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Mad Women in the Attic: The MH Hostel, A Take

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This is a narrative of dissent, dissatisfaction, and a culture of resistance.

On a sunny winter morning, five young women sit on the bricked steps of Miranda House (MH) with a single tiffin in their hands. Inside the tiffin are meagre portions of flaxen Lauki and three stiff rotis. This is food they have collected from the hostel mess, and it is food, they decide, that must be served to the college principal. Not out of the graciousness of their hearts but out of an overwrought sense of frustration that they allege has been building up since their first semester at the Miranda House hostel.

Dissent runs rampant in the history of the hostel. The Pinjra Tod movement arrived at its gates in 2018. Demands for the removal of curfews were initially met with a pity extension of 30 minutes. Today, the MH hostel stands as one of the only DU hostels that does not lock up its women at night. The strain of resistance that went into this achievement belongs solely to its residents. Today, however, it has been reduced to a tussle for basic necessities.

Food. It is truly as basic as it gets. The major grievances put forward by the hostel residents include two-pronged complaints of quality and quantity. General complaints of food quality have now pervaded the hostel for quite some time, with instances of people falling ill after having consumed the mess food. In one instance of the burner supposedly having broken down, the residents claim to have been served partially cooked chicken, paneer, and later burned food. On the other hand, I am told that food getting over before the end of meal times is a regular occurrence.

Even as I write this piece, a message circulates in the hostel WhatsApp groups about “uncooked aloo” having been served for dinner. At night, under the lofty palm trees that feature vibrantly in every single equally vibrant photograph of the illustrious institution, residents sit and compare the circumferential edibility of the rotis. Some claim to have stopped eating in the mess altogether.

These grievances are met with rationalisations on the part of the authorities, which residents cite as ranging from “taste is subjective” to, at times, blatant denial. While the gallows-humour approach adopted by the residents is indeed laudable, what of those who cannot afford to eat outside? Must they be punished for entrusting reliance on promised subsidised food and quality residence? A second-year resident aptly asks,

After such a competition to get a seat in the hostel, why do we have to face issues regarding basic things on a regular basis?

Hostellers claim that they are reminded, upon complaints, that they are paying less and hence should learn to adjust. While a comparative analysis of hostel fees in the North Campus domain confirms the assertion that the 27000 (rough per semester standardisation) being paid by Miranda Hostellers is indeed moderate, whether nominal fees are justification enough for compromise on basic tenets of existence is left to the discretion of the reader.

To track the quality of water, some residents recounted a diarrhoea outbreak in the month of January. Such an account is provided with the backdrop of the NAAC visit in mind.

In doing so, residents recall the Student Federation of India’s (SFI) threat to protest in front of the NAAC delegation should their needs remain unmet. The memorandum containing the same was said to have been signed overnight. This raises another point of contention on the part of the hostellers, wherein the authorities are credited with being responsive to concerns, but only after the residents have reached a point of saturation, which only precipitates dissent.

An analysis of this point of contention rings true, as one observes that UV filters have been installed since the last few months had featured reports of illnesses and mass mailing. Rat holes were filled, and hair strands in Dal were addressed with plastic caps for the mess workers. The fact that authorities address issues only in the face of dissent is perhaps emblematic of larger, more systematic problems.

The hostel union, for instance, consists of third- and second-year residents. As a medium of communication between the administration and the residents, the existence of a student body makes complete and perfect sense. What does not, however, make sense is the delegation of responsibilities for looking after the hostel to the students, who are also burdened with their hefty academic degrees, which is what ex-union members allege has been happening. This has led more than once to multiple resignations, even, at one point in time, the dissolution of the union, as well as an unwillingness on the part of the residents to be part of the hostel’s students’ bodies.

It is easy to dismiss these grievances with the refrain of ‘controlled expectations’ from all things ‘Sarkari’. In doing so, however, we reward structural and governmental complacency. Resistance thus has a degree of inflated importance within the walls of the hostel because things are scarcely resolved without it. As residents grapple with the resolution of basic necessities, it only makes sense that they uphold the legacy of the hostel, as they appear to have been doing: the letter accompanying the tiffin calls it “a signal of distress.”

Read Also : Miranda House Students Protest for Removal of Curfew – DU Beat – Delhi University’s Independent Student Newspaper

Featured Image Credits: Telegraph India

Deevya Deo
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DUB Speak

Just Looking Like a “How?” Questioning SC’s Stand on Regulating Coaching Institutions

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Each time the newspaper unfurls another student’s tragic end, the pressing question lingers: when and how will this come to an end?

Welcome to the latest episode of the Supreme Court’s yet another fascinating dance of questionable rulings. In this piece, we analyse the court’s recent refusal to entertain a petition that sought regulation of private coaching institutes and a law to prescribe their minimum standards.

A fresh Monday’s dawn kindles newfound hope in the heart of petitioner Annirudha Nayal Malpani. Yet, in a distant realm, another heart faces a quiet departure of hope, navigating through the shadows of despair. In a plea that sought regulation of the mushrooming coaching institutes and presented data on student suicides, a bench of Justices Sanjiv Khanna and SVN Bhatti expressed helplessness and said that the court cannot pass any directions in such a scenario.

The court simply denied coaching institutes as a factor in suicides and backed ‘intense competition’ and ‘pressure of parents’ on their wards preparing for competitive exams as the main reasons for the rising number of suicides across the country. The court clearly mentioned that “coaching institutions in Kota cannot be blamed.” While we can’t deny the fact that societal and parental expectations do contribute a major chunk to the child’s pressure, refusing to hear any fault on coaching institutions still raises a question of doubt.

The widely acclaimed coaching hub, Kota, reported almost twenty-six deaths in 2023. An analysis by the Hindustan Times shows that more than half of the students who decided to end their lives were younger than eighteen years old. To delve into the factors contributing to these tragic outcomes, we need to acknowledge and articulate the underlying elements.

In a report by The Quint, a student studying at one of the premier coaching institutions mentioned that batches with higher aptitudes were given better treatment, like fully equipped libraries, twenty-four-hour teachers on call, etc. The potential toppers were even given fully furnished apartments with a maid and scooters. She added,

When you see others doing well, it instills a sense of competition. But when you see them being rewarded with money and other facilities, it leaves you feeling insecure.

To also contemplate this matter from a psychological lens, the toxic practice of segregating students on the basis of their ranks and grades breeds an air of superiority among high achievers, cultivating an unhealthy sense of competition among peers. Not only this, but these money-centric establishments allegedly lure the potential toppers with money so that they bring fame to ‘their’ coaching institute. As students dabble with homesickness, societal pressures, and financial burdens, the toxic atmosphere intensifies the struggle.

Notably, this isn’t the first time concerns have been raised about regulating coaching institutes and their alleged financial practices. In 2017, when this matter was previously brought before the apex court, the judicial stance was that it fell within the purview of state governments to address and regulate. History seemed to echo itself as the Supreme Court once again redirected the plea to the government, leaving us pondering a singular question: Does this constant redirection yield any effective results? While the Rajasthan government did issue guidelines in November 2022, complying with the orders of the HC and providing assurance of a law enactment, nothing seems to have changed as the state still yielded the highest number of suicides since 2015. In a parallel narrative, the issues confronting the Delhi government’s negligence find resonance in the streets of Mukherjee Nagar, still crying for the ‘framing’ of guidelines proposed in 2020.

The escalating tide of suicide cases demands a no-nonsense consideration for nationwide, centrally mandated guidelines. The grim reality is worsened by the flagrant negligence and incompetence shown by the various state governments. It screams for an urgent and concrete response because ‘pressure of parents’ no longer serves as the only scapegoat, while ‘spring-loaded fans’ and ‘anti-suicide nets’ are not the resolutions anymore.

Read also: The Supreme Court’s Handbook on Combating Gender Stereotypes

Featured Image Credits: India Today

Dhairya Chhabra
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Campus Central

Exploring the Tapestry of Tradition: Insights from the Bharat Literature Festival 2023

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The Bharat Literature Festival 2023, organized by Kirori Mal College in the most extravagant way possible, celebrated traditional Indian literature through engaging dialogues, debates, and readings. Eminent writers, scholars, lyricists, and government officials were part of the diverse lineup. While well-received, some criticised the event’s politicisation. 

The Bharat Literature Festival, organised by Kirori Mal College on November 28th and 29th, 2023, is a  LitFest that focuses on celebrating the diverse body of traditional Indian literature and facilitating engaging dialogues, literary debates, and celebratory readings. Over the course of the festival, scholars, writers, lyricists, poets, and renowned personalities from all walks of life were engaged in discourse about varying topics such as art, literature, culture, history, politics, and social issues. It went beyond its title as a literary event by housing art exhibitions, facilitating pertinent political discourse, and particularly attracting visiting students to the pursuit of the civil services with VisionIAS  as its Knowledge Partner.

Eminent public figures such as the Hon. Governor of Telangana, the commercially successful lyricist Prasoon Joshi, and Union Minister of Labour and Employment, Bhupendra Yadav, were invited too, amongst many, many more. It is indisputable that the line-up of scholars, experts, and esteemed speakers ranging from Indian cinema to Cabinet Ministers served as the major attraction for the fest. Students from across the University of Delhi flocked to the event to witness some of their favourite personalities share their insights on the central theme alongside issues that specifically pertained to the speaker’s field. Students were able to firsthand engage and interact with journalists, scriptwriters, historians, filmmakers, and lyricists. As the guests and speakers individually have their own publicity from the media, press, and fanbases, these speakers were able to cause an influx of visitors to the event too.

Other than providing a platform for these public figures, the fest even conducted a variety of competitions for students that included slam poetry, stand-up comedy, a photography contest, and a talent hunt—all of which were met with a sizable number of responses and registrations. The food stalls, youth activities, and musical evening incentivised even those who aren’t necessarily interested in literary discourse to participate in the fest.

I really liked the event, especially the different speakers that were called. A session that stood out for me was- “Cinema: The Reflection of Society.” Amit Rai, Chandraprakash Dwivedi, and Priyanka Shakti Thakur talked about how modern films disregard ethics to show what sells the most. It was quite an insightful talk.’

-A third-year student from Kirori Mal College who had attended both days of the event. 

Something that caught everyone’s attention was BLF’s attempt to encompass the diverse cultures of India. Speakers ranging from author Yadvinder Singh Sandhu from Punjab to Telangana’s governor, Dr. Tamilisai Soundararajan, blessed the event with their powerful words. Even the numerous stalls had books of various Indian languages, showing the level of richness the event tried to achieve

I enjoyed the talk by Dr. Sachchidanand Joshi Ji. I got a good perspective on the tussle between modernity and culture, how the two often don’t go along well.’

– An attendee in reference to the session- “Sanskriti Aur Chunotiya – TV – Cinema – OTT.

However, this mega event was heavily criticised by student groups and had a lot of negative responses too. People raised questions about the politicisation involved and criticised it. Many students stayed anonymous or avoided sharing opinions because of the potential risks involved due to the involvement of college administration in the event.

I have attended literature festivals before, and this is not what a literature festival looks like. This was clearly right-wing propaganda.

-A critic of the event 

Few felt that the event was more of an attempt to push right-wing ideologies than focus on literature. They claim that the speakers called and the topics they talked about were clear signs of the political intentions of the events. 

Numerous criticisms about the festival surfaced online, with concerns focusing on the event’s agenda. Critics pointed out that the topics discussed, such as “Pranam Main Hindu Hun” and “Sanghe Shakti: Bharat @2047,” raised controversy due to their alignment with Hindutva ideologies. Some online discussions also highlighted the problematic stance of certain invited speakers who openly support the regime and have advocated for the genocide of Muslims in the past.

In addition to the ideological alignment, student groups disclosed, under anonymity, the kind of pressure the administration placed on members of various college societies about volunteerism and promotion. Students from many departments also brought attention to the abrupt disruption in their classes..  

Additionally, there were complaints about the lack of linguistic diversity, as most discussion titles were in Hindi, neglecting representation from North-East and South Indian literature. Critics argued that the event’s themes and titles seemed to align closely with the policies and marketing strategies of the ruling regime, further fueling online dissatisfaction. 

Featured Image Credits: @bharatliteraturefestival Instagram

Shireen Peter 

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Shatadru Sen

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Arts & Culture

Kamasutra: A Tale of Love in the 2020s

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Kamasutra: A Tale of Love, a 1996 cinematic relic that failed to find its place in the Indian film industry of the 90s, gets me to question whether such a contentious movie would survive the scrutiny of the new era.

An unapologetic masterpiece or a stark spotlight on societal norms. Did the visionary filmmaker Mira Nair subvert gender stereotypes or reinforce them? Kamasutra: A Tale of Love sparked this debate when it first came out in 1996. In times when sex was considered taboo and Indian cinema, or just cinema in general, was still largely dominated by male perspectives, she told us a story about two young girls, Maya and Tara, who explored the complexities of love and desire. Set in the 16th century, the movie follows Maya, who, in the wake of a heartbreak, embraces her sensuality and becomes the courtesan of the king. The same king who is married to Maya’s former friend Tara is entrapping her in a loveless marriage.

While Nair was applauded by many for the brilliant cinematography seen in the film and the bold portrayal of female sexuality within the Indian context, she also, not so unexpectedly, faced heavy criticism due to its erotic nature. This resulted in the movie being banned in India. Now the pertinent question emerges: if released in the 2020s, would the outcome have remained unchanged?

Taking into account the female-forward intentions of the filmmaker, this movie was set out to portray that sexual desire is something that comes naturally to men and women alike. The female characters actively expressed their sexual inclinations throughout the movie. Inclinations that would have generally been a lot more silent given the time period Beyond sexual desire, Nair’s female characters exhibit a plethora of very powerful emotions, including fury, resentment, and grief. Focusing the story on the journeys of women and putting them at the forefront contributed greatly to the element of gender inclusivity.

Despite the benevolent objectives behind this movie, it received an enormous amount of backlash. While the power dynamics seen in the characters’ interpersonal relationships were a problem for some, the graphic nudity and eroticism infuriated others. The movie was called out for reinforcing stereotypes, insensitive cultural representations, and male dominance at play throughout the entire movie.

The question of whether this movie falls in the realm of commendable or critiqueable is a complicated one, especially if we are to look at it in the context of the 2020s. It’s safe to say that the movie, in today’s time, would potentially offend multiple cultures. Moreover, the evident patriarchy in the film would not align with newer feminist ideals. Although it could be attributed to the film’s historical context, these aspects would still be considered regressive, keeping in mind modern expectations for diversity and inclusivity.

Nevertheless, above everything, there would still be the persistent concern surrounding nudity and mature content, particularly where Indian cinema is involved. “Showing too much ankle” still remains a breach of cultural modesty in our country. While some people would argue that with a few censor cuts, the film could still make it to the big screen, I hold a different standpoint. Sex plays a crucial role in unfolding this narrative; without it, the story would risk losing most of its substance. So it’s fair to conclude that although this movie would have been looked at more positively where the feminist elements are concerned, I still do not think that the Indian audience would allow its release.

“Kamasutra: A Tale of Love” left a permanent mark on the canvas of film history. It is a production shaped by our own, a work of art that is beyond our grasp. As close as the Indian audience is to Mira Nair’s heart, this creation remains forever elusive—a reminder that maybe some stories are never meant to be told.

Read also: Barbie: A Review

Featured Image Credits: IMDb images

Lakshita Arora

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Campus Central

DU takes Action against Students in Response to Attendance Concerns

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Considering the low-attendance challenges, Shaheed Bhagat Singh College decides to undertake necessary actions for nearly 1,397 students out of the total 3,600.

In a notice dated December 8, 2023, released by Shaheed Bhagat Singh College, the institution decided not to issue examination admit cards to students with attendance less than 40% in the semester. The decision made aligns with the earlier notices issued to the students urging them to meet the attendance requirements as per Delhi University norms. 

The notice clearly stated that students with attendance ranging from 40% to 66.66% will receive examination admit cards upon submitting an undertaking for covering up the deficit attendance and ensuring the combined average attendance of the two semesters to become at least 66.67% while declining the issuance of admit cards to the students whose attendance falls below 40% in any semester. 

As per The Times of India (TOI) reports, Arun Kumar Attree, principal of Shaheed Bhagat Singh College, said,

“The college is now grappling with the emergence of a ‘college of correspondence’, where many students attend courses merely as a formality”.  

The students have been given the final chance up to December 12 to rectify any attendance discrepancies and provide any other document or information in support of their claim to meet the minimum attendance criteria. 

 Expressing concern about the attitude of students towards attending classes and contrasting it with the dedication of the teachers, Attree added,

“Some students were genuinely absent due to extracurricular activities such as sports, but there are some pursuing courses outside or focusing on their family business instead of attending classes. Enough is enough. We can’t keep going on like this. Our college has to get rid of this reputation of its students not caring about attendance.”

Demanding a shift towards merit-based education, he also highlighted the need for reserving educational opportunities for deserving students while mentioning instances where students who secured admission through CUET treated the college like a mere examination centre, coming to college only for exams. 

Read Also: DU’s Plagiarised Strategic Plan Withdrawn

Featured Image Source- Livemint

Dhairya Chhabra

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Campus Central

UGC urges Universities and Colleges to Set Up Selfie Points in Campus

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To raise awareness among youngsters about India’s achievements in various fields, the University Grants Commission has asked universities and colleges across the country to set up ‘Selfie Points’ at various strategic locations on their campuses.

The initiative by UGC to set up ‘Selfie Points’ across all campuses is aimed at raising awareness among young individuals about India’s accomplishments across various domains, particularly the new and latest major thrust initiatives under New Education Policy (NEP) 2020, like ‘Ek Bharat, Shreshth Bharat’. 

These selfie points are to be created “in accordance with approved designs in 3D layouts shared by the ministry of education.” The directive carried various themes for their creation; these included the  internationalization of education, unity in diversity, the Smart India Hackathon, the Indian knowledge system, multilingualism, and India’s rise in higher education, research, and innovation.

These selfie points will not only serve as a source of pride but also enlighten every citizen about the transformative initiatives that have propelled India’s growth on the global stage. Students and visitors should be encouraged to capture and share these special moments on social media platforms, fostering a sense of collective pride.

–Manish Ratnakar Joshi, UGC secretary

The UGC urged all institutes across the length and breadth of the nation to adhere to these designs to maintain uniformity across campuses.

There is a unique opportunity to harness the energy and enthusiasm of youngsters, molding their minds with inspiration drawn from India’s progress in diverse fields. The selfie points will emerge as a dynamic and engaging place to instill a sense of national pride.

UGC is expecting the selfie points to become dynamic and engaging spaces, instilling a sense of national pride and awareness among students with the goal of inspiring generations.

These designs were shared on a Google Drive link attached to the UGC’s letter. Each design carried a large image of the Prime Minister along with snapshots of the government’s achievements in the fields of education, research, and innovation, in addition to certain representative pictures on the theme. 

The notice received a considerable amount of criticism from faculty members and academicians. In an article by The Telegraph, a faculty member called this directive ‘full-blown propaganda to build a cult figure’, while another faculty member saw it as ‘promotion of a single opinion by dominant forces’.

However, days after the notice was issued, UGC withdrew the suggested designs linked to the directive. The regulatory body did not specify the reasons behind this withdrawal, though the directive to set up the selfie points remains intact. 

Read Also: DU’s Plagiarised Strategic Plan Withdrawn

Featured Image Credits: Himanshu Kumar for DU Beat

Kavya Vashisht

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Campus Central

DU’s Plagiarised Strategic Plan Withdrawn

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Delhi University’s strategic plan set ambitious goals for the next 25 years, but the document was found to be plagiarised from several reputed international universities, leading to a halt in the discussions.

On Wednesday, December 6, 2023, the Academic Council (AC) met for its 1017th emergent meeting to discuss the Delhi University Strategic Plan 2022–47, which aimed to enter the ranks of the top 100 universities in the QS World University Rankings by 2047 by introducing various initiatives. However, a day prior to the commencement of the meeting, teachers from the Democratic Teacher’s Front (DTF) alleged that the document was ‘plagiarised’ from various international universities’ strategic plans, including Ohio State University, the University of Sheffield, Piedmont Technical College, Kenya’s Friends College Kaimosi, Meghalaya’s University of Science and Technology, and also IGNOU. The teachers had also alleged that the plan would lead to the commercialization and privatisation of public institutions, accompanied by fee hikes.

Amid these allegations, the Academic Council meeting discussed all concerns, and the Strategic Plan has been sent back for revision. DU’s official statement disclosed the meeting decisions,

“The members presented their views and suggestions, describing the strategic plan as important for the future. After listening to the suggestions, the Vice Chancellor asked the strategic plan committee to seriously consider them again,” the statement reads. The Vice Chancellor has also said that editors and linguistics will be consulted in the drafting committee to address the linguistic nuances.

Members of the Academic Council criticised the lack of effort while formulating the document. Some members have also defended the proven plagiarism callouts.

It is extremely unfortunate that a plagiarised document has become the foundation of DU’s Strategic Plan 2022–47. Plagiarism in any form is totally unacceptable, and the fact that it is being promoted by the top authorities of DU by tabling it for discussion is absolutely shocking. -said Mithuraaj Dhusiya, an elected AC member.

The strategic plan devised several initiatives that would foster global recognition for DU, including cross-university collaborations, academia-industry collaborations, developing research centres, and modernising facilities. In a 20-page letter to the Vice Chancellor, the DTF criticised the lack of thought for local context and the subsequent speculative privatisation of the central university and wrote,

The strategic plans of other institutions whose realities are completely different from ours have been presented as ours. We know that most of these institutions have been forced to depend on the market for funding, and our uncritical acceptance of the same underscores the design to conform to the demands of global edu-business.

Vikas Gupta highlighted another concern: “The draft does not mention terms like reservation and secularism at all. The term ‘Dalit’ figures only once, and that too in connection with indigenous knowledge. Besides this, the term ‘caste’ has been used only once, while this continues to be the most important social phenomenon of our personal and public lives to reckon with.”

Read also: DU Students may avail 40% of their Courses Online through Swayam Portal

Featured image source: Hindustan Times

Sarah Nautiyal

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Ramjas Students Protest against Displacement of Ad-Hoc Professors in English Department

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On 4 November 2023, Ramjas College students gathered to protest against the ad-hoc crisis in the college’s English department, expressing concern over the displacement of 8 out of 10 ad hoc professors. Their collective demand echoes a call for transparency, academic stability, and integrity within the educational framework.

In a resolute display of solidarity, students from Ramjas College’s English Department organised a gathering to protest against the displacement of 8/10 ad hoc professors of the department on Monday, 4 November, 2023. Gathering in the Eco Lawns of the college, the rally circled the campus, culminating in a demonstration at the Principal’s Office. The college administration responded by summoning police forces to contain the protest. The protest garnered support from students from various departments of Ramjas College and was endorsed by student organisations such as the Student Federation of India (SFI) and the All India Students Association (AISA).

In a post shared by the Instagram handle Ramjas Reading Room, the protest called upon immediate action to address the following:

  1. Halt Unjust Displacements
  2. Preserve Academic Integrity
  3. Prioritize Faculty Well-Being

Vociferous slogans and heartfelt messages were raised during the protest as student were overcome with anger and anguish amid the state of things.  A student from Ramjas’ English Department, who wishes to stay anonymous, shared,

The English Department has been one of the most active departments in Ramjas. For most of these professors, teaching, while being a passion, is also a source of sustenance. They are still processing the grief of what has happened.

The protest is being held against the backdrop of the displacement of ad hoc professors from departments across colleges at Delhi University. In Ramjas College, the first department affected by this issue was the Zoology Department last year. Many have alleged that the process of interviewing, retention, and displacement of ad hoc professors is opaque, leading to highly qualified and experienced professors losing their jobs.

Utilising platforms like WhatsApp and Instagram, students of Ramjas College effectively mobilised support by urging their peers and even past alumni who are working across the globe to join the cause. The protest featured images of these iconic figures, such as Tagore and Gandhi, and included books taught by the displaced teachers. The student political groups that had joined submitted a memorandum seeking transparency in the interview process and the retention of ad hoc professors.

According to our sources, the college has made no response to the students’ demands as of yet. Expressing their state of despair and hopelessness at the system, a final year student from the English Department, commented, 

We have lost that last sense of connection with the department. It has become a foreign space for us; the college is a necropolis. How will we ever go back to Room No. 12, the department room? The displaced professors have shared our paintings and poems on their Instagram posts and stories. But we only know what we have lost.

Read also: Faculty Displacement at IPCW: Impact on Students and Academic Integrity

Featured Image Credits:  Aaryan Marcha, student at Ramjas College

Injeella Himani
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Features

All Lenses on Gaza: Digital Activism and the Palestinian Resistance

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As you think of others far away, think of yourself (say, “If only I were a candle in the dark”). –Mahmoud Darwish (translated by Mohammed Shaheen)

At the time of writing this article, it has been 40 days since the commencement of Israel’s relentless retaliatory assault on the Palestinian people living in Gaza and the Occupied West Bank. Following the Hamas attack on October 7, 2023, Israel’s offensive has resulted in the tragic deaths of at least 11,000 Palestinian civilians, with over 20,000 sustaining injuries. 42 journalists and media workers have lost their lives, and the war has recorded the highest number of UN aid worker casualties in the history of the organisation. Craig Mokhiber, the former Director of the New York Office of UNHCR, who resigned in protest of the United Nations’ failure to intervene and avert the crisis, has described the unfolding humanitarian catastrophe as “a textbook case of genocide.” Yet, if one were to turn to mainstream media, particularly in the West, one would find a very different picture than this grim reality.

Indeed, the Western reporting of the Israel-Palestine issue has been marred by a series of “erroneous Western assumptions,” as Professor Amir Ali of the Jawaharlal Nehru University (JNU) called them in a commentary piece for the Economic and Political Weekly. From an ahistorical account of the situation as beginning on October 7, 2023, to the labelling of all condemnations of Israel’s actions as antisemitism, along with the ad-nauseum repetition of “Do you condemn Hamas?” Prof. Ali identifies these assumptions as reflective of “the moral and intellectual bankruptcy of the West.” Underneath these apparent fallacies in logic, of course, lie much more deliberate and coercive forces of racism, Islamophobia, and the state-driven race for geopolitical gains.

In light of this active epistemic erasure, many have chosen to turn instead to Palestinian journalists, photographers, and activists, such as Plestia Alaqad, Bisan, Yara Eid, and Ali Jadallah, among others, who have utilised their social media presence to document the harrowing genocide as it unfolds on the ground. “My photos travelled the world, but my feet couldn’t touch my homeland,” reads the Instagram bio of Motaz Azaiza, one such Gaza-based photojournalist, whose photographs have indeed travelled the digital world and exposed the ongoing atrocities of the Israeli state. From highly graphic and excruciating images of dead or injured children to capturing the daily resilience of the Palestinian people, the social media posts of Gazan civilians like Motaz have struck the consciences of millions across the world. Amid active attempts to dehumanise victims of genocide, they have served as an unprecedented tool of personal documentation, humanising the statistics too often reduced to mere death tolls.

The democratisation of information dissemination via social media has brought out the face of a genocide like never before in history. Such is the power of online discourse that many experts have called it “a battle to control the narrative dimensions of conflict and war.” The meddling forces in this narrative battle include disinformation, online propaganda, and censorship by social media platforms. The latter is particularly pertinent in the current context, as numerous activists, journalists, and regular users have accused major platforms of shadowbanning or taking down Palestine-related content. Yet, the sheer magnitude of this online movement is evident in the fact that October saw 15 times more posts on Instagram and TikTok with pro-Palestinian hashtags than pro-Israeli ones, as reported by Humanz, an influencer marketing company founded by former IDF intelligence officers.

On an individual scale, this has translated to what I’d like to term ‘digital-user morality’ for the purposes of this article. Digital-user morality may be understood as a form of individual social responsibility that encourages the socio-politically conscious usage of one’s social media platform, however big or small, to create awareness about issues that matter. Emphasising the complicit nature of silence and ignorance, it calls upon individuals to speak out for what’s right and stand in solidarity with marginalised communities across the world.

The idea here is not to suggest that passive engagement in the form of a single repost or retweet is going to bring about a revolution. Rather, the objective is to harness online support and channel it into tangible forms of dissent and protest movements. With the widespread adoption of the BDS (Boycott, Divest from, and Sanction) movement and people marching in the thousands across the world, it is evident that the line between digital activism and real-world mobilisation is a thin one, and the former has a significant bearing on public sentiment about war.

As we continue to mobilise our voices for Palestine, it is also crucial to be cognizant of the pitfalls of virality and not forget the many ‘silent genocides’ unfolding in other parts of the world right now, such as the Congo and Sudan. Social media is a powerful tool, but it is a tool based on capital, after all. So, when the Palestine issue inevitably dies out its so-called time on social media, just as the Manipur issue did earlier this year and countless other humanitarian crises that seldom see the spotlight, remember not to let your activism be washed away in the transient waves of online attention.

Read Also: What’s Going on in Gaza and Why You Should Care

Image credit: @motaz_azaiza on Instagram

Sanika Singh
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Reviews

DUB Review – Scoop, Chasing the Truth Behind Newsrooms!

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What unfolds when the fate of an ordinary reporter at the pinnacle of her career suddenly changes as she is forced to face the harsh reality of prison? “Scoop” offers all the answers.

“Scoop” is an engrossing crime drama series that follows the journey of a reporter chasing a case from a newsroom to spending days in prison as a suspected criminal. The six-episode series, directed by Hansal Mehta and Mrunmayee Lagoo Waikul, is available on Netflix for viewers.

The show is an adaptation of journalist Jigna Vora’s memoir, “Behind Bars in Byculla: My Days in Prison.” In the lead role of Jagruti Pathak, a character closely based on Jigna Vora, actress Karishma Tanna delivers a compelling performance. She breathes life into the character, infusing it with a sense of simplicity. Jagruti is portrayed as a woman from an ordinary Gujarati family. The show provides a captivating glimpse into her thrilling and passionate life as a crime reporter at Eastern Age, who is always on the hunt for the next big scoop. It’s her story of struggle and personal sacrifices as a single mother and the sole breadwinner for her family. The latter part of the series takes a tragic turn, focusing on her life events when she was accused of the murder of a fellow journalist and allegations of connections with an underworld gangster. The series boasts an exceptional supporting cast, including actors like Harman Baweja and Mohd. Zeeshan Ayyub, who deliver outstanding performances.

“Scoop” has emerged as one of this year’s most popular shows, owing to its exceptional cinematography and storytelling style. The creators have skillfully intertwined the harsh realities of the world of crime with the dynamic realm of journalism. The two contrasting but dark realities culminate in a tragedy where Jagruti Pathak finds herself as the prime suspect in a high-profile murder case. This results in the loss of her job, a tarnished reputation, and the withdrawal of support from her community. She then endures challenging months behind bars, anxiously awaiting the possibility of bail.

“Scoop” not only excels in compelling storytelling, it also has powerful dialogues. It provides the viewers with a glimpse into the complex world of journalism, where the line between ethics and exaggeration often blurs the truth. The show highlights the moral conundrum that journalists encounter when deciding whether to back Jagruti in her fight for justice or use her as a ‘scoop’ for their headlines. In the backdrop of a newsroom where jealousy and fierce competition for a spot on the front page prevail, the show challenges viewers to contemplate the fine balance between relentlessly chasing a story and the wisdom of knowing when to step back.

One particularly striking line in the show, delivered by Imraan (played by Mohd. Zeeshan Ayyub), the editor-in-chief of Eastern Age, summarizes the essence of true journalism: “If someone says it’s raining and someone says it’s dry, it is our job to look outside your window and decide which is true.” This thought-provoking line invites the audience to reflect on the quality of journalism they encounter in their daily lives. The dramatic twist of events in Jagruti’s life, from dominating the headlines as a respected crime reporter to becoming the headline herself as a crime suspect, is what makes “Scoop” an incredibly compelling and engaging watch.

“Scoop” stands as a top recommendation for anyone seeking to grasp the value and significance of quality, ethical journalism in a world often consumed by the thirst for power and wealth.

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Image Credits – Google Images

Priya Agrawal

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