Book Kisan Aandolan : Ground Zero 2020-21 - an account of farmers' emotionality and restlessness

Book/film review- 19

November 19, 2021

        With the Prime Minister Narendra Modi’s announcement to roll back the farm laws, a year-long farmer movement at the borders of Delhi resulted in its end. PM Modi said in his address to the nation on Guru Nanak Jayanti,"Today, I announce that the government has decided to roll back the three farm laws. By the end of this month, the government will complete the constitutional procedure to repeal these laws with the beginning of the parliamentary session.” (1)

Book ‘Kisan Andolan : Ground Zero 2020-21’, written by Mandeep Punia. (Photo is subjected to copyright to R. Suresh Bhardwaj)

       After PM Modi’s address, the protesting farmers receive a fanfare at Singhu, Tikri and Ghazipur borders. They distributed ‘Laddoo’ to celebrate their triumph, dancing on the beat of the songs that were being played on the tractors parked at the sites. The sun set witnessing their celebrations and the moon also evidenced that euphoric night. It was seeming as an incomplete dream has been completed. (2)

        But, the day of celebrations was not fallen at a glance, farmers had to complete a long journey to reach that day through their temporary settlement at borders, bearing lathi-charge and tear gases in clash with the police, blamed-to-be taken Khalistani support, conflict among farmer leaders, and their controversial tractor march to Red Fort. 

Farmers’ tractor march during their protest against farm laws. (Special arrangement, photo is subjected to copyright. Don’t use without permission.)

       Journalist Mandeep Punia, Punjab University graduate and IIMC alumnus, covering all the incidents from beginning of the movement to its culmination with the repeal of these laws in his book ‘Kisan Aandolan: Ground Zero 2020-21’ with an euphoric and restless enthusiasm. 

 

       He writes in his book, “At Singhu Border, a road turned into a large field. Now, the field converted in a house with several shelters where there were almost a lakh habitants. Smokes was going up from all shelters because a fire was in flame. ‘Collective comfort’ as bread was being baked on Tava (pan), that was being turned over like restlessness. Lohia said that government must be changed in democracy otherwise it would be rotten. (3) 

       Explaining the chronicle of events, he claims that the movement was spontaneous, contrary to many facts mentioned in this book, that give major indications of it was planned. Holding banners in support of Shaheen Bagh, movement against CAA and releasing people arrested during protest, farmers were seen shouting slowing at the protesting sites. 

Farmers preparing snacks during their protest against farm laws at Singhu Border. (Photo is subjected to copyright. Don’t use without permission.) 

       While reading, it can be understood the functioning of farmer unions and peasant movement during protest that is penned with microscopic view. Despite having these writing quality and his efforts, the book has a little glitch to understand the context. If there is a flow chart of movement’s chronology and a list of farm unions, it would add more clarity in the book’s narration. 

      The book describes all major events of the protest including ‘Delhi Chalo March’, ‘strategical shift of protest’ and also controversy between farm unions and Yogendra Yadav. To jot the book down, living amid farmers, makes the content and description a living document of our time. 

Bharatiya Kisan Union (BKU) spokesperson Rakesh Tikait during farmers’ protest against the farm laws at Ghazipur Border. (Photo is subjected to copyright. Don’t use without permission.)

       In a chapter, the book arises some questions like academicians that how the involvement of Khap Panchayat (local panchayat) was a difficulty to farm unions, why workers were not part of the protest and also farm labourers, mostly Dalits (scheduled caste), were away from the protesting spot, but it lacks in answering these questions. It is irony to readers like me that the writer should have been patient at this point! 

       It is an important part of any protest how it spreads its support. And, the book answers why the protest had a great and strong support from farmers. The writer finds its answer in the emotionality. He quotes an age-old farmer, Harnam Singh, coming from Fatehgarh, who does not know where is Delhi, Ramlila Maidan and Jantar Mantar? The farmer says, “It was a day before 1983 when I came to Gurudwara Bangla Sahib, but I don’t know where is Delhi. If anyone says me pointing out to any place, it is ‘Ramlila Maidan’, I would have sit there.” (4) 

A farmer leader addresses a gathering of farmers during farmers’ protest against farm laws. (Photo is subjected to copyright. Don’t use without permission.)

       It was an emotion and a strong determination that created a concrete support to the movement and transported the farmers to the day of celebrations marking the rolling back of farm laws with PM Modi’s address. In many opinion, a government that never kneels, bowed before the farmers’ vow. 

       It was victory and end of a ‘rich farmer movement’, as I found, according to prominent political scientist Sudha Pai’s categorisation based on the fivefold criteria—the pattern of land ownership, state policies, technology-based change, the pattern of mobilization, and the leadership.

Note: The Book ‘Kisan Andolan : Ground Zero 2020-21’, is written by Mandeep Punia. He graduated from Punjab University and also passed out from IIMC, New Delhi. He was my classmate. He wishes to do something different from the day first when we both met at an entrance examination centre of IIMC. 

Monochrome picture of Mandeep Punia, taken from the book ‘Kisan Andolan : Ground Zero 2020-21.

       After working with many media outlets, he decided to work independently and has been published in The Caravan, Outlook, The Wire , Newslaundry and Down to Earth. Now, he is running his own venture YouTube channel : 'Ganv Savera’ and ‘Mandeeppunia unplugged’. 

Foot Notes from the book 

1. Originally, “Aaj Mai Aapko, Pure Desh Ko, Ye Batane Aaya Hu Ki Hamne Teenon Krishi Kanuni Ko Wapas Lene Kaa Nirnay Liya Hai. Hs Mahine Ke Ant Men Shuru Hone Jaa Rahe Sansad Satra Me, Ham Teenon Krishi Kanunon Ko Radda Karne Ki Sanvaidhanik Prakriya Ko Pura Kar Denge.”

2. Originally, “Singhu Par Laddoo Bantane Shuru Ho Gaye The aur Tractoron par Gaane Bajakar Kisaanon Ne Nachana Shuru Kar Diya Tha. Kisaanon Kaa Saara Din Naachte-Naachte Bita. Raat Bhi Naachte-Naachte Hi. Aisa Lag Raha Tha, Jaise Adhura Sapna Pura Ho Gaya Ho.”

3. Originally, “Ek Sadak Ab Fail Kar Maidan Ho Gai Thi. Fir Wah Maidaan Simatakar Ghar Ban Gya Aur Ghar Me Koi Ek Lakh Rakhwaai The. Sabke Gharon Se Dhuaa Uth Rha Tha. Dhuan Ke Niche Aag Sulag Rahi Thi. Tavon Par Saamuhik Itminan Roti Ki Shakl Me Sink Rha Tha, Bechaini Ki Shakl Men Palat Rha Tha. Lohia Ne Kaha Tha Ki Loktantr Ke Tave Par Satta Ki Roti Paltati Rahni Chahiye Varna Ek Taraf Se Jal Jaegi.”

4. Originally, “Fatehgarh Se Aae Buddhe Kisan Harnam Singh Ko Kya Pata Dilli Kaha Hai Aur Ramleela Maidan ya Jantar Mantar Kaha hai. 1983 Se Pahle Ki Baat Hai Mai Gurudwara Bangla Saheb Aaya Tha, Lekin Dilli Ka Mujhe Pata Nahi. Koi Mujhe Kuchh Dikhakar Kah Deta Ki Yahi Ramlila Maidan hai to Ham To Wahi Baith Jaate.”

Film Bazaar shows the cruel face of society with Smita Patil

Book/film review- 18

          Bollywood has been rich in making classical movies with a long tradition of filming ‘Mugal-e-Azam,’ ‘Paakeeza’, ‘Pyaasa’, ‘Kaagaz Ke Phool’, ‘Chaudhvin Ka Chand’, ‘Umrao Jaan’, ‘Ek Doctor Ki Maut’, and so many, also adding latest ‘Angrezi Me Kahte Hai’, ‘Netflix-Qala’, and Masaan. 1982-film ‘Bazaar’ is one of such movies with its distinctive approach of director Sagar Sarhadi, who is famous for his films ‘Kabhi Kabhi’, ‘Silsila’ and ‘Noorie’, that also falls in this category. 

*Video Grab* Screenshot from YouTube. (Poster of the film Bazaar)

         ‘Bazaar’, starring Naseeruddin Shah, Smita Patil, Farooq Sheikh and Supriya Pathak, is filmed in Hyderabad highlighting the social evil of ‘girl trading’ (bride buying) in the name of marriage. Naseeruddin Shah terms this custom as “Marriage is nothing but a way of purchasing and selling girls, that is accorded by law and society.” (Shaadi Jism Kharidne Aur Bechne Kaa Wo Pesha Hai Jise Samaj Aur Kanoon Kaa Himayat Haasil Hai.)

          Naseer, a famous ‘Shayar’ of Hyderabad, is a blind lover of Smita Patil who wants to do a low-paid job for livelihood, but her step family denies permission to do so. She is forced to sit on ‘Kotha’ to work as prostitute against her wish. Smita Patil flees from her house to Mumbai, keeping respect for Nasser, after denying her proposal of marriage. 

          In Mumbai, Smita entertains an another man (Akhtar) who is in love affair with her and promises to marry with her. The man was a business partner of a trader who has gifted a flat to him, in which both Smita and Akhtar live. When that man comes to Mumbai from Dubai and sees Smita Patil, his wish to remarry becomes alive. 

*video grab* screenshot from the film. Smita Patil denies proposal of marriage to Naseeruddin Shah.

           He confers his wish to Akhtar, and Akhtar uses Smita to find out a girl who agrees to marry him. In fear of losing Akhtar, flat and accommodation in Mumbai, Smita says that I’ll find such girl from Hyderabad that people will be amazed. (Hyderabad Se Aisi Nagina Khojungi Ki Duniya Dang Rah Jaegi.)

           To find out such girl, all the characters come to Hyderabad where the bitter truth of society is filmed how unmarried girls are sold due to their poverty. For marriage of their daughter, parents come at an auction where girls are purchased by the rich to fulfil their need in the name of marriage. Rest of the scenes, you can watch in the movie. 

Dialogues that can’t be forgot.. 

           In society, if there is any cheapest thing that is only woman - Smita Patil (Agar Bazaar Me Koi Sasti Chij Hai To Wo Hai Aurat.)

         No one is so hot blooded whose all nights are restless! - Naseeruddin Shah. (Kisne Itni Himmat Jiski Har Raaten Bechain Gujare.)

         Wishing to meet you once, why only once, because for many times it is necessary to meet for one time. (Tumse Ek Baar Milna Hai, Ek Baar Kyo, Kai Baar Ke Liye Ek Baar Jaruri Hai.)

Story Idea of the film…

          The film strives to display the pictures of a distressed society how disadvantageous parents sell their daughters in the name of marriage. 

*video grab* screenshot from the film. Farooq Shaikh meeting with Supriya Pathak during their love affairs.

Plot 1 - The story starts with Smita Patil who has fled from nearby parents house. With Patil, a love triangle has been filmed. She is in love with Akhtar but respects Naseer who also loves her. Smita and Shayar Naseer are good friend even after he is denied his proposal. In end, it seems that both will walk hand-in-hand. The film proves that a true love story succeeds. 

Plot 2 - There is an another love triangle in Hyderabad where Smita Patil with her colleagues goes to find out a girl. Her brother Farooq Shaikh is in love with Supriya Pathak, but an another girl also loves him. Smita Patil promises her brother to fulfil his wish. But, unknowingly she sets her marriage with that trader. When she knows the reality, she tries hard to stop the marriage but she is unsuccessful. 

Plot 3 - A woman is not independent when she is dependent on a man. Naseer says Smita that you have lost your spirit of life only for a greed of marriage with Akhtar and a flat. When She comes to know that Supriya Pathak killed herself on first day of marriage (Suhag Rat), the eventual chronicle suddenly displays in front of her. And, the film gets a tragic ending. 

A worth watching! Enjoy your time!

Qutub Minar: Delhi Sultanate's minarate that receives most tourists

       Qutub Minar, one of the highest tower in India, having diameter of 14.32 m at the base and about 2.75 m on the top with a height of 72.5 m, is a 13th century red sandstone minaret, located in the south of Delhi. The surrounding area contains Alai-Darwaza, two mosques, including the Quwwatu'l-Islam, and an iron pillar, according to UNESCO Heritage Site descriptions.

Qutub Minar in New Delhi on Thursday, March 16, 2023. (Photo by R. Suresh Bhardwaj)

 

         As per information published by Delhi Tourism, Qutbu'd-Din Aibak laid the foundation of Minar in AD 1199 and raised the first storey, to which were added three more storeys by his successor Iltutmish (AD 1211-36).

         Qutub Minar has been one of the historical spots which received 3,81,249 Indian visitors and 9,063 foreign tourists between April and June in 2022, that made it a most visited tourist destination, according to data shared by the Archaeological Survey of India (ASI). 

Qutub Minar in New Delhi on Thursday, March 16, 2023. (Photo by R. Suresh Bhardwaj)

         Despite having those facts, historians have been arguing over who really built the Qutub Minar.

         Views, uncommon to the popular history, deny the above claim and say that Qutub Minar was built by emperor Samudragupta and its real name was Vishnu Stambha. 

Qutub Minar in New Delhi on Thursday, March 16, 2023. (Photo by R. Suresh Bhardwaj)

         With the change of government in the centre, RSS-powered BJP-led rule, such arguments propel the debate of history writings. It disclaims the yet-believe facts propagated by other genre of writings including leftist, saying these are perverted and distorted. In this row, Supreme Court’s decision on Ram Mandir in the favour of this group, has proved their claim. 

        It’s a public and intellectual debate, that will go long. Sometimes we will be participant, and sometimes not. But, like a concern citizen, we should never miss the opportunity to explore the city where we live. 

R. Suresh Bhardwaj, blogger, poses for photograph in the backdrop of Qutub Minar on Thursday, March 16, 2023. (Photo snapped by Rahul Jangra)

         For this attempt, this time I visited Qutub Minar on Thursday, March 16, 2023 and captured glimpses of the Qutub complex. Let enjoy the fervour of this premised by your digital tour of Qutub archaeological site.

Qutub Minar -

   Qutub Minar: As per information published by Delhi Tourism, Qutbu'd-Din Aibak laid the foundation of Minar in AD 1199 and raised the first storey, to which were added three more storeys by his successor Iltutmish (AD 1211-36) (Photo by R. Suresh Bhardwaj)

Alai Minar - 

Alai Minar: Alai Minar is an unfinished Minar located at the Qutub premises. Its construction was undertaken by Alauddin Khilji. Alauddin Khilji wanted to erect a tower double the height of Qutub Minar. However, his death left it incomplete with its height reaching only up to 24.5 metres. (Source- Indian Culture) (Photo by R.Suresh Bhardwaj)

Iron Pillar - 

Iron Pillar: The 'Iron Pillar', made up of 99% pure malleable iron, is situated in the centre of the courtyard of Quwwat-ul-Islam Mosque. It represents one of the most outstanding metallurgical advancements of ancient India as it has not deteriorated much in it’s more than 1600 years of existence, despite consistently remaining exposed to the weathering agents. (Source - Archaeological Survey of India) (Photo by R. Suresh Bhardwaj)

Alai Darwaza - 

Alai Darwaza: Alai Darwaza, Alai Gate, is the main gateway from the southern side of the Quwwat-ul-Islam Mosque. It was built by Alauddin Khalji, the second Sultan of the medieval short-lived Khalji dynasty in 1311. After returning successfully from his Deccan campaigns, Alauddin Khilji decided to show his gratitude to God by embarking on an ambitious project to enlarge the mosque (Source - Delhi Information) (Photo by R. Suresh Bhardwaj)

Book Lal Chowk : Unsung tales of Kashmir Valley

Book/film review- 17

     ‘Lal Chowk’ and ‘Article 370’ had been identifying the spirit of Jammu and Kashmir until RSS volunteers Lal Krishna Advani and Narendra Modi did not roar to hoist the national flag ‘Tiranga’ at Lal Chowk in Srinagar. Advani’s ‘Rath Yatra’, charioting by Modi, succeeded in its attempt and ‘Lal Chowk’ got knocked down in 1990s, as BJP leaders have been claiming. 5 August 2019 hit at the second pole for the assimilation, and Article 370 was abrogated.

Cover page of 'Lal Chowk' that is written by Rohin Kumar. (Pic by R. Suresh Bhardwaj)

       Article 370 was the matter of pride for Kashmiris that accorded 'Special Status' to the State of Jammu and Kashmir, but with a resolution moved by Union Home Minister Amit Shah, its clauses have been ceased to be operative. 

      Dozen petitions challenging the validity of the J&K Reorganisation Act 2019 remain pending before the Supreme Court. Many legal experts believe that the court will approve its constitutionality. And, Altaf Bukhari, President of Apni Party, like leaders have chosen to go with the intent ‘move on’, as per an interview published in a book ‘Lal Chowk’ written by Rohin Kumar. 

       Rohin Kumar, an emerging writer and journalist, hails from Gaya district of Bihar. He is journalism graduate from IIMC, New Delhi and has published in many media outlets with same courage and enthusiasm that is flashed in his latest book ‘Lal Chowk’.

Monochrome picture of writer Rohin Kumar.
(Picture is taken from his book Lal Chowk)

      ‘Lal Chowk’, an economic hub in the now-Union Territory’s capital, reflects the happenings of whole Jammu and Kashmir, which is named after ‘Red Square’, central marketplace in Moscow, Russia.

       Keeping the Chowk in the centre, the book strives to tell an untold story of Jammu and Kashmir that either has not been covered by media or has been muted in authorities pressure, as the writer claims. It narrates the chronology of Article 370 relating several stories with a touch of emotionality and sentimentality. It connotes an account of the contemporary History of Jammu and Kashmir before the repudiation of 370 and the aftermath of its revocation. 

       Although the conjugation of words sympathises the people living in the shadow of security forces, but the content is not erroneous despite having its subjectivity. It is a silver lining of the narration that apprises of the events and provides a way to understand ‘perception’, ‘optics’ and ‘binary’ with their practically functioning on ground. 

People sit near Lal Chowk, in Srinagar. (An undated picture provided by a photojournalist from Srinagar, special arrangement.)

      ‘Making of Perception and its Operation’ is the core of this book, that is described in its very first chapter which occupies the readers attention, as I found that the book will be a great source for ‘Hindi journalists’ to report from a conflict area.

       The writer proves his courage again and again to sort out stories from a demarcated land, that is apparently enough for the people living outside Kashmir to understand Kashmiris what they think. To explain their thought process, he comes with several interviews, conversation and public opinion. 

      The book also comments on ‘Indian media and its reporting style’ that is, I think, overwhelmed. Praising some outer media houses, the book sets the writer to be a ‘Baba’ (preacher) on media ethics. 

      The portrayal of ‘Torture’ in a chapter seems to be real that displays a live example of the incidents. It is the beauty of writing that makes every word precious. Even after it connects the vibrancy of stories, some points might be doubtful because there is no substantial evidence except the words of victims. 

      The writer fails to enunciate the documents, reports and authorities’ words in support of his arguments. No serious reports are mentioned that can make the book only a novel piece in many opinions. There is also no equally narration from government side that sets a room for readers’ conscience to decide the book content appreciable or not. 

Lal Chowk, in Srinagar. (An undated picture provided by a photojournalist from Srinagar, special arrangement.)

       Like Article 370, the book shows the death of terrorist Burhan Wani as a watershed moment for the women participation in stone pelting. Many contexts justify the incidents of pelting stone on security forces as a symbol of struggle against authority in the absence of other options. There is a vast chapter in the book regarding Kashmiri women highlighting their nuances to free from patriarchal set up through a participation in the funeral procession of terrorists. 

      Overall it is good piece written by the writer Rohin, a batch senior to me in IIMC, who tried his best to jot it down. Colloquially, it is penned with a good grasp that hallucinates the reader and without any doubt it connects the dots in vacuum. 

      Note: I, as a reader, award him with 10 out of 10 for his efforts, 8 for writing and editing, 6 for conflict area reporting and only 5 to be a good book because, I think, it is only narration of the incidents without any way forward and substantiality!