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DU Dhaba: The Charm of Jama Masjid’s Karim’s

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Karim's

Old Delhi has always held a majestic charm because of its unique food culture, which dates back centuries. In this article, we magnify Mughlai cuisine lovers’ favourite destination, Karim’s.

In 1857, when the British won over the Indian mutiny and ended the Mughal rule of Bahadur Shah Zafar in India, several royal cooks from the Mughal kitchen became unemployed. To sustain themselves, they set up food stalls around the streets of Old Delhi, bringing the dishes of the royal kitchen to the streets and consequentially giving birth to the famous Matia Mahal food street of Jama Masjid. At the heart of this lies Delhi’s beloved Mughal cuisine outlet, one that remains of choice even today, Karim’s.

A paradise for non-veg lovers, Mughal cuisine runs deep through the walls and stairs of Karim’s, with extravaganzas from Mutton Korma to Fish Tikka Biriyani. Situated within a humble atmosphere, the restaurant poses no frills, with cooks stirring huge stainless-steel pots and grilling kebabs on sizzling skewers. Moreover, Karim’s’ popularity runs throughout the city of Delhi. One might have to wait for hours to get a seat at the restaurant on a Sunday evening!

Three years back, my first visit to Old Delhi all the way from Gurgaon took me to Karim’s where I had the best flavours of Mughlai chicken and naan with my uncle! Not only that, Karim’s presents a humble ambience with people huddled together enjoying their meals within a century-old little shop that is unlike most contemporary restaurants.

– Raghav Rohilla, a student at the University of Delhi.

Visiting Karim’s on a Monday morning presented quite an enthralling experience. Besides the hubbub of Mondays, the restaurant was moderately crowded, with waiters tallying orders and the delicious smell of Seekh Kebabs and Mutton Biriyani wafting through the air. Ordering a plate of the same Mughlai Chicken with Rumali Roti, it took only a few minutes for the plates to arrive. The juicy chicken bathed in spices, wrapped with the paper-thin roti, melts in one’s mouth, presenting a beautiful confluence of spicy, tangy, and divine flavours, as if connecting one to the eighteenth-century Mughal age. But what’s noteworthy here is that, despite being established more than a century ago in 1913, the restaurant preserves the same recipe passed down by the founding chef, Haji Karimuddin.

Nargisi Kofta and Mutton Biriyani are a must-try at Karim’s. In Nargisi Kofta, Mutton Keema is coated on the outside of a whole egg and both are then fried and put in a curry and it is a mouth-watering dish! Coupled with Kheer and Sharbat-e-Mohabbat makes it the most wholesome meal one can ever have!”

– Shayan Basu Roy, another DU Student.

Not to be confused with the popularised food chain Kareem’s, the Karim’s of Jama Masjid prides itself upon its legacy of preserving the ancient recipes straight from the Mughal kitchens, while Kareem’s is a Mughal eatery belonging to the Mumbai-based businessman Kareem Dhanani, established much later than the legacy shop. However, trademark disputes have arisen between the two since 2022, with the intervention of the Delhi High Court. But let’s not loiter and come back to the delicious food, which forms the subject of discussion here.

Located in a little corner of Old Delhi, the restaurant draws people from all around the city and beyond. There is something special about Karim’s besides its heavenly flavours of food and its ‘Purani-Dilli’ glamour and charm.

I once visited Karim’s during Eid and it was really crowded but so lively. In Muslim households, you usually have this concept of Wazwaan, with one big plate of food and everybody eating together out of it. I think Karim’s also reflects this similar concept where complete strangers may be seated opposite to you on the same table enjoying their individual plate of food but you can always reach out and start a casual, friendly conversation with them. This makes for a very harmonic atmosphere.”

– Adds Shayan to his experience with the charm of Karim’s.

Worshipped for its divine delicacies, its homely ambience, and its vintage charm, Karim’s serves as a magnet for all, irrespective of whether you are a foodie or not. A visit to Purani Dilli is incomplete without a pilgrimage to Karim’s, embracing the feeling of being gradually transported to the royal Mughal era, savouring the tastes that some royal princes did too, sitting on the same steps of this little humble shop, nearly hundreds of years ago!

Read Also: Ten Food Joints that DU Freshers Must Visit

Featured Image Credits: Youth Ki Awaaz (Google Images)

Priyanka Mukherjee
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Opinion

But Where Are The Frats?: How Western Media Lied To Us About College

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Kegs, ragers at frats, plush campuses, a perfectly disheveled middle-aged professor to swoon over, boys-every 2000s film depicting the typical college life had these staples, so one can imagine the shock of then landing up in Indian public university and realizing that the aforementioned may have all been too good to be true.

Shows like the Sex Life of College Girls created unmatchable expectations of a college life bustling with enthusiasm, but the reality was disappointing. I entered DU, with crumbling infrastructure, disinterested faculty, and well, an all-girls college. The plush campuses were mostly replaced by an uncomfortably warm metro and auto ride, wading through the crowds of white collar workers. Moreover, the Western college myth perpetuated this idea of a constant sense of community and complete freedom, but this seemed false too.

In Delhi, most friends are scattered across the city, frequently occupying paying guest accommodations or hostels, so the idea of a shared dorm already goes out the window. Furthermore, a really important myth was of course, that of complete and utter freedom, from family and from parents. Most hostels or student housing, have curfews or restrictions to leave during certain hours. Moreover, these restrictions seem to be applied more harshly against women, sometimes understandably (Delhi is one of the unsafest cities in the world) but almost always unfairly. The infamous scenes of jungle juice at frat parties and sorority rushes are closely equated to DU fests, however, in recent years, they’ve become extremely unsafe, with reports of women’s colleges’ fests being attacked, tales of harassment but right-wing student parties etc.

This isn’t an attack on DU, but rather a sense of dissonance created by exposure to Western Media which glosses over the harsh realities, probably faced by most students in South Asian public universities, like that of finances. American uni experiences conveniently escape the discourse on student debt, how a lot of the glamor is usually resting on an exorbitantly high tuition fee, perhaps a tenth of what we pay at state school. Nevertheless, the difficulties of living on allowances, budgeting are often not depicted, while there is some justification that most of these are fictional accounts, they create unhealthy expectations of college life.

Finally, between all the binge-drinking and night outs, movies also fail to depict the loneliness of college, which for many of us is the first time living away from home. The difficulties adjusting to new people, finding friends, and really learning how to exist as an adult, make it less of a four year party, and more of life experience, with its fair share of highs and lows.

Image Credits: Movies Universe
Chaharika Uppal
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Reviews

DUB Review: Rocky Aur Rani Ki Prem Kahani

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This article is an insight on ‘Rocky Aur Rani Ki Prem Kahani’ and how it delves to the social paradigm of our country.

As I walked out of the theatre feeling that I have been called poor by Karan Johar in 3 languages I couldn’t help but wonder, are over the top popcorn flicks the one stop solution of inducting social cues in the Indian audience.
Beneath Flashy costumes and larger than life setting Rocky and Rani ki prem kahani slips in commentaries on social hierarchies and prejudices . Be it the textbook feminist Rani Chatterjee’s relentless pursuit of a ghoonghat free Randhawa palace, Rocky’s glamour doing a solid uno reverse the overt sexualization of female heroines in Bollywood or the gender no bar kathak performances, the movie does not shy away from inclusion.

One might find the rom-com a little dismissive about matters that set televisions reporters (and seemingly the nation) on fire, be it the discourse on racism , profiling of gender restrictive talents or patriarchal set ups in general. Through the clash between a stereotypical ghoonghat clad loud Punjabi family with a high end cultured Bengali intellectuals, the subtle undertone that hit was about how quick we are to dismiss notions that do not quantify well in our spectrum. For example Rocky Randhawa’s speech after Rani’s father’s classical performance is publicly shamed by the hip Punjabi audience is one for which the dialogue writer deserves a raise if not a superior mandate into any conversation that mentions the ‘woke culture’ in the Indian society . What really struck a chord in his monologue was how accurately it portrayed the cultural bias we have nurtured
through our social settings. The contemptuous outlook at everything that doesn’t resonate with our presumably superior understanding of the world deserves nothing but a dismissal followed by a grunt.

The lionising of culture contrasted with the seemingly steep curve of understanding presented a dilemma that any diversified culture would relate to. Him reiterating again and again the need to have a more comprehensive understanding of different point of views hits the bullseye in the current social climate , given that every contentious issue divides the public into three spheres where one group hold the higher ground of intellectual injunction, the other of dogmatic persistence and the third being the ones who are at this point too afraid to jump into the complex web battling information and misinformation. The fear of being ‘cancelled’ by the woke culture leaves little to no room for them to inculcate new world views, something that our protagonist seemingly struggled with through half of the movie and culminated into a quirky yet thought provoking monologue.

I’m afraid that the monologue in  Rocky Aur Rani Ki Prem Kahani has done more for West Delhi gym guys than for feminism. Although the reactions to the movie can range from the audience bursting into loud ‘awws’, to scornful side eyes to the melodramatic social messages, the movie does provide a handful of insights that serve well to the ‘Dharma-tic’ audience.

Image Credits: Mint

Priya Shandilya
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Around the Campus

A Freshers Guide To Collegiate Debating

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Razor-sharp jargon, layers of argumentation, and excessive hand gestures – dive into the world of college-level parliamentary debating.

Dear Freshers, as the floodgates of Delhi University have been opened to you try to soak in the vibrant extracurriculars scene on campus – from expressive Dramsocs, socially-committed Enactus to the absolutely beautiful monstrosity that are Debsocs. Debating at the college-level is quite different from the public speaking or ‘debating’ our English teachers forced us into during our schooling years. Have you come across groups of debaters rapidly scribbling notes and speaking without a single pause? Folks who wear, “Don’t Hate, Just Debate” T-shirts. The over-caffeinated curious species who attract starry-eyed freshers into the magnetic pull of debating. Yes, those are your ‘college debaters’.

Introduction to PDs

College debating, especially in colleges of Delhi University, focuses on the Parliamentary Format. Unlike school, debating at the varsity-level is a group activity with one team of 2-3 speakers arguing for the motion, known as Side Government, and another team against the motion, known as Side Opposition. There are several niches of Parliamentary formats, the most common of which are the Asian Parliamentary Debate (APD) and the British Parliamentary Debate (BPD). Loosely based on the style of discussion followed in legislatures, the PD format of debating involves dynamic cross- argumentation and enhanced teamwork.

Debates are judged by a panel of Adjudicators who analyze the entire debates and decide which team wins. They then give their justification behind the verdict. Similar to debating, adjudicating is a competitive activity as well. In addition to this, Debating also involves Tabbing which is a technical activity involving softwares for
organising debate tournaments, and Equity, a grievance redressal and diversity mechanism.

The DU Debating Circuit

The community of Debating Societies of all colleges in the varsity which come together for practice mock debates and intercollege tournaments is known as the “Debating Circuit”. There are two prominent circuits for English and Hindi debating each. It includes legacy debsocs such as those of Kirori Mal College, Lady Shri Ram College for Women, and Sri Venkateswara College which have dominated the space for decades, and up-and-coming fledging debsocs with dynamic debaters and much-needed fresh blood.

The circuit is known for fostering some of the closest friendships and team-ups, but also generational society rivalries. Some of India’s and the World’s largest debate tournaments are hosted within the Delhi Uni Debate community such as the Mukerji Memorial Debate by St. Stephens which is one of India’s oldest running debates (they hosted the 75 th edition this April, 2023) and the Shri Ram Debating Festival, by Shri Ram College of Commerce, which is Asia’s largest week-long debate extravaganza.

The circuit initially brought about for promoting healthy dialogue and discourse and enhancing the communication skills and critical thinking of its members, unfortunately, has it’s fair share of criticisms. In recent times, legacy colleges with age-old society machinery and admin backing have been able to dominate tournaments that require significant financial resources and English-speaking ability. People from privileged backgrounds find it easier to make it big in the debating sphere, thus excluding minority speakers. Those with pre-established reputations and status in the circuit (known as “Dinos”) get an edge over those trying to break into this highly competitive field.

With greater awareness and callouts, the circuit is trying to revamp itself to be more accommodative and inclusive. Year after year, fresh blood, from colleges all across DU, irrespective of campus, find their way into debate rooms and beyond, thus carrying on the century-old legacy of this varsity’s greatest orators.

So, if you are an enthusiastic fresher, enamored by the pull of debating, or someone unsure about their prowess to enter this dynamic field, fear not and take that leap. After all, your voice matters, and no better space to find its resonance than Debating.

Image Credits: DU Beat Archive

Bhavya Nayak
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Arts & Culture

Will Art win the War Against South Asian Homophobia?

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Earlier this month, rumors surfaced on Twitter about Ali Sethi, one of South Asia’s most reputed musicians and the man who brought ghazal to contemporary times was said to have supposedly married Salman Toor, an American artist of Pakistani origin. While both have been highly praised for their work, it seems as though simply rumors of their union (which have been refuted by Sethi) spurned South Asian masses against the two artists, which brings into question of how we can continue our formation of new traditions, if we deny such cultural icons the opportunity to be themselves and therefore, fully realize the true capabilities of their art.

 Toor is a famous Pakistani artist, credited for his depiction of male homosexuality and intimacy in his artworks, with his most famous exhibit being “No Ordinary Love.” The solo exhibition attempts to capture brown men in scenarios of comfort, where they have regained autonomy over their queer identities and can shape the narrative surrounding their sexuality, something which Toor was deprived of during his childhood back in Pakistan. His paintings also question the colonizers’ lens and point of view.

By creating private, deeply comfortable spaces, I hope to give dignity and safety to the boys in my paintings. Somehow, this also makes me feel safe and comfortable, solidifying my context in this culture as a queer man from a Muslim cultural background.” – Salman Toor in an interview with Design Pataki.

Sethi, on the other hand, is one of Pakistan’s only openly queer public figures and has been credited for reviving the ghazal and making it relevant in modern times. His most recent global sensation, Pasoori has also said to subliminally underline fluidity and redefinition of gender identity and the freedom to love who one’s heart desires. The song, which mixes Turkic and South Asian elements, poses a certain duality given the Punjabi lyrics but it can be said that it speaks of the perseverance of love in the face of adversity. Sethi’s use of Sufi motifs, which are notoriously and conveniently ambiguous, allow for the expression of homosexual love, something seen in Sethi’s previous works like Rung. The juxtaposition of traditional garb with bright eclectic colors all through the music video can also be indicative of a mixture of tradition and modernity.

One would think that the peoples’ love for these two artists would transcend such regressive beliefs but mere rumors for their marriage sparked conflict on social media. Accusations of violating Islamic beliefs, derogatory memes, and calls for boycotting Sethi’s performances by his fans ran rampant on Twitter.

This incident brings into question the place of art in our community, and how we look at personal expression and its intersection with identity. If we cannot accept the two of our most loved artists, who’ve entered our homes and hearts through their music and art, who’ve been sources of joy and entertainment, who’ve reinvented and preserved South Asian culture –  then what is the purpose of our traditional values?

 

Read also – https://dubeat.com/2023/07/03/saffronisation-of-cultural-expression/

Image credits – luhringaugustine.com

 

Chaharika Uppal

[email protected]

 

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Arts & Culture

Taali Review – An Exceptional Biopic Based on India’s Third Gender

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What distinguishes Taali is that it is one of the first biographical works that focuses on the challenges and life of a transgender person, therefore providing a glimpse into their tough lives from their own perspective.

Taali is a biographical drama series based on the life of Shree Gauri Sawant, a transgender activist played by Sushmita Sen. The series, directed by Ravi Jadhav, lasts for three hours and is broken into six thirty-minute parts. It is available on the Jio Cinema platform in India. I was thrilled to watch the show after watching the teaser for the first time and being aware of the real-life inspiration. While inclusion of the LGBTQA+ population in mainstream films and series has expanded recently, there are a few that highlight the realities of the transgender community, such as – Laxmii, Super Deluxe.

What distinguishes Taali is that it is one of the first biographical works that focuses on the challenges and life of a transgender person, therefore providing a glimpse into their tough lives from their own perspective. Many notable biopics based on the lives of athletes, freedom fighters, army officers have been produced by the film industry. Taali thus adds a feather to the cap because it is innovative in its approach to raising awareness and praising the efforts of many such activists who seek to improve the status of the Third gender in India. This is certainly one of the most compelling reasons to watch this series.

Before we go any further, here is a quick summary of the transgender activist as to why she is remarkable –

Shree Gauri Savant is a transgender activist from Mumbai who has been working diligently for the transgender community for many years. Gauri established the Sakhi Char Chowghi Trust in 2000. The NGO encourages safe sex and offers transsexual counselling. In 2014, she was the first transgender person to petition the Supreme Court of India for transgender adoption rights.  She was a petitioner in the case of the National Legal Services Authority (NALSA), in which the Supreme Court declared transgender as a third gender. She also starred in an affectionate Vicks commercial and in Kaun Banega Crorepati. In 2019, she was appointed as the Maharashtra Election Commission’s goodwill ambassador.

Taali, focusing on the Supreme Court’s watershed decision in 2014, which officially recognized the third gender, It flashes back and forth in time to Gauri Sawant’s life, from her days as a child battling with identity to her days as a mother advocating for equality. The show seeks to cover major events in her life, such as her childhood and troubles with her father, gender affirming surgery, adopting a child, and handling the atrocities of the society. In the first episode, named Teesri ladai, she explains how her battle is separated into three stages: struggle for identity, struggle for survival, and struggle for equality, with the final one referring to the Landmark Case.

Krutika Deo’s performance as Young Gauri, known as Ganesh, helped viewers connect to the character’s predicament of feeling unfit. Her desire to be a mother, which no one around her understands, her loneliness after her mother passed away and her father’s reluctance to accept her identity are all major points where the audience can relate to the helplessness faced by young Gauri trapped in the body of a boy, wishing to be a girl.

Sushmita Sen, who plays a grown-up Gauri, does a fantastic job in the part. Her performance was a combination of grace and aggression, accurately calibrated to the necessities of the scene. Sen is depicted in the story’s midsection, where Gauri works with an NGO and as a waiter to earn and teach at the same time. These were the rare sequences where Sen seemed out of place in huge Kurtas, shirt trousers and even a fake moustache.

The story progresses from her days of survival to finally founding her own non-profit organization, dealing with other transgender people. The affection and warmth between Gauri and her new family could be seen in these specific scenes. Sheetal Kale’s performance as Nargis, a fellow transgender, was another highlight for me. Her friendship with Gauri, from once saving her life to presenting her a neckless that Gauri tressures as a trophy, are heartwarming experiences that will also have an impact on Gauri’s life.

Aside from the impressive performances, the show had its own set of flaws. To begin, despite the fact that the show drew out Gauri’s life across six episodes, it failed to give greater space to crucial moments that required more creativity, more time for viewers to absorb it and appreciate the depth of it. Factors such as Gauri’s transformation as a mother and her struggle to gain support from her own community were mentioned but not adequately developed. There are several situations in which Gauri faces adversity and hatred from members of her own community who believe that her work is harming their daily lives, even to the point where a fellow transgender tries to poison Gauri. However, these scenes are addressed with dialogues such as Mere paas na dushmano ki directory nahi dictionary milegi (you won’t either the directory or the dictionary of enemies with me) or inhone mera makeup kiya hai mei inka pack up karwati hoon (they did my makeup, I will do their pack up).

What was missing was a genuine confrontation moment to really show why many transgender people believed Gauri’s work was harming them, and it could’ve led the viewers to the real issue of why many of them are resistant to these changes. This alternate perspective was not properly explored.

Another letdown was the addition of sequences that felt like an attempt to inject some drama into the show. Scene of Gauri celebrating the commencement of her womanhood while dressed as a bride, was paralleled by her father performing Ganesh’s final rites. This was done to symbolically represent Gauri’s father’s reluctance to embrace her new reality.  Instead of this addition, it would have been good to devote more screen time to Gauri’s metamorphosis.

Other attempts at eliciting emotions were made with background music and almost poetic dialogues. It seemed as though Gauri’s every response was designed to be an inspiring statement. Gauri’s more open exchanges with people, such as the flight attendant on a trip to the United States or the school principal, were much appreciated.

Taali provided to the audience something that they had already seen on the internet and in the news. There was a lack of artistically narrating the story so that viewers could better comprehend the perspectives of the third gender. Taali remains an amazing first-of-its-kind biopic packed with a number of profound performances, and we hope that mainstream cinema brings out more work of such activists while providing LGBTQ people the opportunity to play these parts.

 

Read Also : https://dubeat.com/2016/09/03/transgender-accepting-the-non-conformist/

Featured Image Credits: JioCinema

Priya Agrawal

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Arts & Culture

Less is More: Unpacking Minimalism’s Facade of Inclusivity

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Amidst modern excess, Minimalism surfaced as a guiding light of simplicity and intentionality. However, its evolution into an aesthetic trend inadvertently started to echo with privilege, sidelining those who needed it most. Can minimalism evolve to bridge the divide between privilege and inclusivity?

I noticed the word Minimalism casually being dropped into conversations in 2019 when the Netflix show Tidying Up with Marie Kondo began airing. Almost instantaneously, there was an obsession with tidying and perfectly organised bedroom drawers. The gentle and inviting coziness of the show captivated audiences, leading them to believe in the possibility of living prosperous lives, distinct from the prevailing extravagance that dominated much of our existence. Eventually, like most popular things in the social media age, minimalism started to gain traction as an aesthetic. Now, people no longer want to be associated with excess; simplicity is all the rage once again.

Minimalism as a concept surfaced particularly through the artistic movements in the 1960s as a challenge to the abstract expressionist movement that dominated the World War II era. However, minimalism as a lifestyle began to flourish in the 21st century, as an increasing number of people started to feel suffocated by the mindless accumulation that had taken root in their lives. The concept that personal contentment can be pursued without constant reliance on instant gratification from material objects is truly liberating. Minimalism also focuses on the emotional relationship between our material possessions, prompting us to appreciate their significance and purpose in our lives.

However, the concept of minimalism fails to acknowledge the influence of socioeconomic privileges in shaping the standards of what is deemed “aesthetic”. While minimalism advocates for mindful living and appreciating our time and surroundings, it tends to disregard the privilege of having “time” itself. Many individuals lack the luxury to dedicate time to deliberate choices about their possessions. While promoting minimalism is certainly valuable and demands greater attention, it inadvertently marginalizes individuals from lower socioeconomic backgrounds. Their limited resources and time prevent them from investing in possessions that genuinely enhance their lives. For them, minimalism isn’t a voluntary decision but rather a necessity dictated by their circumstances.

[This trend is] all about spending an incredible amount of time and attention to look as if you hadn’t thought about it at all.

-journalism Chelsey Fagan wrote in 2017

Modern-day minimalism places significant emphasis on aesthetics. The image often involves pristine white walls and linens paired with opulent dark wood, accentuated by touches of greenery to instill a sense of airiness. However, herein lies the predicament with minimalism. It tends to cater predominantly to a wealthier demographic, one that possesses the means to indulge minimalism into a lavish trend. Conversely, individuals with fewer resources have inherently practiced a form of minimalism, driven by the circumstances that shape their lifestyles and decisions. While their approach might not align with the conventional aesthetic, their practices resonate more genuinely with the fundamental values that minimalism advocates.

I guess around the late 2010s I really started noticing minimalism in my Pinterest feed. The aesthetic was very similar and there was a lot of emphasis on cleanliness. I think about minimalism and how it is about having less but valuable things in your life, I feel like it has already been done by people. I don’t think minimalism is anything new as a concept but I feel like people are just now taking it seriously because rich white people suddenly believe capitalist consumption is wrecking the earth.

-remarked a student from Mumbai

The concepts of minimalism often intersect with the principles of sustainability, particularly within the realm of fashion. Sustainability in fashion revolves around the notion that individuals should curate a wardrobe comprised of “investment” pieces. This approach enables us to derive maximal value from these items, without the constant pressure to conform to fleeting trends through low-quality fast fashion. Nevertheless, this perspective also reveals the underlying theme of privilege, as not everyone possesses the means to afford long-lasting, high-quality pieces. Many individuals turn to more affordable alternatives out of necessity, as they lack viable options.

I used to thrift all my clothes. I wasn’t necessarily aware of the sustainable implications or the vintage aesthetic of the clothes. It was just something my family did for the longest time. But now it’s considered so cool to go thrifting. I’m glad it is gaining awareness because of sustainability but sometimes I’m just confused because I see people who can afford better quality clothes from sustainable brands go thrifting and then immediately discard those clothes after 2-3 wears. I just feel like it defeats the purpose. For my family, Goodwill was essentially the only way we could afford clothes but I sometimes feel like if I had the resources, I would definitely try to invest in more expensive but sustainable brands.

-remarked a student from New York City

This doesn’t imply that minimalism is an elitist movement or that we should abandon its principles. Instead, it’s crucial to expand the perspective of minimalism beyond the familiar narratives that primarily resonate with affluent individuals. Contemporary minimalism is heavily associated with the privilege of choice, a luxury that isn’t accessible to many of us. The issue with the current state of minimalism is not its inherent cost, but rather the fact that it’s both expensive to adopt and carries a sense of condescension towards those not embracing the lifestyle. Thus, it becomes essential to redirect our attention from the “glamour of minimalism” and instead focus on how we can make minimalism more relatable and attainable for those who are already engaged in its principles.

While minimalism promises a path to mindful living, the popularization of minimalism often overlooks the barriers of socioeconomic privilege that influence its aesthetics and accessibility. The paradox lies in advocating for simplicity while failing to recognize that true simplicity may be forced upon those without the means to choose it. As we strive to redefine the narrative of minimalism, we must question whether its current trajectory aligns with its core principles of intentionality. How can we bridge the gap between the aspirational image of minimalism and the reality faced by those who lack the luxury of choice? Can we reshape minimalism into a movement that honours its essence while fostering inclusivity and acknowledging diverse economic circumstances? By reflecting on these questions and reshaping the discourse, we can work towards a version of minimalism that truly speaks to the essence of material liberation and contentment for all.

 

Read Also: https://dubeat.com/2016/12/19/minimalism-have-less-be-more/

Image Credits: Inc. Magazine

Sri Sidhvi Dindi

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Campus Central

Spot Round Registrations Begin, Admission Process Explained

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According to the official schedule, registration for Spot Round began on 29 August at 5 pm via the Common Seat Allocation System (CSAS) Portal under the ongoing admission process for Delhi University.

Delhi University administration started the registration for Spot Round of undergraduate admissions. Students can register on the admissions website, admission.uod.ac.in.

In the spot admissions round 1, declaration of allocations was done on 1st September (5 pm), and candidates will have time till September 3, 4.59 pm to accept the allocated seats.

Following that colleges will have time from September 2 (10 am) till 4.59 pm September 4, to verify and approve online applications. Last date for online payment of admission fees is scheduled for September 5, 4.59 pm.

The steps for application process include first visiting the official website, admission.uod.ac.in. Then by clicking on the UG admission 2023 link, the page will be redirected. The next step is to fill in all the requirements, incorporating all personal details and educational qualifications. Next review the application and pay the application fee. Finally, submit the application and download the application for future use.

“In its first round, a total of 202416 eligible candidates were considered for allocation based on their preferences of programme and college combinations. A total of 85853 allocations have been done in the First CSAS round itself. This includes an allocation to all programmes in all colleges in UR, SC, ST, OBC(NCL), EWS and two supernumerary quotas, PwBD and Kashmiri Migrants. As many as 7042 candidates got their first preference. About 22000 candidates have been allocated a seat from their first five preferences.” -ANI Report

During the first round seat allotment round, over 3,04,699 students registered the CSAS 2023 portal, among those, 2,45,235 students submitted their CSAS DU 2023 application form and 59,464 didn’t submit their application forms.

Image Source: Business Today

Read Also: DU Witnesses 87% Seats being Secured in the First Round of UG Admissions

Aanya Mehta

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Arts & Culture

Beyond the Artistic Veil of Kolkata’s ‘Kumartuli’

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Kumartuli

One of the most famous tourist spots in the heart of North Kolkata, Kumartuli is a slum district dominated by the potters and sculptors of the city. Often online travel blogs are found to be romanticising the aesthetic offered by the place, but beyond all the artistic beauty lies a darker side to this place: caste-induced labour, immigrant struggle, and the economic divide.

Perched on the banks of the Hooghly River, Kumartuli has been a go-to destination for travel vloggers and art enthusiasts alike. In the narrow lanes, barely wide enough for a hand-pulled rickshaw to pass through, the only people you will usually meet are the Kumars, the idol-makers of the city. It is from here that idols of Goddess Durga and other deities make their way into Kolkata every year. Especially during the months preceding West Bengal’s biggest annual religious festival, Durga Puja, the old alleys of Kumartuli are thronged with customers ordering 13-foot-tall Durga idols for neighbourhood associations and residential pujas, as well as Instagram vloggers and art enthusiasts capturing the essence of Bengal’s artistic culture.

However, beyond the camouflage of this aesthetic beauty and the illusion of tradition, lies the tragic reality of the Kumartuli potters. A recent visit to the place revealed the unhealthy and unhygienic conditions in which the potters work. Streams of sewage running past idol-workshops, rotten food strewn across streets, naked children running through gullies, the makeshift idol workspace constructed out of plastic and bamboo, and the ‘kutcha’ residential huts of the workers that have fallen to rust with time paint an altogether different picture of the area. Despite working day and night—from shaping the idols with clay to painting and drying them—the workers are provided with a meagre income, sometimes not even enough to suffice for three days of meals.

The months preceding Durga Puja generally witness an influx of immigrant labour from other parts of Bengal, like Krishna Nagar, Nadia, Orissa, and Bihar. And so the rivalry between the old-established potters of Kumartuli and the temporary workers begins. According to research, 40 percent of the shops export less than 5 units of idols per year, while the rest sell more than 110 idols per year. The economic gap resides within the district as well. While some shops have an annual turnover of 15 lacs, there are others that make more than 60 lacs. However, no policies or renewal projects have been taken up by the government over the years to enhance the living conditions of the workers or provide them with better employment opportunities.

The oppressive conditions of the Kumartuli potters are intrinsically linked to their caste-induced status, which has often been deluded by the lens of culture and art of the ‘Bengal aesthetic’.

Most of the Kumars (or potters) you meet at Kumartuli are Bengali Hindu workers. Their occupation is decided by caste, as all the Kumars at Kumartuli share the same last name, ‘Pal’, belonging to the ceremonially pure Shudra caste. The homogenization of the area with people of a particular ethnicity can be credited to the British. The British East India Company, during the colonisation of Bengal following the Battle of Plassey in 1757, allotted “separate districts to the Company’s workmen”. These neighbourhoods in the heart of the Indian quarters acquired work-related names: Suriparah (the place of wine sellers), Collotollah (the place of oil men), Chuttarparah (the place of carpenters), Aheeritollah (cowherd’s quarters), Coomartolly or Kumartuli (potters’ quarters), and so on.

Looking at Kumartuli through a caste lens, can the poor living and working conditions be traced back to the caste-induced labour and oppression of the idol-makers? Is the economic divide between the potters’ quarter and the rest of urban Kolkata a direct result of caste division? Why has the government not taken enough measures to emancipate the conditions of these lower-caste workers? Is there ever a possibility for these sculptors to break through the ‘ceiling of caste’?

The answers to all these problems can be found only once the authorities and the people of Bengal start acknowledging the complex social dynamics involved in the subjugation of these workers rather than overshadowing them with the fanatical glamour and grandeur of  ‘culture’. It’s high time that the illusion be broken.

Read Also: Of Remembrance and Letting Go: An Ode to Hometowns

Featured Image Credits: Google Images

Priyanka Mukherjee
[email protected]

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Arts & Culture

Signs of Cinema: Why We’ll Never Stop Going to the Theatres

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The media had rung the death knell on theatres and the concept of cinemagoing; statistics showed a steep decline in audiences going to movie theatres to watch films. Moreover, films shifted, literally and in the making, to the smaller screen, with several releases on OTT platforms. However, in the last year, there seems to have been a reemergence of the cinematic experience as the primary choice, as opposed to one among many.

Some surveys suggest that during the pandemic, India lost over 24 million cinemagoers, according to a report called Sizing the Cinema. It also suggested that the Hindi movie-viewing audience shrank by around 20%. Several multiplexes faced immense losses due to the abrupt lockdown and sanitation measures, leaving theatres around the world lifeless. Similarly, abroad, companies like Regal Cinema were forced to shut down, given the extent of their losses.

However, 2023 has also been a year of cinema revival, opening with Shah Rukh Khan’s mega-blockbuster, Pathaan, his great comeback film. Metted out to be quintessentially Bollywood down to the last shot, it was also an ode to the true Bollywood cinematic experience: camp, chock-full of machismo and physics-defying stunts, and most importantly, larger than life. It led to the reopening of 22 cinemas across India, which had once been bankrupted by strains of the pandemic. However, just a few months down the line, we lay witness to perhaps the largest cinematic release of Barbie and Oppenheimer, or as colloquially known, Barbenheimer.

Two films, not belonging to huge cinema franchises, managed to pull more eyeballs to the screen than most films in the past decade. It was the way the two played with familiar ideas and the way they connected to common political issues like feminism or the nuclear race, which already resided in the minds of the people (that isn’t to say their extensive marketing programmes had nothing to do with their popularity). Other releases coming up in September, like Shah Rukh Khan’s Jawaan, are also expected to fill theatres to the brim.

While we saw the palpable switch to the small screen in the pandemic, or OTT platforms like Netflix or Hulu, which gained popularity for their efficiency, accessibility, and considerable lack of censorship (especially in India), it seems as though for audiences none of this trumps the community experience of watching a movie in a hall, especially the big over-the-top productions. Movies have always relied on the masses for viewership and communication. Studies suggest the idea of sitting in a cinema hall creates a degree of escapism but, more importantly, allows one to espouse some semblance of belonging, a comforting thought after the pandemic of loneliness most have faced. With the combination of the grandiosity of movie theatres as well as the sense of community they provide, where every laugh and tear is shared, it’s no surprise that cinema, as it was imagined to be, is here to stay—on the big screen.

Read also: Barbie: A Review

Featured Image Credits: Hocmarketing.org

Chaharika Uppal
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