Category Archives: Cinephilia

Mythology as a political tool

Independent filmmaker Kamal Swaroop talks about his fascination with mythology, Battle of Banaras, and the controversies around the latest edition of IFFI.

ATIKH RASHID

FILM director Kamal Swaroop, whose last project Battle of Banaras was blocked by the Central Board of Film Certification (CBFC) in 2015, has returned with Pushkar Puran. It is the opening film of the Non-Feature section of Indian Panorama at the International Film Festival of India (IFFI) in Goa. In an interview, Swaroop talks about his fascination with mythology, Battle of Banaras, and the controversies around the latest edition of IFFI.

Why did you decide to return to Pushkar again after your previous documentary on the Pushkar Mela?

I go to Pushkar every year, and shoot something everytime. While Image Meets the Shadow (2004) was about myths, and how people interact with them, Pushkar Puran is inspired by Italian writer Roberto Calasso’s Ka: Stories of the Mind and Gods of India. The film focuses on ‘the search for the fifth head of Bramha’, which Shiva had cut and carried away with him, and the Ashwamedh Yajna that happens there.

Since Om Dar Ba Dar (1988), you have been engaging with mythology. Where does this interest come from?

I grew up listening to myths. I’m also deeply interested in archaeology and its relation to mythology. In our country, people use mythology as a political tool. Myths are moulded to suit financial, social and political needs.

Battle of Banaras didn’t see an India release although it was appreciated abroad. This year, Pushkar Puran is opening the non-feature section of Indian Panorama at IFFI so your work is being recognised by the same political structure which blocked you in the past.

It’s a matter of chance. They thought that Battle of Banaras was an anti-government film; it isn’t true. But the CBFC must have thought of blocking it to safeguard the government. In fact, Pushkar Puran wasn’t submitted to the CBFC, before it was sent for IFFI. Now I have submitted it to them, and I am expecting trouble. They might say that it propagates or portrays wrong myths. They might even point out cruelty against animals.

Swaroop at his apartment in Mumbai.

As someone who has had a long association with Pushkar, how have you seen the town changing?

About 35-40 years ago, when I would visit Pushkar, there wasn’t much tourism there. Only the villagers would come to the mela to sell and buy animals. There was little employment. After tourists started coming in, it grew and became a prosperous town. That was also the time when the state government realised that Pushkar is a big tourist attraction. Nowadays, the government pours in money to create a spectacle. It’s become an event which is managed by several event management firms. Homes have turned into hotels and restaurants.

At IFFI this year, Nude by Ravi Jadhav and S Durga by Sanal Sasidharan have been dropped from the Indian Panorama section. How do you see this?

It’s everybody’s own fight. I didn’t get a CBFC certificate for Om Dar Ba Dar for two years, and it was rejected for the Indian Panorama section. Battle of Banaras was blocked from releasing in India. I didn’t shout about it. If it’s not working, it’s not working. I didn’t go crazy about people not accepting the films or blocking them. I just don’t think about these things.

How do you see the controversy of IFFI dropping films?

There’s no need to block or stop the films. Nobody can do much harm specially with films. There’s no need (for the government) to get touchy about it. If the jury has selected them, then respect the jury; their selection is like a judgement.

We hear you are returning to fiction after Om Dar Ba Dar?

Yes. The film is called Omniyam, based on The Third Policeman by Flann O’Brien. It’s about a person who is dead but he doesn’t know it yet. It’s a comic-crime thriller.

You are also making a film about Kashmiri Pandits?

I’m shooting in Ujjain, Jaipur, Ajmer and Meerut, where my four sisters live. The film does not focus on the Kashmiri Pandit issue alone, nor on conflict and terrorism. It’s mostly about a family which left Kashmir in 1958, and whose members are now scattered in various cities. Their children don’t speak Kashmiri anymore. What the projects seeks to examine is the sense of belonging and the idea of home. Have they reconciled with their new identity? What happens to the Kashmiri identity when they become a part of the national mainstream?

Breaking Barriers

Jordanian author Fadi Zaghmout on his popular blog The Arab Observer and writing on subjects considered taboo in his homeland

ATIKH RASHID

IN 2006, Jordanian author Fadi Zaghmout started a blog that discussed issues pertaining to individualism and sexual freedom in the Arab society. The blog, written predominantly in English, proved popular among Arab netizens as it delved into social issues that were not addressed traditionally by the media in Jordan. However, when he decided to write his debut novel a few years later, Zaghmout turned to his mother tongue — Arabic. According to him, the decision was an outcome of his urge to contribute to the discourse in his local language, when there weren’t many liberal voices.

Though the blog was a convenient tool to spread ideas, it had limited audience. “I felt the blog was limiting with regard to the audience I wanted to reach. Since the issue of sexual freedom and body rights was highly censored in Jordan before the internet, I thought maybe I can explore the same themes I talk about on my blog using traditional media. I wanted these discussions to be printed in a book in Arabic to reach more people. The transition wasn’t easy but during my years of blogging I practised writing short stories and short film scripts, which helped me compile a list of ideas and themes that helped me write Aroos Amman (The Bride of Amman),” says Zaghmout in an email interview. The UAE-based author will be in Pune next week for the Pune International Literary Festival.

The novel proved to be an instant success and also raked controversies for dealing with taboo themes such as homosexuality, inter-religious marriage and more freedom to women, among others. The novel has five main characters — four of these are women, each with her own predicament, and a gay Muslim man who is married to a woman — with each trying to cope with the societal pressure to conform to their gender roles. It looks at the institution of marriage as a means to regulate sexuality, which is seldom successful. It critiques the Arab society for still following age-old beliefs, expecting a woman to be a virgin before marriage, while a man is responsible for building and maintaining the household.

While women readers wrote to him saying the book is a source of strength for them, some even went to the extent of calling it their “personal constitution”. The novel’s portrayal of women and their eternal struggle to claim lost ground has earned Zaghmout a sobriquet, from those who hate his work: the feminist mouthpiece. “I take it as a compliment. I really love it when a woman calls me and asks how can I be very accurate in describing the emotions of women. Having said that, to me it is more than being a ‘female mouthpiece’, it is about social justice. I am a mouthpiece for gender equality, sexual freedom and body rights that help us all live a better life. I believe that strict gender roles are harmful for both men and women equally,” he says.

Since Bride of Amman, Zaghmout has written two more novels, Heaven on Earth (2017) and Laila and the Lamb (2018). The latter features a “sexually dominant” woman as its protagonist. As per reports, Jordianian authorities saw it as a work with “a problematic premise” and stopped the entry of the book into the country. Zaghmout, however, feels that the themes and characters that populate his works come from real men and women who exist in Arab society. “There are indeed many homosexual men in Jordan and the Arab world who opt to marry a woman in order to fit in a society where homosexuality is still not accepted and same sex marriage is not legal. The same applies for women who fall in love with men from another religion, as marriage is still a religious institution in Jordan. I usually build my characters by borrowing characteristics from people I know,” he says.

On his maiden visit to India, Zaghmout hopes to learn about Indian society, which he sees as one with diverse cultures and attitudes where women may face the same prejudices as Arab women. “Although I have few Indians friends in UAE, I am yet to know more about Indian society. I have the impression that India is a large country with diverse cultures and attitudes. I understand that patriarchy is a dominant force across modern cultures and I can see that Indian women face many of the same prejudices Arab women are facing these days, especially the pressure to get married and adhere to strict gender roles,” says Zaghmout.