Ultra Violet is a place for Indian feminists. It’s a place for sharing stories and views and questions. It’s a place for exploration, opinion and information. It’s a place where we can come together to understand what other feminists around the country–or around the world–are saying. If you want to write for UV, please read this. More about UV here.

We’re Talking About…

March 01, 2010

Marriage and Feminism

By Sreeparna Chattopadhyay

SreeparnaOVER THE LAST FEW decades, sociologists and economists have been exploring the consequences of marriage for men and for women. Many of the studies indicate that married people are happier, healthier and richer than single or divorced people. Sometimes this masks the fact that marriage has more advantages for men than for women especially when we examine the financial portfolios of married women in developed countries compared to never married or widowed women. Married women appear to have smaller pensions and investments as well as savings. In the UK where I live, many more women work part-time than men, particularly after childbirth; there are more men than women in senior professional and managerial positions; and finally, more women care for elderly relatives (including parents and in-laws) than men and do so either by working part-time or by quitting their jobs. Given these exits from the labour market at various points in their lives, it is not surprising that when they are close to retirement women have smaller pensions and greater economic insecurity compared to men.
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February 18, 2010

Two Poems

By June Nandy

June Nandy


Woman Made

always the same shop of decency
from where my books and dresses are bought.

my nationality is decided by the
identity i hold between my legs.

i have no Pandora’s Box
in whose depth, i can store my fantasies.

it comes swimming to me, his battle ground;
bringing me currencies, carnal, banal.

other times, my timidity decides
how not to find me left, mid-way.

i flick my pages; a constitution i’ve become,
placed at the highest pedestal; to be violated
again and again.

*Previously published by Gloom Cupboard, USA


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January 28, 2010

It’s Not PMS, It’s Your Mother

Dilnavaz_profile4-1THAT’S NOT THE TITLE of a sitcom. (Though it could be –think I should sell the idea?) I once said that to someone. Meant it too. And I’m so proud of the way I restrained myself from going for his jugular when the oh-so-patronizing “Honey, it’s PMS” (hand pat included) was tossed my way, like a puppy receiving a biscuit.

Even as I write this, I am NOT, repeat NOT PMSing. I understand there are some women who experience physical and emotional fluctuations in the days preceding Leak Week. I, fortunately, am not one of them. I do not cramp, I do not moan and I certainly don’t have my menstrual cycle whirring my tear ducts into overdrive. Tell me I’m PMSing, though, and I’ll ask you how you’d like your eyeballs for breakfast.  (And yes, I vaguely get the self-fulfilling prophecy here.)
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January 19, 2010

Two Poems

By Janice Pariat

Janice

Bertha & I

Tonight I feel like Bertha Mason
with a fire and sadness in my soul.
I pace my room – this attic of madness –
it keeps me sane. I think it keeps me
whole, somehow. There’s no breeze
through the window, just an empty
vastness of night and shadow and
half-lights. And the knock on my door,
well, it came before – today, tomorrow,
or never, who knows. Tonight I am
Bertha Mason. I see her in the mirror,
lifting her hand to strike the match,
to knock the lantern over. I wait for
the crackle and hiss of wood, the empty
kiss of lapping flames. Yet all around
me is darkness, darkness. What burns
is a fury for what’s come before
and will again.

***


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January 13, 2010

Queer Film Fest: Call for submissions

THE BANGALORE QUEER FILM FESTIVAL (BQFF 2010) is calling for submissions. The deadline is 30 January 2010. Details here.

The festival will be held at the Alliance Francaise de Bangalore on 26, 27 and 28 February 2010.

The BQFF 2010 is a non-ticketed free event aimed at providing a venue to screen films based on themes related to lesbian, gay, bisexual, transgender or intersex (LGBT or Queer) communities across the world. This is the second edition of the Bangalore Queer Film Festival.

The event is presented by Good As You (a support group for LGBT people, est. 1994), SWABHAVA (a non-profit organisation working with LGBT issues in Bangalore, est. 1999) and WHaQ! (a support group for queer women, est. 2009).

While sincerely apologising for this short notice, the organisers request you to send in films for consideration/preview as early as possible. For more information please contact the organisers at blrqueerfilm fest[at]gmail.com. 

January 01, 2010

Two poems by Susan Kiguli

By Susan Kiguli

Susan

Mothers Sing a Lullaby
(after the 1994 Rwandan genocide)

Mothers sing a lullaby
As the dark descends on trees
Shutting out shadows.
The sensuous voices swish and swirl
Around shrubs and overgrown grass
Hiding mountains of decapitated dead
And the glint of machetes
That slashed shrieking throats.

In these camps without happiness
Mothers maintain the melody of life
Capturing wistful wind
To sing strength into the souls of children
Who have never known
The taste of morning porridge
Or heard the chirrup of crickets in the evenings.

Mothers sing a lullaby
For the staring faces
Who cringe at the sound of footsteps
Whose playmates are grinning skeletons.

Mothers become a lullaby
Silencing the sirens of sorrow
Restoring compassion to the nation.


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December 17, 2009

Crime Non-Fiction

By Sridala Swami

IF YOU HAVEN’T ALREADY devoured every one of the three books in Stieg Larsson’s Millennium Trilogy, you have at least heard of it: the story of the girl with the dragon tattoo who plays with fire or kicks the hornet’s nest. She is Lisbeth Salander, abused child, accused adult and unlikely crusader along with Mikael Blomkvist of the magazine, Millennium.

Over three books, the story is one of a giant cover-up to protect a secret organisation within Swedish intelligence. It is about the blind eye that is turned upon a mafia dealing in, among other things, human trafficking; the involvement of those in power and the denial of a woman’s human rights just so that a long-forgotten secret can remain buried. The sub-text of the series – made clear through telling epigraphs to each section – is of violent crimes committed against women in the name of national security or in the interests of keeping up appearances. It is a tale in which the silence surrounding the crimes makes society complicit in them.

The Millennium Trilogy is fiction. There are protagonists whose lives align with the investigations they conduct with varying degrees of commitment and interest. They can stand against the State because it is in their interest to have the truth brought out into the light and written about. And because it is fiction, people will listen and are capable of examining their society afresh in light of the new facts they are shown. Justice is possible in crime fiction as it is often not in real life.


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December 10, 2009

‘Staying Alive’: An Audit of the Law against Domestic Violence

By Sonal Makhija

EARLIER THIS MONTH, the ‘Staying Alive: Third Monitoring and Evaluation Report 09’ on the Protection of Women from Domestic Violence Act, 2005 (PWDVA) was released in Delhi. The report tracks the implementation of the Act for the third year in a row and has become a way to document jurisprudential development of the law and create a monitoring system. Findings are shared at a national conference annually at which civil society organisations can question state officials and examine progress. This has inadvertently come to operate as a social audit. The naming and shaming as well as applauding and deriding of state departments in a public forum fosters accountability and drives state governments to take necessary action. For example, this year, Minister for Law and Justice M. Veerappa Moily recognised the need for fast-track courts to deal with cases of violence against women, easy availability of free legal aid and prioritisation of women’s cases in courts.


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December 01, 2009

Of fatigue and forgetting

Anindita SenguptaYESTERDAY, I WAS LOOKING at this report released by the World Economic Forum last month, and I started drafting a post with some excerpts. Just to make it easier for people who don’t want to read the whole thing. It was1 am, I was tired and suddenly I felt overcome with this sense of futility, ‘what’s-the-point’ in neon capitals, fatigue. Will it really help to know the figures on maternal health (dismal), or female foeticide (frightening)? What can you or I — the non-activist, the home-maker, the writer or blogger or journalist — really do about any of this? It’s like looking up a ladder whose last rungs you can’t even see, or some hideous version of Jack’s beanstalk.

It reminded me of this time I was talking to someone about writing for UV. She’s a quiet, dark-eyed girl who rarely gets emotional. On this occasion, she did. ‘What’s the point of all this talk?’ she said suddenly. ‘We just become more and more aware of our rage. And don’t know what to do with it.’


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November 19, 2009

Thoughts on Eve Ensler’s “I am an Emotional Creature”

Dilnavaz_profile4-1THE AUDIENCE WAS FLUSH WITH estrogen, but had a heartening dose of the Y chromosome. I wondered if the cocktail reception that preceded the event was a marketing ploy or a genuine attempt to fortify our spirits for what was to come. I found out soon enough.

The world premiere of Eve Ensler’s ‘I Am An Emotional Creature’ was some things expected and many not. It began regularly enough, with the usual spine-tingling statistics on female abuse, neglect and violations. Essayed as a relentless spiral of separate pieces without an intermission, the portrayals of women from around the world shifted from mediocre to spectacular as the play progressed. Moments of intense pain in “Free Barbie” were interspersed with a more defiant stance in “The Refusers” and stories of prostitution in Eastern Europe, military sex slaves in Ghana, bulimia in North America, child labor in China and forced cosmetic surgery in Iran tumbled out unapologetically, amidst joyous expressions of dance and womanhood. Woman cried, laughed, screamed, spoke, vented, explained, twirled and chanted their right to be emotional creatures and engage in the feminine act of dance as a form of expression.


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