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The following piece attempts to examine the roots of Hindutva ideology in India as well as the caste-class mobilisation on which it grows. In doing so, it will also look at the role of apolitical-centrist folks in fuelling fascism.

Fascism, as Time magazine describes it, is “a movement that promotes the idea of a forcibly monolithic, regimented nation under the control of an autocratic ruler.” Its origins can be traced to Europe in the early twentieth century, with Germany seeing one of the worst faces of that movement. However, after World War II, in 1945, fascism began to lose ground before resurfacing in the form of neo-fascism. However, fascism, unlike in the West, rose to prominence in India in the 1990s. Since then, fascism in India has grown to its worst, steadily choking the world’s greatest democracy to death.

In his paper titled ‘Neoliberalism and Fascism’, Prabhat Patnaik writes, “They (fascists leaders) invariably invoke acute hatred against some hapless minority groups, treating them as the ‘enemy within’ in a narrative of aggressive hyper nationalism, and attribute all the existing social ills of the ‘nation’ to the presence of such groups.” He goes on to explain in his research how these movements’ fundamental characteristics go beyond mere prejudice. It highlights the movement’s adherence to irrational viewpoints, desire for societal domination, and readiness to use violence openly—even in positions of governmental authority—in order to accomplish its goals. He describes the totalitarian tendencies of fascist governments as they attempt to dominate the social, political, and economic facets of society. This eventually leads to a highly controlled society in which the government has a significant influence over every element of an individual’s personal life.

Hindutva, also known as Hindu nationalism, is a fascist movement in India that advocates Hindu supremacy and the establishment of a Hindu Rashtra. This movement began in India in 1925, amid the fascist surge in the West, but received little attention from the public until the 1990s due to the dominance of a left-centrist political party in government. However, after the 1990s, the movement began to expand quickly, with the ‘Babri Masjid’ as the centre of the politicisation. The movement gained political traction with the formation of the Bhartiya Janata Party (BJP) in 1980, which was backed by the Rastriya Swayamsevak Sangh (RSS) and the Vishwa Hindu Parishad (VHP).

Dr Muhammad Gumnāmi for The Muslim 500 notes, “From the 1990s onwards, the slow poisoning of Hindu minds against Indian Muslims was carried out by the RSS and BJP. However, their progress to a majority with complete control did not occur immediately. The BJP passed through a stage where they had to form a coalition government under the ‘moderate’ Vajpayee, who was also an RSS member. The Vajpayee coalition government ran between 1998 and 2004, and while it was BJP-led, it did not have the majority to lay the foundations of a Hindu Hitlerian state.”

In a country where caste is severely established, Hindu unity was a challenging feat. At the same time, in the 1990s, the then-V.P. Singh’s government implemented the Mandal Commission, which granted 27% reservation to the OBCs. This policy was a political manoeuvre intended to harm the BJP’s electoral base by creating inter-caste divides. While most political parties stayed mute on the commission since any favour may result in them losing a specific caste vote, the RSS officially called on the BJP to reject the Mandal Commission. But the party used a different strategy to mobilise people and secure voter support. A month later, L.K. Advani, the then-BJP President, began the ‘Rath Yatra’ to promote the agenda of a temple under the Babri Masjid and deflect attention away from the Mandal Commission. From the start, the Yatra provoked sectarian tensions between Hindus and Muslims.

On 6 December, 1992, members of Hindutva organisations razed the centuries-old mosque, sparking one of the bloodiest communal clashes in the country. While the Hindu-Muslim gap was gradually deepening following the demolition, a train accident made it worse. In 2002, a train coming from Ayodhya caught fire, killing 58 Hindu pilgrims. This prompted violent riots in Gujarat, killing over 1,000 individuals, the majority of whom were Muslims. Many international organisations criticised the BJP administration, stating evidence that the violence had been planned and designed in advance. The inability of the state to control violence, acts of silencing journalists and critics, and banning documentaries make further cause for concern and question. From then until now, the BJP has been successful in uniting Hindus on the basis of hatred against Muslims.

A PhD candidate from the Centre for Social Studies at the University of Coimbra writes, “In India, fascism is reinventing itself. It has crept through Hindu nationalism—Hindutva—and now poses a serious threat to Indian democracy.” For the BJP, mobilising UC Hindus was an easy task. A fairly easy equation: Hindu Raj means Hindu domination, which means upper caste dominance. Along with that equation came the Mandal Commission, which eventually helped them acquire UC voter support due to open criticism from the RSS, the parent wing. In a poll analysis by Lokniti-CSDS, they reported that as many as 89% of Brahmins, 87% of Rajputs, and 83% of Baniyas voted for the BJP in the 2022 elections. The percentage was 66 for OBCs and 41 for SCs.

While the existence of the UC voter base is self-explanatory, the question arises: how did the BJP succeed in mobilising the lower caste? Their first card featured Narendra Modi. Modi has been quite aggressive about his caste identity since the beginning. The Press Trust of India reported, “Addressing a press conference at the JD(U) headquarters here, the party’s MLC and chief spokesperson, Neeraj Kumar, pointed out that Modi has been accused of getting his caste, ‘Modh Ghanchi’, included in the OBC list in 2002, when he was the chief minister of Gujarat. ‘Modi sought to deny the allegation by claiming it was done way back in 1994, when the Congress ruled Gujarat as well as the Centre’, added the JD(U) leader. Kumar showed a sheet of paper claiming it was the Gazette of India of that year, mentioning the casts that were included among Other Backward Classes (OBC).” A few other political groups also questioned his caste status, but the BJP successfully defended it by labelling the claims “casteist”.

Now the question remains: even after an increase in crime rates against Dalits since 2013, why are Dalits voting for the BJP? The answer lies in the class development of this caste. In the book ‘Maya Modi Azad: Dalit Politics in the Time of Hindutva,’ scholars Sudha Pai and Sajjan Kumar find out the reason behind this shift. The book explains how class upliftment is one of the reasons behind the shift in political support. Vikas Patnaik notes in his review of the book for The Hindu, “Indeed, this is one of the finest insights of the book. One sign of self-confidence is always fragmentation, as an individual or a sub-group agency begins to question the need for a larger ‘authentic’ self. Just as a Brahmin can be a supporter of the BJP, the Congress, or even a socialist, it goes without saying that a confident Dalit middle class will also articulate itself in fragments. In other words, the electoral debacle of the BSP also reflects the success of the BSP in providing ‘aatma-samman’ (self-respect) to Dalits who grew up seeing Kanshi Ram and Mayawati as their natural leaders.”

Another reason is the hierarchy within castes. An excerpt from Pai and Kumar’s book argues, “It is also because the objective has been two-fold: to obtain the electoral support required in a key state like UP and include them within the saffron fold in order to build a Hindu Rashtra. Feeling neglected within the BSP vis-à-vis the dominant Jatavs, the smaller Dalit sub-castes have been attracted to the BJP and thus rendered vulnerable to its mobilizational strategies.”

The BJP’s silence on the Mandal Commission, the addition of EWS reservation, RSS’ criticism of the Mandal Commission, weakening opposition, intra-caste dominance, and Modi’s identity were all enough to mobilise the communities and bring them under the banner of “Hindu,” with a common slogan, “Not a ‘Brahmin’, Not a ‘Kshatriya’, Not a ‘Vaishya’, Not a ‘Shudra’: We are Hindus.”

While the underprivileged lack access to proper education and information about issues, they vote with the hope that this can probably uplift their financial status, while the rich ensure that they stay ignorant and vote with hatred. As economist Prabhat Patnaik states, “Fascism has been thriving on weakening the working class across the world,” and indeed the present construction workers deal between India and Israel exemplifies that. In India, the BJP government’s control over media and internet platforms aids in mobilising the middle and upper classes. According to a recent World Economic Forum survey, India is the most vulnerable to misinformation and disinformation in the world, posing the greatest threat to the 2024 elections. The reason a lie becomes a fact in India is because the privileged either benefit from it or turn a blind eye to it.

Fascism thrives on the politicisation of religion, and misinformation to blur the distinction between political and religious events aids in the cultivation of an apolitical voter base that ignores socio-political issues. Such a voter base indirectly aids in mobilising the working class. A recent illustration of this is the violence that erupted in the country following the Ram Temple’s inauguration. While this voting base had the resources and access to education, they chose to remain in their bubble of privilege, thereby supporting the authoritarian regime and creating a religious gap in their personal relationships.

Furthermore, an analysis of how apolitical-centrist individuals unknowingly support fascism emphasises the importance of a nuanced understanding of political apathy and the potential consequences of being untouched by ideological shifts. The development of fascism highlights the importance of ideological neutrality in deciding a country’s political direction.

So, while we sit in our bubble of privilege, continue to preach hatred, directly or indirectly, and refuse to question the hatred, the regime will continue to divide everyone, incite riots, and fan the flame of hatred towards our doors.

Read also: “I am a Brahmin” The Casteism of Baba Ramdev and Shankaracharya

Featured Image Credits: Hindustan Times

Dhruv Bhati
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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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On 6th May, Delhi Technological University (DTU) announced that it will conduct the final semester examination of all programmes online and the dates will be announced later. 

The notice also said that the university will conduct examinations through three modes – combined examination of subjective questions and multiple-choice questions; multiple-choice questions-based examination and case-study based examination. DTU has also introduced negative marking this semester, where each wrong answer will lead to deduction of marks. 

It also issued a notice yesterday detailing the guidelines for grading students on their major research projects, also requiring final year students to publish their work in a reputed Scopus indexed journal. Most of the core branches of engineering involve hardware-based projects. The lockdown has made laboratories where those resources and readings are set-up inaccessible. This has resulted in students not being able to complete their projects. For those students who do not have the resources to appear for such an examination, the only alternative is to wait out till the university re-opens and then appear in the offline exams thereby leading them in gambling with their future prospects of jobs or higher education.

Projects that could be completed during the lockdown were wrapped up only recently. But, due to the coronavirus outbreak, most conferences have been deferred and foreign and Indian journals have suspended or postponed their review processes, making it difficult for students to get an acceptance. Moreover, it is mandatory as per university guidelines to make a hefty payment of thousands of rupees after receiving the acceptance. 

A student further added: “Further, the stringent criteria is to only publish in a good quality Scopus or SCI or SCIE indexed journal, whereas even a good quality conference publication can only be awarded a maximum of nine out of 10 marks. The stringent condition of awarding of grade based solely on this parameter is extremely unjust to students.”

This has led to severe backlash from the student community, on the grounds of lack of access to the internet, academic resources and online infrastructure. Furthermore, the institution’s decision to introduce negative marking is abhorrent –in a time where students are going through mental, emotional and financial crises. The students wrote to the Vice-Chancellor, “The University had issued guidelines for conducting online exams. However, until now there has been no communication whatsoever on the dates of the examination nor the portal on which the exams will take place. Considering how this is a new platform for students and they need sufficient time to prepare for the exams as well as get accustomed to the platform, the time remaining for addressing these issues is extremely small. The decision of introducing negative marking in online exams is causing panic and distress to students considering how they are all final semester students and their entire careers depend upon these exams. The uncertainty in such a system is unprecedented and the students are completely in the dark regarding how various technical issues and glitches are going to be addressed by the university.” The students also wrote about their grievances to the Chief Minister and have started an online petition for the students to appeal against online exams.

A final year student from Jammu told Careers360, “I came to my home town much before lockdown on account of Holi break after my mid-semester examinations. I didn’t bring my books and laptop with me. Here in Jammu, I have connectivity issues and inadequate resources to complete my major project and appear for proposed online examinations.”

A final year student at DTU told DU Beat that the alternative given by the university is that if you do not want to give the exams, you must write to the administration to stop the online evaluation till an offline evaluation can be done. “But if the students go through this process, they won’t be able to sit for placements on zero days”, he added. 

He further appealed to the DTU Student Association to get in touch with the administration who is drafting the curriculum advisory and guidelines to brainstorm on another alternative which solves the students’ grievances. 

 

Feature Image Credits: Paridhi Puri for DU Beat

Feature Image Caption: DTU Student appeals against Online Exams on Facebook

 

Paridhi Puri

 

[email protected]

 

An overview over previously amended UAPA, aimed to counter terrorists, has resulted in terrorised dissidents instead.

Free speech, political dissention, and even mild criticism, might get anyone designated as ‘terrorist’ by the Centre, ever since Home Minister Amit Shah, in a sovereign state, proposed the amended version of an already ‘draconian law’ called, Unlawful Activities Prevention Act (UAPA), and it somewhat suits the ‘rishta vohi soch nayi’ narrative with its uncanny resemblance to the Rowlatt Act of 1919 set by the colonisers to criminalise protests.

What is UAPA?

In 1967, UAPA was passed for the first time in the parliament, and it gave the entitlement to the government to designate any ‘organisation’ as ‘unlawful.’ It further defined and criminalised what it seemed as unlawful. However in 2004, Manmohan Singh led Congress further amended it without getting it scrutinised by the special committee. The government was disposed with more power, defined terrorism, and could declare any organisation as ‘terrorist.’ It also empowered the police with enhanced power of interrogation, which was often abused as a harassment tool.

What does the 2019 amendment say?
The recent changes proposed by the Home Minister Amit Shah, which were passed in the Lok Sabha owning to heavy NDA majority and smooth relations in Rajya Sabha, allowed the interference of National Investigation Agency (NIA) to mess with the federal system, and most importantly declare any ‘individual’ as opposed to what was ‘organisation’ as ‘terrorist.’ This too was passed sans the scrutiny of the select committee.

Who are the categorically individual terrorists?

The Home Minister made it very clear that individuals who participate, fund, or engage in raising funds for terrorist activities, shall be treated along the lines of this act.

Most importantly he said, “those are terorists who attempt to plant terrorist literature and terorist theory in the minds of the young, guns do not give rise to terrorism, the root of it is the propaganda that is done to spread it.”

The Problematic Aspects

At no point does the law define what is terrorist literature and theory, for all one may have a copy of The Communist Manifesto and the Centre can use that as evidence.

Also what is the urgent need of the government to go after individuals specifically, when under chapter four of the same act provides for the accused to be prosecuted and punished if found guilty by the courts? Perhaps it’s that ‘if’ they want to win over, by curtailing a person’s right to get bail, or proper redressal. On average 75% cases under UAPA ended in acquittal over three years ending 2016 as per Business Standards’ analysis of NCRB data. It only raises skepticism if the Centre is trying to overstep this trend by removing the redressal system all and for once.

Who all are booked under this so far?
Jaish-e-Mohammad founder Masoor Azhar, Lashkar-e-Taiba founder Hafiz Saeed, Lashkar-e-Taiba leader Zakiur Rehman Lakhvi and underworld don Dawood Ibrahim. However, individuals with no organisation backing who were arrested post the amendment included Kashmiri photojournalist Masrat Jahan, Kashmiri journalist Gowhar Geelani, peasant leader Akhil Gogoi, student leaders, Meeran Haider, Safoora Zargar and Umar Kahlid.

Conclusion

There’s scope of some appeal in this contentious law which would take minimum 100 days and maximum uncertain days, for the heeding to go through the Home Ministry which itself labelled the accused as terrorist in the first place, and review committee, until then, one is a terrorist until proven otherwise, without grant to bail, or lawyer, and it’s all because the State with enhanced centralised power in a democracy simply believed so without any evidence.

Featured Image Credits: The Quint

Umaima Khanam

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While the countrywide lockdown has brought many people together working from the comfort of their homes like never before, University of Delhi’s (DU’s) teachers behind in this because the University being unable to pay for online journals and portals.

While this might seem like a burning issue amidst the lockdown, it is rather the opposite. Allegedly, the University has failed to pay for many international journals of law, science, humanities, and economics since 2016. While these problems are generally not a big problem when colleges and libraries are functioning, they become a huge problem when both of them are not functioning, and online resources are the sources of learning and teaching.

While resources like SWAYAM are still available to the teachers and students, to maintain some routine with the syllabus and classes. According to many teachers, these are not sufficient and are not as good as National Library and Information Services Infrastructure for Scholarly Content which has peer-reviewed journals and e-books for university-level education or the ShodhShala.

Delhi University Vice Chancellor (VC) Dr. Yogesh Tyagi did not respond to calls and text messages from The Print inquiring about the unavailability of e-means. In conversation with The Print, Manoj Kumar, Assistant Professor at Satyawati College said, “The responsibility for the payment lies both with the College and the University, and both have shirked it.”

“Going online for teaching and learning as a part of the regular teaching process is fine, but once the entire system is shifted online, things become difficult,” said Rajesh Jha, a teacher at Deshbandhu College, in a conversation with The Print.

Retired DU Librarian D. V. Singh said, “I have been fighting for the availability of online resources ever since 2016 until my retirement in Mid-2019. The college was supposed to pay income to continue receiving access to international journals, but it could not be performed despite a variety of attempts,” while speaking to The Print.

Singh also informed that for the University to continue with the subscriptions they have previously enjoyed, they would need to pay a total sum of INR 5 crore annually. Amidst the 21-day lockdown, the teachers and the students both require these e-resources now more than ever to learn and teach, and for the research work for doctoral students as the University has instructed for all day-to-day activities to be continued via online mediums.

 

Image Credits: Careers 360

 

Akshat Arora

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 Chhapaak, a story of an acid violence survivor directed by Meghna Gulzar, inspired by the real-life tale of Laxmi Agarwal.
Read on for the movie review.

Chhapaak is an unflinching feminist movie. Meghna Gulzar’s direction is tender; its gaze is not patriarchal. It questions what you went to theatre thinking of a movie based on acid attack survivors (I bet you thought victim). The opening scene is magnificent. Protests raging on, Delhi Police lathi charging and using water cannon; I’m sure none of the artists involved knew what the impact of that scene is, watching in today’s time. The reverberation of reality itself is manifold. 

The movie made me feel so uncomfortable. I could see myself in Malti’s silences. When her stalker messaged her multiple times, she just deleted the message and switched off her phone. When a woman from her lawyer’s team questions Malti’s decision to not slap him, the lawyer says- “In that case, you would’ve asked, why did she provoke him?” The survivors acting in the movie are amazing in their roles. They’re hopeful, tenacious, and funny, so so funny! Chhapaak highlights the laughter as much as it highlights the trauma. 

The movie lays emphasis on caste and poverty. A survivor recounts her attacker being an upper-caste man who did it to stop her from achieving her dreams. Such moments are hard to find words for. The supporting cast does an excellent job. Credit to them, the direction and the cinematography, Chhapaak is such a lived-in film experience. The landscape of Delhi is aptly used, the city as a metaphor for both violation and justice. Deepika Padukone is the soul of the movie. I fall short of words for what she’s done here. You feel her pain slapping you when she cries, and yet the illumination of her smile lights a thousand lamps. 

One of my problems with the movie is its lack of female singers. For a movie that is about women, helmed by women, even the makeup is by women; the voice of Arijit Singh and Shankar Mahadevan feels out of place, not that the songs aren’t good. I wish women sung in this movie. The interactions amongst all survivors are so beautiful and important. Rarely do we see female solidarity and support depicted in cinema. In a scene, Malti reads the Facebook comments of a post to a survivor. Their joy is infectious. Amol (Vikrant Massey) and Malti (Deepika Padukone) have understated, beautiful chemistry; one that doesn’t aggressively try to be a plot point, but like a simmering attraction to a person who has grown upon you. 

The biggest achievement of Chhapaak is how it moves from macro to micro — from political to personal — with poise and empathy. It reconstructs the notions of storytelling with the spotlight on a survivor, and by its final scene; gives us plenty of reminders in flesh about the significance of empathy, solidarity, and justice.

Featured Image Credits: Meghna Gulzar (@meghnagulzar on Instagram)

Paridhi Puri
[email protected]

As the old saying goes, ‘A pen is mightier than a sword’, in today’s time, writing and expressing oneself clearly is an important skill one must have a good grasp of. Thus, here are some tricks and techniques for better writing skills.

Keeping these small but significant pointers in mind will help one present their writing in a clear and concise manner, with effective communication taking place.

  1. KISS

(Keep it Short and Simple)

This golden rule works wonders when it comes to writing. Short sentences grab the reader’s attention. They don’t bore them and allow the message to be understood easily. It also gives an illusion of a short write-up thereby not making the readers bored to death while they read a piece.

  1. 5W1H

What, Where, Who, When, Why and How

Keep these questions in mind and your writing will become one with the maximum information without beating around the bush. Answer and address all the questions precisely to have a piece that conveys all information without unnecessary details.

  1. Use of Simple Vocabulary

While writing a piece it is important to understand that your work is understood by all. Hence, use plain and simple language while you construct your sentences. Not only will it make the piece easy to read, but also provide a good speed to the readers while they go through your work.

  1. Less is More

Convey more meaning in less words. Make the right use of synonyms, antonyms and idioms. Choosing words and phrases wisely will not add value to your writing but also make it an interesting read.

  1. Read Out Loud

Reading out a piece before submission is always a helpful and a handy trick. It helps one see if the sentences are framed correctly and make sense.

  1. Ask for Reviews!

Make someone whom you trust- a senior, a friend or a mentor go through your piece. An honest review from peers and people who surround you serves as a great feedback channel for improving upon ones’ work and writing skills.

  1. Read!

Read. Read. Read.

Be it newspapers, magazines or even fiction books. Reading from a variety of genres exposes a person to various techniques of writing and helps in picking up and identifying which techniques are helpful when it comes to incorporating them in one’s writing skills.

  1. Write!

All of these above-mentioned practices become futile if one does not put them into action. Writing skills are like a muscle; the more you practice, the stronger your grip gets in it! So, explore various kinds of writings. Be it a long form essay, journalling or even story-writing.

The more you write, the better you become with the skill.

These are some of the techniques which when taken into practice ardently, will surely make your work emerge as one which everyone appreciates for its readability, flow and presentation of thoughts.

So what are you waiting for? Write your heart out! Get up, get going!

 

Feature Image Credits: Scopio

Amrashree Mishra

[email protected]

Let us explore a lesser-known tale of the
plagiarism controversy surrounding Dr.
Sarvepalli Radhakrishnan, the man whose
birthday is celebrated as Teachers’ Day.

Before being ordained as the second
President of the Republic of India, Dr.
Sarvepalli Radhakrishnan was a scholar
whose expertise on comparative religion
and philosophy was espoused with
extensive research and studies.
His academic career, which started as
an Assistant Professor at Presidency
College in 1911, allowed him to make
several disciples at various academic
stages of his life. When he eventually
became the President of India in 1962,
some of his students went to meet him
to seek permission to celebrate his
birthday on 5th September, which he
politely declined and rather asked them
to celebrate Teachers’ Day on that day.
And ever since then, 5th September is
celebrated as Teachers’ Day in India.
However, there is a controversial aspect
of his life that is not discussed very often.
It was an infamous case of literacy piracy
that blotted Radhakrishnan’s reputation
in the late 1920s.
In January 1929, Mr. Jadunath Sinha, one
of his students and a brilliant lecturer at
Meerut College, accused Radhakrishnan
of extensively plagiarising from the first
two parts of his thesis titled “Indian
Philosophy of Perception”. Mr. Sinha had
completed his master’s from Calcutta
University in 1917, and had then applied
for the prestigious Premchand Roychand
Studentship in 1922, for which he had
to submit his thesis in instalments. He
submitted the first and second parts in
1922 and 1923, respectively, and the
remaining installments by 1925. Dr.
Radhakrishnan was appointed as the
examiner for Sinha’s thesis, and had to
read the second volume, and the other
subsequent volumes of the thesis.
Professor Sinha revealed that though
Radhakrishnan’s book Indian Philosophy
Volume II was published in 1927, he
noticed the plagiarism in Radhakrishnan’s
book from his thesis only in November
1928. Two months later, Jadunath Sinha
vented out these allegations through
the magazine- Modern Review. In
the subsequent months, the matter
worsened for Radhakrishnan as another
book by him, titled The Vedanta
according to Sankara and Ramanujan was
accused to have paragraphs plagiarised
from Mr. Sinha’s thesis. Mr. Sinha wrote
three consecutive letters in the February,
March, and April editions of Modern
Review inhibiting his accusations.
In August 1929, Professor Sinha sued Dr.
Radhakrishnan in the Calcutta High Court
for the charge of copyright infringement
of his original works, claiming INR
20,000 as damages. In September,
Radhakrishnan counter-sued him for
defamation demanding INR one lakh.
Jadunath Sinha was a revered professor
and initially managed to get sympathy
as well as support from fellow Bengali
professors. They were convinced of
the plagiarism, but subsequently
refused to stand as a witness for him
in the court. On the other hand, Dr.
Sarvepalli Radhakrishnan was a relatively
powerful figure at that time, too. He
was brought to Calcutta University by
the eminent academician Professor
Ashutosh Mukherjee, whose son and
the founder of Jan Sangh, Mr. Shyama
Prashad Mukharjee was a dear friend of
Dr. Radhakrishnan. He forced Professor
Sinha to settle the matter out of court
and, owing to the pressure, he finally
succumbed.
Power and politics play an essential role
in academia. The recent English syllabus
controversy proves that academics is
not free of powerful political influences.
The story of Mr. Jadunath Sinha and Dr.
Sarvepalli Radhakrishnan is symbolic of
this power-play in academics. It makes
us wonder if the traditions we follow
need to be reviewed and analysed for the
power dynamics they bring to life, over
and over again.

Feature Image Credits: Round Table India

Priyanshu
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On a typical Sunday in Daryaganj, one would fine streets hustling with book vendors, buyers negotiating the best cheapest price for their favourite books and the busy street packed with students from all walks of life. One order and a few officials were enough to make the place dead being almost impossible to recognize now.

 

The Delhi traffic police submitted a report to the High Court stating the NS Marg was a very busy road with high traffic volume at all times, and that booksellers occupied the footpath, leaving no space for pedestrians.  On July 3 the high court issued an order to the North Delhi Municipal Corporation to ensure that weekly bazaars on Sundays were not permitted on Netaji Subhash Marg in Daryaganj.

 

This 50-year-old bazaar was brought down leaving the vendors unemployed for a period and a disheartening the avid book lovers especially in Delhi University. From Manga Comics to NCERTs it was the cheapest hot spot for a wide variety of books for students from the University. Moreover, it was a space where students could actually come out from their graduation textbooks and expand their horizons and just fall in love with books. While reading books becoming a rare activity in this fast-paced world, the 50-year-old ‘jungle’ kept the circle of book lovers alive with its trails of books. It had a cultural influence to make the place known for it and attracted thousands of people. It was about providing a safe space to cherish books and education and an escape from the tiresome world into the world of books.  Jaishree Kumar, a final year student from Ramjas college reacted to the move saying
“Daryaganj was Delhi’s treasure chest of second hand affordable books. It was a place where students and readers of all ages could find what interests them. I’ve been there only once; I wish I visited it more frequently to relish its glory. I wonder how this shutdown will affect the small business owners who relied on selling these books.”

A vendor packing all the unsold books at Daryaganj                                                Image Credits : Mayank Austen Soofi
A vendor packing all the unsold books at Daryaganj
Image Credits : Mayank Austen Soofi

Mayank Austen Soofi is popularly known as the “the delhi walla” wrote about the history of the place. He mentioned that, fifty years ago, a kabadi bazaar selling used clothes, sandals and furniture was held each Sunday near Jama Masjid in the Walled City. The shops lined both sides of what was once Delhi’s biggest fish market. In 1964, three men gate-crashed into the bazaar, set up stalls next to the Victoria Zenana Hospital (later renamed after Mahatma Gandhi’s wife, Kasturba) and started selling second-hand books. After five years, the kabadi bazaar was moved to what is called “Red Fort’s backside”. The ‘backside’ was not easily accessible by public transport; neither was there water or shade available for respite during sweltering summer afternoons. Within six months, Kuldeep Raj Nanda, one of the three original booksellers of Jama Masjid’s kabadi bazaar, left the place. He set up a Sunday stall just below the Lohe Walla Pul, the pedestrian over-bridge made of iron that was dismantled some years ago and became the first bookseller of Daryaganj’s weekly book bazaar. Thus, started this weekly affair of readers and books.

 

The evacuation has disturbed the student community and student collectives from DU are taking initiatives for its relocation and revival. The Books and Documentary Review Club of Economics department at LSR held a group discussion in the college to discuss the status-quo of Daryaganj book market. They helped mobilise people for the protest held on the previous Sunday by the Delhi Book Archive to advocate against the move and relocate the bazaar. They commented “The Daryaganj Bazaar issue has been very close to us. It’s time to give our love back to the books that like mosaic spread out on the pavements of Daryaganj and to the hundreds of men and women who made their lives on the pages of books that they sold.
Let’s not allow the forcible deconstruction of our spaces.”

Group discussion held in LSR on Daryaganj Source: bdrecon_lsr
Group discussion held in Lady Shri Ram College on Daryaganj
Image Credits: bdrecon_lsr

While the decision of the court has been taken keeping in mind the traffic congestion issues, shutting down a place cannot be the solution to it. The cultural hubs and relationships one has formed over years with the place should not be washed away into dead streets with honking drivers. Such spaces have always been the identity of the place and hub for several students in the University. A collective voice should stand for its revival and keeping its identity alive.

 

 

Feature image credits: Mayank Austen Soofi

 

Sriya Rane

[email protected]

 

Meet the band, When Chai Met Toast , that embodies happiness and performs it in their music.

Kartik: The band name is a very creative fusion of Indian roots meeting western elements, so what kind of musicians or bands from India and abroad influence your music?
Ashwin: Actually, a lot of them! I mean, there is a lot of inspiration from English folk, but we are experimenting with a lot of other stuff as well, which includes English and European folk.
Achyuth: Not really folk, more like pop.
Ashwin: We do not want to really define ourselves into a category or genre, as such.
Achyuth: Some of the artists that we have been listening include The 1975, Coldplay; Coldplay is an all-time favourite.
Ashwin: There is Sufjan Stevens as well. There is a bunch of artists we listen to, and are inspired by.

 

Kartik:What qualifies as good music for you?
Achyuth: Anything that sounds good, I guess.
Ashwin: Very difficult question!
Achyuth: Anything that is true, actually. Anything that comes from the people, whatever genre it is. Something that comes from within.
Ashwin: I will be very honest. More than what qualifies as good music to me, what my ears hear as good music is what I like. For instance, you cannot really ‘name’ good music or music that you like. You are not very fond of something at one point, and other times you love something. You cannot really classify or clarify what good music is, and we have not really given it a thought, so I think there is no generic or specific category of good music.
Achyuth: For me, it is anything that has some soul to it, in whatever way. It can be any artist, but as long as there is passion, there is good music.

 

Kartik: Your songs are multilingual. Notably, the transitions in the languages are very smooth in the songs, which make the composition very cohesive. How do you think the audience reacts to this aspect of your music?
Achyuth: First of all, we are glad you think so!
Ashwin: We have heard positive reviews till now, thankfully. Nobody has as yet, thrown anything negative at us. We try not to force the elements into a song just because the song has to carry out something which is multilingual or some meaning that has to be conveyed. We try to keep whatever we write as what it is.
Achyuth: The fact that we all speak multiple languages helps. So, we are not really restricting ourselves. If we want to convey something through a song in Tamil, we have the freedom to do that, because Ashwin knows how to speak Tamil. It gives us many options, as a band.

 

Kartik:I was just listening to your latest song, “Nee aara”, and I loved it! This is your first Malayalam single, please tell your listeners about the song and what it means.
Achyuth: Thank you very much! It starts off with self-introspection, and then it moves into the ideas of new beginnings, in various metaphorical forms.
Ashwin: In one sentence, it is like understanding your mistakes and then trying to rectify them, and finding what is wrong with you. It’s about finding the new you, to some extent.

 

Kartik: Do you guys have any just-the-band or personal rituals to do before performing on stage?
Ashwin: We definitely pump each other up!
Achyuth: There is like a band-huddle before the performance.

 

Kartik: How many shows have you done in the last one year? Which show has been the best in terms of audience and the derivative artistic gratification?
Achyuth: Around 80-90 shows. All of them were great shows.
Ashwin: As for the latter part of the question, I think both of us might have differing answers, let’s see.
Achyuth: Weekender Pune 2018 was a great one.
Ashwin: Oh, then it is the same. We played our 70s set for the second time at Weekender Pune.
Achyuth: We were still learning our parts for that, but we managed to do well, I guess.
Ashwin: Narayan on violin, Prashant on bass, along with trumpets, we had a proper ball of a time. It was great to see five thousand people in front of you, while Joe Satriani was playing on the other stage. The sound was amazing, thanks to Yogi for mixing that day, Guru did an amazing job with lights as well. It was a crazy good day for us, altogether.

 

Kartik: Can you describe what do you feel when you’re performing on stage and a massive crowd jams to your songs along with you?
Achyuth: I think that’s what we live for.
Ashwin: Yes, we dance with them. And live the moment, that’s it.

 

Kartik: So how would you describe this feeling in one word?
Ashwin: D-E-D, DED, a very millennial term. (laughs)

 

Kartik: What are your views on failures and/or criticism? And what do you think stays with the audience, the artist or the art?
Achyuth: The art definitely.
Ashwin: I think both. Like when the artist feels the art is when the people feel the art.

 

Image Credits: Adithya Khanna for DU Beat
Image Credits: Adithya Khanna for DU Beat

 

Kartik: All the band members have had professional training in Indian classical music. In times of rap and hip-hop, and pop rock, where do you think Indian Classical music is leading to?
Ashwin: It’s leading to world music, buddy. Bands like Agam, and Shadow and Light and so many other independent artists are working on Carnatic and Hindustani music. There are a lot of jazz singers who are blending Carnatic music with jazz. Carnatic music is in a completely different scale altogether than what we think is Indie.
Achyuth: There is immense potential in the genre. It’s already massive.
Ashwin: Totally, I mean a Carnatic music show in Singapore selling more than 2500 tickets that is the substance of the genre.

 

Kartik: In a lot of your music videos, there is a running metaphor of creative and artistic blockade, and coming out of it. One of these videos that has stayed with me is that of the song “Believe“. What are your views on creative expression and its ability to transgress social obligations or expectations?
Ashwin: That’s too tough for me, man! (laughs)
I have been doing music for ten years now (professionally), and I have been learning from almost twenty years. It is definitely a very difficult task coming from a state like Kerala, to build up something what we are trying to do. There is always this hurdle, always this blockade that hits you, and you don’t know what you have to do. You have to find out the right door to move across. It’s not like you sign with a label and you are there. It gets very difficult when you are independent, when you are doing everything by yourself. Within the band, all of us have certain roles, and it becomes this division of creative people, coming together and doing so much together. Everybody’s struggle to get out there speaks for freedom of creativity. We have also come from different social backgrounds. My father worked in a bank, and later retired as an architect. So, we have to tackle all that when we are doing something like curating music on a full-time basis.
Even though our parents and families support us in whatever ways they can, there’s always this element of social obligation that comes to the fore.
Achyuth: Our listeners also relate to it. (the struggle)
Ashwin: At the end of the day, whatever you are doing, you need to be happy with it.

 

Kartik: Which conveniently brings me to my next question. When Chai Met Toast identifies itself with ‘The Happy Project’, it focuses on creating music that makes the listener happy. How do you think it impacts your credibility and influence as a band in a Rockstar-world obsessed with romanticising sadness?
Ashwin: Funny, funny part! (laughs)
See once you are broken, hope for one day that you will be happy. Life is all about it, is it not? I mean if there are songwriters who are writing about this state of being broken, we are trying to get out of it.
Achyuth: I think you can call our music being on the ‘positive’ line. We are looking at the brighter side, even when we are talking about a break-up, for instance.
Ashwin: There are a lot of other factors that get into you in the form of anxiety and depression, now that is entirely different. There is another thing. Generally, in music, we do not wish to depend on emotions too much, right? Every emotion has its own set of feelings that it gives out. But think of this: somebody for instance, thought that she would die of cancer, but having worked hard, she comes out of it. She has definitely channelised her positivity in that fight. She discovered herself, and fought it back. So, it’s always greener on the other side, we just have to look at the green from our side, and just go for it.

 

Image Credits: Saubhagya Saxena or DU Beat
Image Credits: Saubhagya Saxena or DU Beat

Kartik: In an interview you talked about a school in Kashmir (Haji Public School) wherein your song “Firefly” is now sung by the students in assembly. What was your reaction to this discovery and how great of an achievement do you think it is for you?
Achyuth: I think, things like these make what we do, all the more worthwhile. I cannot give it a word, for sure, but the spontaneous reaction to the news was: immensely gratifying. To see our art reaching out and being accepted and loved by people who are like miles away. There have been multiple schools across the country like Patna and Kerala, where students have sung our songs. This is another part that makes our music meaningful. There are no age barriers, our listeners’ ages range from six-year-olds to seventy-year-olds.

Kartik: Please tell us about your upcoming album, tours, and shows.
Ashwin: We are working on the album. Pre-production is going on, song-writing is going on. We are trying to figure out when we are going to release it. We are also trying out different things, and experimenting with new elements and instruments.
Achyuth: We do not know, as yet, when exactly it will be ready, but it is definitely on the cards.
Ashwin: One thing that we know for sure is that we are all very stoked and looking forward to the fun that the process is going to be.
Achyuth: As for the shows, we will be playing at three shows in North India this month. We have not played in North India in a while. We have performances in Delhi, Chandigarh, and Jaipur. Tours are still being planned out.

 

Kartik: How do you like performing in the North Indian states?
Ashwin: There is no barrier such as North Indian states. We love performing everywhere. People accept our music, they come and dance, they have a happy time, we have a happy time. Everybody has their own share of happiness, and we just enjoy that whole ground of people singing and dancing. There is no differentiation as such.
Achyuth: For us, we are equally happy when we are playing in any part of the country. Anybody who loves music is loved by us.

 

Kartik: Now that you have a huge following as a band, where do you see yourself in another five years?
Achyuth: Hopefully playing outside India as well, I don’t know.
Ashwin: To be honest, would love to win a Grammy, but that might be too much to ask for. We would love to play at international festivals, that would be great.
Achyuth: Yes, spreading our vibe, now that we have reached many people in the country, and making difference in whatsoever way we can in the larger community.

 

Kartik: Will we be seeing you anytime soon in some University of Delhi fest?
Achyuth: You should be telling us! (laughs)
Kartik: We would love to have you!
Ashwin: Oh, we would love to play there, as well! It is very mutual.

 

Feature Image Credits: When Chai Met Toast via Facebook

Kartik Chauhan
[email protected]