, which automatically means that communists are not supporting the Bahujans — the large majority. So, I don’t know what we call leftists here because a lot of this language of “liberal, left, centrist and right” comes from American politics, where people still understand what that is. India has not had large national parties for a long time. The BJP came up in the ’80s and was not considered a big party when it did. It is only after numerous Congress corruption scandals that it consolidated the power it has now.

    What I see more are liberals who think, “I will go and give a flower to the police and that is going to work in my favour”. I want to tell them, “You are a fucking idiot because you have not read the manifesto of the police”. It says that “police are formed to protect the state”. If the state wants to harm you, then the police are going to harm you. My position is not at all that of a leftist, I am an anarchist, and the position of Party Office is also that of queer anarchism. I don’t think what the state gives me suffices what I need to live.

    Clockwise from top left: Jyotsna Siddharth, Malini Kochupillai, Ramya Patnaik, Fadescha-Vidisha, Shaunak Mahbubani. All in their own clothing.

    So, at the Party Office, one of the primary things is that people only speak from a life lived. We are not representing anything, and I am not representing anyone. Even in terms of the publications we are producing, if someone has written a text, I find somebody from the same community they come from to edit or translate it because language has its own dialects as well. We are currently publishing a bilingual book in Marathi and English: Towards a Dalit Structure of Archiving; which has essays by people who were organisers of the Elgar Parishad. The translator and editor, Coral, is familiar with the same Marathi which has been used and so doesn’t colonise the authors’ writings.

    We also have a project called ‘Consent of the Governed: Social Strictures, Constitution & Kink’. It critically considers the Constitution to see how it affirms us, or if it doesn’t. The Constitution does not take consent from the people it governs, not the way kink does. So, kink is my counter to the Constitution. It is also my counter to the state. That’s because in kink, there is mutual pleasure always negotiated. There is also continuous consent; it is “relating”, not a relationship.

    Your expressions of dissent have to co-exist with the expressions of the upper-caste artists who also use familial and social connections to establish their legitimacy in the art space. How do you navigate that?
    I have had the privilege of education, but even within the education space, although I have been invited by Ambedkar University, NID [National Institute of Design] and several others as a “guest lecturer”, they have never employed me because my caste is not supposed to be employed in that position. The art world is a privileged place, a very “meri beti ka artwork laga do” [display my daughter’s artwork] kind of space. And the artists who are able to survive are usually upper-caste people, who have their networks within the fields of the work they are doing, both in India and internationally. I don’t want that kind of dependence, and, in fact, don’t have that kind of dependence either.

    How I got to where I am is thanks to a lucky draw. When the Panchayat system was set up in the villages in India, the first elections happened through chit-picking. My grandfather and a brahmin person applied for it, and my grandfather’s name was picked in the draw, and he was made the sarpanch of our village. And then my father was the first person among the community to get into civil services, which was a highly regarded profession. So if it wasn’t for the lucky draw, or the commitment of my parents to always provide for us more than they have ever received, and push us to always learn and always work to support other people, I wouldn’t be here.

    At the Party Office, I am inviting people who I want to grow old with. And in the last two years, Party Office has hosted a lot of people who have left their homes, and have needed a space they feel safer at than their homes. And that is what it is about — building a community that you can feel safe with, can align yourself with and cuddle with.

    You have been invited as a Lumbung artist for the Documenta Fifteen exhibition in Germany. How do you see this in the context of what you have been doing so far at Party Office and the creative outlets you want to continue to engage with?
    Documenta is a contemporary arts exhibition held every five years, and it has been a canon of artistic works that comment on and challenge the status quo. Unlike the commercial and white aestheticised practices you see at Biennales and art fairs. This edition focuses on collective voices coming from the Global South. Ruangrupa, the Indonesian collective who are curators of Documenta Fifteen, with their ramming ethos, have imagined something the Western art world is unable to articulate. The artists and collectives invited ask questions that pierce through the gaze of the white audiences. This year, the organising artist exchange and exhibition has been a large transcultural dialogue among 65 collectives and “collectives within collectives” who are invited.

    Party Office is an art and a social space, which operates transnationally and at satellite locations. It comes together after several years of artistic and organising work. With Party Office, through “conceptual architectures” such as grants, publications, artist commissions and fellowships, our work focuses on foregrounding lived experiences. We are building new archives where authors are able to express their plural self and take agency on their narrative. This work is actively anti-caste, anti-racist and trans*feminist, and that is also because I have lived experiences of being outcasted within these patriarchal structures.

    Some of the methodology we use may not be traditional subjects of enquiry; such as the site of a party, exclusive spaces for trans and BIPoC people, the practice of kink, as well as our work ethos where institutions are held accountable for their incompatible structures. Party Office is also unapologetically political — we are here to work — a work towards having peers and friends who we can share safe moments with, and who care for each other. [“safe moments” is a term my friend Kinkinella uses.]

    I find this year’s Documenta to be meaningful in terms of connecting so many of us who might work together in future, those who share similar empathy or have similar inquiries. Those who seek a certain kind of collective futures. It is also a moment where many years of practice have come together to be shared at such a scale with several new audiences.

    Editorial Notes:

    1. Since this interview, Party Office suspended their programmes at Kassel due to transphobic and xenophobic harassment, and lack of an adequate safety programme offered by Documenta. They have shifted the programme partly to Berlin, and partly online. They have asked for a formal apology from Documenta, who are yet to offer their comment upon the issue.

    2. Taring Padi, an Indonesian artist collective, came under scrutiny at Documenta for their work ‘People’s Justice’, which contained images that were construed as being anti-Semitic. The group has put out a statement saying that the caricatures were not targeted towards a particular group, but were rather a visualisation of the structural militaristic violence that was propagated with abandon by governments, citing the Indonesian genocide of 1965 under General Suharto as an example.

    Disclaimer: The views expressed in this article by the interviewee are personal to the interviewee and are not of the platform on which it is published. Neither does the platform support nor does it oppose the views expressed in the feature/article, but it supports freedom of speech and expression as per the law.



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  • Notes on Dissonance | Verve Magazine

    Notes on Dissonance | Verve Magazine

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    Illustration by Opashona Ghosh.

    In a church adorned with jasmine flowers and fairy lights, I looked into the eyes of my partner and said “I will”. It was a few weeks before the COVID-19 pandemic, and the pews were full — my friends and family had flown into Visakhapatnam from all over the country, and the world, to attend the ceremony. I was wearing an off-white brocade sari, a champagne-coloured veil that matched the sari’s zari and a shade of lipstick that was in step with my brown-skinned foundation. I liked how I looked. After reciting my vows, I walked the wedding march holding my partner’s suited elbows — feeling loved and accomplished.

    This moment had been 16 years in the making. After several (exhausting) dates, multiple relationships that went nowhere, unspeakable abuse and hours of therapy, I found my home in a Dalit man. He came into my life at a time when I had resigned myself to believing that love was too entangled in caste for it to be true.

    My mother — also a Dalit feminist in her own right — had anticipated this moment for quite some time. This was typical for an Indian Christian family, but there was also a different charge to this because I had lost my father 12 years ago in 2010. His departure meant that my wedding became her sole responsibility, and her lack of social capital would make the pursuit difficult. Unlike her peers, she had not coerced me into seeking an arranged marriage, and she pushed back against those who undermined my “worth in the marriage market”. She did her part to make me believe in “true love” and wished that I, too, would find someone who cherished me as my father cherished her. The wedding, thus, was her miracle; so much so that she wore flowers in her hair for the first time after my father’s passing. And to this day, she keeps reminiscing about the events that led up to our wedding, including the parai attam that kicked off our reception in Chennai.

    During my pursuit of this true love, I spent most of my twenties believing that “love conquered everything”. I was unaware of my perceptibility as a dark-hued Dalit woman and the implications that held for others around me as I started acting upon them. “It is a force unlike any other”, I had internalised and argued, a force that transcended religion, like in Bombay, or caste, like in Kaadhal, or class, like in Maid in Manhattan. And with every sour experience, I convinced myself that my partner was just one date away, one flight away or one swipe away.

    I watched the second season of Bridgerton with much glee. During one of her conversations with Anthony, Daphne describes love as this: “If you say she is the one in whose presence, you cannot properly think, or even breathe. If you say you feel that feeling…the one that makes it impossible for you to look away from them at any given moment.” The depiction she offers is certainly charming, endearing even. It is also no different from what popular culture has dictated about how desire feels — this apolitical romantic attraction based on preconceived notions of what a desirable body looks like. But it doesn’t consider how desire, in and by itself, could be a choice that is conditioned, however personal it may appear at first. And even though Bridgerton is not a show I look towards to give me an astute articulation of caste and racial hierarchy structures, what it does offer is fantasy. But, it does so without acknowledging that fantasies are often products of systemic forces.

    The question then becomes this: is it possible to feel desire when you haven’t already worked towards wanting to desire that person? Haven’t been conditioned into wanting to desire that person, socialised into desiring that person?

    A decade ago, I met a nadar Christian man on a matrimonial website. He told me it was “fine” that I was Dalit, “as long as I did not show it”. The extent of his bigotry and its egregiousness from that point unravelled quickly. Shortly after, he disclosed his belief that Hitler’s idea of Aryan supremacy made complete sense and, by extension, so did brahmin superiority — which drew upon the same logic of hierarchy and subjugation. The very next day he told me his family has insisted he marry into the caste. I continued to date him, and in that, I went through more emotional abuse that broke down my confidence in ways I could never heal from.

    When I think back upon all of it, it strikes me as painful dissonance. To say that I felt lonely as a Dalit woman navigating urban spaces in the face of an utter lack of relatable perspectives on desire, does not cover a modicum of the despondence I experienced because of the loneliness. On the one hand were savarna feminists, who were heralding a new world of sexual openness and exploration. They were pursuing supposedly edgy and aspirational writings about the orgasm gap, polyamory and casual sex. On the other hand, were the women in my family, who were harping on about the importance of morality and modest aesthetics. I became a living paradox: feeling pressured to explore intimacy in one moment because I was a “modern woman” and guilt-ridden in the next because I was flouting a hundred rules of respectability. While growing up, I was told that the most cardinal of all sins was sexual promiscuity. This instruction, however, did not just stem from our Christian beliefs but, rather, from a fear that we could get slut-shamed and the severity of the social consequences that would hold. The precarity of our lives and reputations could be threatened even by an unfounded rumour. Our only source of social capital — the Tamizh Christian community — could further ostracise us in addition to the discrimination they were already inflicting. The fear that I could be called “easy” and the reality that men of all castes interpreted my innocuous gestures as “slutty”, influenced most of my romantic and sexual decisions during my formative years, when I approached desire with trepidation.

    One of my first understandings of the kind of conservatism I was experiencing came through my friendships. Curious differences between our experiences, despite some outward similarities, baffled me. It is not like my savarna girlfriends did not have fear drilled into them too; they came from families that were conservative in their own ways. Yet, their worlds were starkly different from mine.

    Most of them identified as feminists and had the awareness to recognise abuse within intimate relationships, but they did not seem to understand how power differentials between partners — especially when one of them is a Dalit woman — intensified the potential for violence. They seemed unaware of the ecosystem that was enabling this harm and would tell me that I was too picky whenever I shared my stories of these disappointments. I felt let down by this lack of engagement, not to mention their disinterest in understanding the specificity of my situation and the stereotypes Dalit women have to confront.

    My experience with the nadar man, and the ones that came both before and after him, felt alien to my savarna friends. In one instance, in the aftermath of an abusive episode with an ex-boyfriend, I was cautioned to “be very sure before I broke up because there was no guarantee I would find someone again”. By not understanding the prejudice inherent to the situation, they distressed me further. I clearly knew what I was hearing was untrue, but thanks to my poor self-confidence, I was unable to openly question it. I remember freezing up as my friend said those words; one of my fears was being validated by someone I trust.

    Dr Tamalapakula, in her brilliant analysis of the conditions of Dalit women on Indian college campuses, explains:

    While the assertive mainstream feminist is respected, the assertive dalit woman is mostly condemned both by upper-castes and dalit male groups. The reason being the visible assertion of feminist students is understood to be the result of superiority of their caste/class and urban life […] where as the dalit middle class woman is expected to reject sexuality to fit the stereotyped image of a victim of caste based sexual violence.

    Regardless of how my savarna girlfriends exercised their sexual freedom (casual sex, sex with coupled men, queer experiments), they never seemed to run out of prospects for dating or marriage. If any of them failed to find a person through modern methods of courtship, their families were still able to find them a partner through arranged marriage; their “hoe phase”* not coming in the way of this. They effectively leveraged global discourses on sexual liberation to allow themselves comfortable choices.

    Women’s lifestyle magazines were worse; they published several first-person pieces about sexual experiences but never acknowledged intimate abuse, let alone delved into its intersections with caste — and the abuse that emerged in that place of intersection. Granted that the information ecosystem in my early twenties was markedly different from what it is today, but it also shows how decision-making structures were skewed back then. It is not surprising that the experiences of Dalit women — in romance, sex and desire — weren’t of interest to editorial teams, which were mostly dominated by savarna men and women. This explains why I did not receive the education to critically understand popular culture and the romantic lives of my savarna peers; it did not occur to me until my exes became explicit in their casteism, when the language to understand their contempt became urgent.

    Although my exposure to mainstream feminism, which manifested in the media I was consuming and through my friends, made me want to blame the women in my family for their “regressive positions”, I later understood why they were so austere when it came to sex and desire. They called themselves “no-nonsense” — a term that indicated a certain comportment; they hoped it would deter unwanted sexual advances. This decision —made both purposefully and subconsciously, to maintain and project a morally upright conduct — was crucial for their survival, especially amid the prevalence of caste-based sexual violence. They had to work extra hard to tackle the impunity with which this violence arose and to come across as “respectable women of value” because Indian societies, by default, ascribe value to individuals based on caste.

    In a piece I wrote in 2018, I mentioned that in Hinduism, the brahmin woman is deemed to be the most valuable amongst women — followed by the kshatriya, the vaishya and the shudra. No value is attached to the Dalit woman; she is regarded as one of the lowest of life forms — polluting and dirty, and on par with wild animals. I had begun investigating the intersection of caste and desire in my twenties, and I dug further into the roots of what is believed to legitimise violence and discrimination within Indian dating. The following verses from the Manusmriti illustrate further:

    [Chapter 8: 373] “A double fine should be imposed on a man who has already been convicted and is accused (again) within a year, and it should be just as much for cohabiting with a woman outlaw or a ‘Fierce’ Untouchable woman.”
    [Chapter 11: 176] “If a priest unknowingly has sex with ‘Fierce’ Untouchable women or very low-caste women, eats (their food) or accepts (gifts from them), he falls if knowingly, he becomes their equal.”
    [Chapter 12: 55] “A priest killer gets the womb of a dog, a pig, a donkey, a camel, a cow, a goat, a sheep, a wild animal, a bird, a ‘Fierce’ Un-touchable, or a ‘Tribal.’”

    Dr Roja Singh, whose work I read last year, in her book Spotted Goddesses: Dalit Women’s Agency-Narratives on Caste and Gender Violence, has commented on these verses:

    “In the Manusmriti, a Dalit woman will cause the downfall of a caste person as the reification of curse. The caste person who has intimate relations with her becomes “untouchable” because she pollutes their purity and destroys chances of salvation […S]he is the brute whether she is the victim or not, and her body as the curse becomes the premise of victimisation of which caste males need to beware. However, the Manusmriti does not state that the untouchable woman could gain redemption in sexual relations with a caste male embodying “purity” [.…] A Dalit woman is stagnant in her polluted state as “a curse” and “the cursed” as she cannot recess into anything worse or become anything better.”

    From the above, the distinctive forms of aversion and domination reserved for Dalit women become very clear. The Hindu texts are derogatory to all women, and the Manusmriti, in particular, has been influential in coding caste-wide misogyny into the Indian social system. But subject to the authority of brahmin men, brahmin women are still placed at the top of the pyramid of Indian womanhood, followed by kshatriya, vaishya, and shudra women — all of whom are under the authority of their caste men and those positioned above them. This placement gives them (savarna women) enough authority to hegemonically dictate what constitutes desire and who deserves to be desired.

    Dalit women, who are considered inferior and untouchable, are placed so far below in the pyramid, that they are subject to the authority of everyone above them, including the women that belong to the shudra and dvija* (twice-born) castes. Social media influencers of the Indian diaspora, who are reclaiming their desi feminist roots, must realise that Hinduism does not consider “women” as a homogenous category; instead, it prescribes clear distinctions along with power, labour and sexual discipline.

    Thus the caste system, or more appropriately brahminical patriarchy — “a set of rules and institutions in which caste and gender are linked, each shaping the other and where women are crucial in maintaining the boundaries between castes” — both victimises and benefits savarna women. Uma Chakravarthy in her seminal paper in Economic and Political Weekly, ‘Conceptualising Brahmanical Patriarchy in Early India’, explains that “women’s perpetuation of the caste system was achieved partly through their investment in a structure that rewarded them even as it subordinated them at the same time”. Consequently, their superior caste positions don’t just entitle savarna women with the social power to subjugate but also compel them to embody the characteristics of “ideal womanhood”, which include chastity, purity, modesty, fidelity, beauty and sanctity — all as imagined by the brahmanical mind.

    Over the ages, this “ideal” has undergone several transformations. Due to political, social and ideological interventions in the last century, whether it is demands for women’s education and property rights, the influence of Western media and feminist thought, and the participation of savarna women in nation-building processes — those mechanisms that sought to control the identity and sexual freedom of sarvana women have been disrupted. This shift has enabled them to redefine the very concept and expression of womanhood — from traditional to modern, from conservative to progressive. But these transitions, whether intentional or not, have been tactical, integrating newer feminist elements with older brahmanical notions. ‘An Ode To Modern Indian Woman and All That She Is…’, an article on Medium, puts it this way: “Today’s woman is progressive in thinking but still, has a deep-rooted respect for the Indian culture and traditions.” Priyanka Chopra Jonas reclaiming the mangalsutra – an accepted symbol of caste endogamy — while facing no threat to her status as a “modern feminist icon” is a case in point.

    Savarna feminism has thus been designed only to challenge patriarchy, not caste. It enables savarna women to exercise liberal politics, practise sexual freedom, exhibit desirable aesthetics, access global literacy and achieve economic success while keeping their caste power and privilege intact. Their feminism doesn’t threaten their caste location and, in many instances, is even emboldened by it. This is why the empowered savarna woman archetype, in its many versions, is considered aspirational and attractive by the Indian psyche, which has been socialised for centuries to see savarna as superior. It is all the more so in our current capitalist reality, where one’s caste can be leveraged and downplayed simultaneously, so as to create an entirely new but evolving identity — the globalised, modern Indian woman, who is savarna but cultured enough to keep her caste location subtle, international, woke* and learned. This collective accomplishment of savarna women, which becomes more layered with every generation, is possible only because of their caste power — one that they didn’t have to work for, one that was bestowed upon them at birth.

    In sharp contrast are Dalit and other caste-excluded women, whose existence is still conceived within stereotypes. Neither do they possess the caste power to access capital and resources nor can they meet the ever-changing cultural mandate for womanhood or wokeness, as defined by those with caste power.

    In the popular imagination, Dalit women are also perceived to be mere victims, as individuals that can’t exist outside of violence. Although violence is an inescapable reality for many Dalit women, especially for those who live in impoverished and unsafe conditions — the amplification of the victim stereotype not only engenders more violence but also normalises it. Within interpersonal contexts, particularly those that are romantic or sexual in nature, the victim stereotype translates into a power dynamic that has the potential to oppress Dalit women.

    But what exists in opposition to, and along with, this purported narrative of victimhood, is the general incredulousness around the crime when it takes place. At a panel discussion that I was part of a few years ago, a communist male leader brazenly opined that “Dalit women are too scary, we can’t touch them that easily.” No one in the audience seemed to have a problem with that statement; they welcomed it as fact. And yet, crime statistics say otherwise. The misconception that was disclosed in that panel has not in any way dissuaded perpetrators from inflicting heinous violence on Dalit women. But it has discouraged civil society members and lawmakers from taking caste-based sexual violence seriously. Assaulting “scary, tough” Dalit women is unfathomable to the minds that believe they are too unfeminine to be touched.

    Almost every love interest of mine has tried to correct my behaviour and nudge me towards adopting a more “ladylike” demeanour. Some have explicitly compared me to their savarna girlfriends or exes, saying that the latter were womanlier and more delicate, and, as a result, evoked intense feelings in them. On their part, television and cinema have reified this false feminine-unfeminine dichotomy between savarna and Dalit women and promoted the idea that femininity, as expressed by savarna women, is a key ingredient in heterosexual and heteronormative desire.

    By casting savarna women as the love interests of its protagonists, popular culture has also reinforced that they are the only ones worthy of love, lust and legitimacy. Even in the case of Dalit male protagonists, the person who becomes their love interest most of the time is a savarna woman (Sairat, Thalapathi, Kaadhal). Dalit women, if and when represented, are depicted as angry, loud and verbally abusive. Pa. Ranjith’s Kaala, a 2018 Tamizh film, is an interesting example, however. Selvi, Kaala’s wife, is cast as a loud-mouthed homemaker, and Zareena, Kaala’s ex-girlfriend, is cast as a sophisticated activist. While the stereotypes are kept intact, what I found refreshing was Kaala’s choosing to be with Selvi, the Dalit woman.

    A year ago, a friend shared one of her conversations with a savarna man, who had spoken at length about his sexual experiences. She recalled him saying that if he knew the woman he was having sex with was Dalit, he would be extra rough and do whatever he wanted, as against a savarna woman with whom he would be gentle. I wasn’t shocked by his revelation, but it triggered me all the same, taking me back to my own experiences of sexual exploitation and assault. Sometimes, there’s no hard evidence to illustrate how caste breaches intimate boundaries. It is felt in the predator’s touch, their careless tossing of one’s body, their indifference to pain and fear, and their gaze once it’s over — a mix of lust, disgust and conquest.

    It is with this knowledge, context and information that I want us to re-evaluate our contemporary understanding of inter-caste love, sex positivity, body politics and legitimacy. The recent slew of social media accounts run by savarna influencers, who have monopolised feminist narratives, with no awareness of how these interact with caste, is a case in point. For instance, in the aftermath of the 2020 Hathras rape and murder, in an effort to protest the gruesomeness of the act, a popular handle started a campaign that asked women to post tongue selfies. Other mainstream feminist handles also continued to create content around self-care, vagina appreciation and sex positions at this time. To Dalit women who witnessed this response, and were reeling with massive grief and anger, such campaigns are at best insensitive, indifferent at worst.

    Similarly, popular anti-caste discourses that do not take into account how societies undervalue Dalit and other caste-excluded women, are equally disempowering. Inter-caste unions, for example, aren’t always anti-caste; it is highly possible that one’s choice to partner with a savarna woman, who has traditionally been ascribed higher value, is motivated more by social conditioning. It cannot necessarily be read as a desire to annihilate caste. It is revolutionary love only when, as Dr B.R. Ambedkar says: “Make every man and woman free from the thraldom of the Shastras, cleanse their minds of the pernicious notions founded on the Shastras, and he or she will inter-dine and inter-marry, without your telling him or her to do so.”

    We need a Dalit feminist standpoint that uproots the entire infrastructure around which ideas of desire are being built. We need a feminism that interrogates caste as much as it does patriarchy.

    Dalit women should be able to express their desire to anyone, without feeling insecure about their desirability or having to measure themselves against a savarna ideal — a radical Dalit feminist framework of desire would enable that. They have a right to sexual pleasure, in the way they imagine it, with consent and without shame, which includes having adequate knowledge about safe sex, obtaining access to contraception, choosing or practicing a preferred sexual orientation, experimenting without the fear of moralistic judgments, and having the space to talk about sexual pleasure and more both within feminist and anti-caste circles. And they deserve to feel accepted and cherished in relationships, without being pressured to constantly prove their value or susceptible to abuse by virtue of their caste location. And they have a right to seek marital unions if they so decide, without being judged by the savarna gaze for making “unfeminist” choices. Constantly prioritising savarna women and perceiving them as the only ones worthy of desire will continue to disregard Dalit women and, ultimately, rob them of their right to love and be loved.

    We must rediscover Dalit love within our communities. Investing in each other is revolutionary, especially in the face of caste hatred. It is vital that we reimagine what sisterhood, community, parenting, friendship, solidarity and family means to us. In a world devoid of recognition, Dalit love will keep us secure, valued and rooted.

    Notes on Terminology:
    1. Savarna refers to individuals or groups belonging to the castes that are part of varna (caste) system. These include the brahmins, the kshtariyas, the vaishyas, and the shudras.
    2. Dvija means “twice-born”, which includes only the brahmins, the kshatriyas, and the vaishyas
    3. In this essay, “Dalit” refers to only those individuals and groups that were earlier known as the untouchables. Note that not all Dalits are officially classified as scheduled castes. This essay also does not claim to represent all Dalit women.
    4. In this essay, the term “caste-excluded” refers to avarna (outcastes) communities that were not historically recognised as being part of the varna (caste) system.
    5. The term “woke” refers to being aware of and taking a stand against social injustices. In the Indian/South Asian context, it is associated with progressive politics and could mean “anti-caste”, “feminist”, “leftist”, or a combination of all three.
    6. “Hoe-phase” typically refers to a time in a person’s life when they are said to be especially promiscuous.



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  • A Family Affair | Verve Magazine

    A Family Affair | Verve Magazine

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    Text by: Vanya Lochan

    “Hi! I’m here to share something that makes Sharmaji Namkeen a very special film. Yeh film mere liye khaas sirf isliye nahin hai kyunki ye Papa ki last film hai [the film is special to me not only because it is Papa’s last film], but Papa really believed in the story.”

    The camera zooms in on Ranbir Kapoor in a moodily lit living room set as he opens his father’s posthumous last film, Sharmaji Namkeen, while seated casually on a sofa with one leg folded under the other, speaking to the audience as if they were guests in his home. He’s here to tell us that in a very rare moment, Paresh Rawal has stepped in to play the same role as Rishi Kapoor. The informal address that follows corresponds with the simulated familiarity between us and the “real-life” versions of movie stars, including the Kapoors, that has become an intrinsic part of the evolving fan-celebrity dynamic, especially since the rise of paparazzi culture and social media in the last decade or so. More recently, in the weeks leading up to Ranbir Kapoor and Alia Bhatt’s wedding, we have seen several such clips go viral: Neetu Kapoor and Riddhima Kapoor Sahni indulgently answering questions about the wedding venue; or the groom scooping up Bhatt into his arms just a few hours after their nuptials, in front of the photographers who were lined up outside.

    “Kehte hain na [they say], the show must go on,” he continues with a wistful smile as he jogs our collective memory, harking back to his grandfather Raj Kapoor’s 1970 film Mera Naam Joker, which had solidified the phrase (even rendering it banal) in the Hindi-speaking audience’s consciousness. “So, presenting ek aakhri baar, [for the last time] Rishi Kapoor urf aap sabke pyaare [aka your beloved] Chintuji in and as Sharmaji Namkeen. Please enjoy the film.”

    The Kapoors have had a long tryst with both the Indian media and cinemagoers’ voyeuristic gaze, yet this type of primer colours one curious about Sharmaji’s relationship with its audience, the nature of which feels as natural as air but has, in fact, been ingrained and systematised through more than a century of Bollywood’s existence as an endogamous industry. There are only a few film dynasties like the Kapoors who have normalised the familial nature of celebrity culture as it stands — and the actors are deeply aware of how they exist in the public imagination due to it.

    In 2009, Amitabh Bachchan had been similarly “introduced” by Jaya Bachchan as she announced the opening credits of Paa with her signature guileless comportment. The rationale behind her presence despite not playing any role in the picture was explained by director R. Balki’s 2019 statement: “Everybody [her son and husband] was involved in the project, so I thought why not ask Jayaji to do the opening credits.”

    Sharmaji’s director, Hitesh Bhatia, spoke to me over the phone about the emotional involvement of Rishi Kapoor’s son, echoing Balki’s sentiments from 13 years ago: “There was no better person to do the message”. He also explained how, as the filmmaker, he felt that it was incumbent upon him to set the right context for the audience, especially those who would be watching it either abroad or much after the release. He wanted to ease the viewer into the experience with a familiar face. “[I]t is an experimental solution in the face of a dire need caused by an unfortunate incident I wouldn’t want to wish on anyone,” he said, talking about Rishi Kapoor’s untimely death in 2020 after a battle with leukaemia. “I only wanted to do justice to the legend.”

    While (currently) viewed simply as an unavoidable recourse in the context of Bollywood, this casting of two actors in the same part has already been experimented with by some foreign film-makers. Luis Buñuel’s 1977 film Cet obscur objet du désir (That Obscure Object of Desire), for example, saw both Carole Bouquet and Ángela Molina play the lead role of Conchita and was remarked as “a brilliant surrealist ploy which disturbs and jars the spectator throughout […].” Critics and academics marvelled at the brilliance of the audience seeing two faces but the other characters perceiving only one, therefore establishing “an ironic distance between spectator and protagonist.”

    Bhatia may not have been attempting to create a surreal on-screen world, but Sharmaji is still a pivotal moment in the narrative of Indian spectatorship as far as altering audience expectations, a litmus test for what can be presented without question — and perhaps a prototype for a new Bollywood conceit? We are certainly used to melodrama and have also been conditioned to set aside critical awareness in the face of other improbable scenarios like, for instance, the inverse of Sharmaji’s casting: the double role. Rishi Kapoor and Rawal have tackled it as well — in Raaja (1975) and Andaz Apna Apna (1994), respectively. (Incidentally, Ranbir Kapoor will be playing both father and son in the upcoming Shamshera).

    So, Ranbir Kapoor’s direct-address message is also based on the guarantee of understanding  from the Indian audience — a reminder that we can stretch the ability that allowed us to accept Paresh Rawal as both Teja and Ram Gopal, and Rishi Kapoor as Raaja and Ram to accommodate them each as Sharmaji. Perhaps it is no surprise, then, that reviewers either chose to gloss over the perceptible difference, mentioning the fact of this difference as an inevitability rather than jarring, or hailed the film as a miracle of sorts. Yet, all without providing the perspective on spectatorship, as if this unconventional film would have been as readily received and loved had it not been for the late actor’s stardom.

    The Indian cinema audience marks itself quite distinctly from Western theatre and cinema spectatorship, largely due to its unique and thoroughly conspicuous celebrity-worship culture (think havan ceremonies for actors and milk offerings made to movie posters). Fans travel to Mumbai from different parts of the country, even if they are on limited incomes, to stand outside their favourite celebrities’ bungalows for hours only to catch a glimpse of them on their balconies. Far beyond art appreciation or popular gossip, this is spectatorship rooted in India’s socio-cultural and religious realities and further matured by the country’s deeply feudal colonised past, along with a centuries-old caste system that is interwoven into its fabric. The dynamics dictated by these components are visible in star-fan interactions, with the celebrities also accepting this kind of frenzied enthusiasm and worship as predetermined in their line of work. Bhatia believes that the audience’s relation to the character versus the actor need not be mutually exclusive. But when celebrities are seen as gods, an actor becomes a lot more than a performer or carrier of a character on-screen, and suspending one’s disbelief becomes an act of faith that is essential to the ritual of movie watching.

    Rishi Kapoor in Bobby (1973); Ranbir Kapoor in Saawariya (2007). 

    Rishi Kapoor was not just a star, and neither is his son. The “First Family Of Indian Cinema”, the Kapoor khandaan has had a relationship with India longer than the country has had with its independence — approximately 93 years, spanning four Kapoor generations (five, if we include Prithviraj Kapoor’s father’s cameos). With their roots in the IPTA (Indian People’s Theatre Association), their ownership of Mumbai’s most well-known theatre (Prithvi), and past ownership of a major film studio (RK Studio), a large portion of Indian celebrity culture has been constructed and nurtured by the Kapoors — across every generation for the last century.

    While Prithviraj Kapoor left an indelible mark on India’s cultural consciousness, his son Raj Kapoor holds the moniker of “the greatest showman of Indian cinema”, and he celebrated the newly independent India by encouraging patriotism and canvassing Nehruvian idealism on-screen. He was also one of the biggest soft-power influencers in Soviet-Indian relations in the ’50s. The prolific actor was a director as well and a regular contributor to Filmfare — the most significant outlet where actors influenced conversation around cinema and themselves before the telecommunications boom. And as Rishi Kapoor’s uncles and brothers explored comedy (Shammi Kapoor), edgy drama (Shashi Kapoor) and youthful romance (Randhir Kapoor), he became the ultimate “chocolate boy”, making his debut in 1973 with Bobby, which was directed by his father. His films defined the trends, moods and designs of the young, rebellious India of the turbulent ’70s through to the liberated, mushy ’90s. The film family has navigated India’s modern history in parallel with the average Indian family; the Kapoors — not just stars, but superstars — have, while remaining unscathed even by egregious controversies, contributed their fair share to redefine and maintain the nostalgic sentimentality that hits home for every generation. And Ranbir Kapoor’s takeover of the cult of the chocolate boy — beginning with his debut, Saawariya, which contains heavy references to his lineage (his character’s name is also Ranbir Raj) — is evidence that the icon of Rishi Kapoor’s heir persists in the public’s imagination, making him the logical choice to introduce Sharmaji.

    When it wasn’t possible to use VFX and prosthetics and have Ranbir Kapoor complete the film as initially hoped, Bhatia took the decision to cast another actor who could match mettle instead of physicality “to bring the required gravitas to the screen”. Kapoor’s Sharmaji is pudgy and cute, reminiscent of Carl from Pixar’s Up!, whereas Rawal’s is arguably closer to the raspy Baburao from Hera Pheri.

    Images courtesy: Hitesh Bhatia. Photographed by: Parnil Rajendra Vishwasrao.

    During the filming, Bhatia actively avoided discussing Rishi Kapoor’s scenes with Rawal, letting the actor address the character as he chose to do. “Of course, Paresh Rawal is not from North India and so he differs in mannerism and diction, but, as the director, I had to make the actor as comfortable as possible, so we went with the requirements for the role. It was a brave call for an actor to take up a film that had already been shot halfway through with another actor,” he said. Ranbir Kapoor provided his perspective in an interview: “The kind of authenticity he [Rawal] brings to the character and the part, I don’t think I would’ve been able to bring that. I would’ve done it but, it would’ve been a sentiment of a son completing a father’s work.” On the phone, actor Suhail Nayyar, who plays one of Sharmaji’s sons in the film, affirms that “Paresh Rawal never tried to imitate Rishiji.” Nayyar speaks reverentially about two legends individually delivering their best performances, but he also believes that the audience is wise enough to acclimatise itself to the dual performances post the “first ten minutes of jerk.”

    The spectator is left to reconcile these separate portrayals with each other, but we go into the film readied by Ranbir Kapoor’s emotionally resonant primer and a subconscious, intuitive desire to uphold the expansive cinematic legacy of Chintuji. We agree to take on the responsibility of acknowledging the two men behind the curtain while only “seeing” a solitary gleeful and bespectacled figure in a  brown argyle jumper, trousers and green muffler, with a briefcase filled with spices and namkeen. And we do so, until the end credits start to roll, with a sweet taste in the mouth.



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