Sidhartha Mallya ne tweet kiya: The sameness of response to molestation

On the 18th of May the Delhi Police arrested Luke Pomersbach, an IPL player owned by the Bangalore team, on charges of molesting a woman and assaulting her fiancé. This incident was followed by Sidhartha Mallya, ‘director’ of the Bangalore Royal Challengers, tweeting the following:

“The girl who is accusing Luke is saying he hit her ‘fiancé’…what a load of fucking shit. She was all over me last night and asked for me (sic) bbm pin, so if he was her fiancé she wasn’t exactly behaving like a future wife. Everyone wants their 15 minuets (sic)”

It would be boring if it weren’t so incredibly outrageous. Every time a female being reports molestation there is always that someone who knows exactly why it’s all a lie (and why it’s all her fault). Why single out Sidhartha Mallya? He’s in the august company of Chief Ministers, film stars and the more plebeian company of your neighbour, my relative, her uncle.

But then again, why should we not single out Sidhartha Mallya’s appalling tweets following the molestation charges against Luke Pomersbach? Why should we not protest IPL team owners behaving like feudal lords and treating the world (and cricket stadiums and security guards…) as their personal fiefdoms where they can say whatever they want? Sidhartha Mallya might not exactly be the owner of the Royal Challengers but in the snug little world of nepotism it might as well be all the same. What else would explain the fact that Mr. Mallya Junior has neither been censured, nor made to retract his tweets by Mr. Mallya Senior (who should technically be his boss)? Or, for that matter, why have no officials from the IPL or the BCCI, other IPL owners or players spoken out till now against his statements in a public forum?

My concern is not so much with the specifics of the actual incident. No, Mr. Mallya (Junior), I do not know what happened, I was not there, but I will not ‘shut the fuck up’ because neither were you. And even if you were there as eye witness nothing gives you the right to dissolve any allegation of sexual harassment into the ‘character’ of the complainant. I would have added ‘especially if you are in a position of responsibility’, except I am not sure exactly where the IPL franchise lies in terms of accountability even though it is certainly dealing with public money.

I’m not going to go into the obvious implications in his words that because the woman was ‘all over him’ and not ‘behaving like a future wife’ she couldn’t actually have been molested, therefore it was ‘idiotic’ for her to file charges. Neither am I going to go into structure of the IPL itself and its relationship with women (because that would deserve a post by itself). For the moment I am just stunned that Sidhartha Mallya has thus far been allowed to get away with his words.

It’s heartening to note, however, that his tweets haven’t been benignly received and that there is a fair amount of noise being made about it in the public sphere, including criticism by the National Commission for Women. Twitter is divided; some tweeters support Mr. Mallya’s ‘guts’ and daring to be ‘politically incorrect’ whilst others condemn his words. It would be interesting to see how the next few days pan out. Will the world of cricket take a stance on the tweets or will they take the advice of the director of the Bangalore team and ‘just enjoy the cricket’?

The Return of 80s Cinema and Why it Makes Me Squirm

Sometime back I was looking at upcoming Hindi film releases for 2012 and I saw this poster.

Then I saw this…

…and this.

A few years back, Ghajini and Dabangg started a revival of sorts of 80s style cinema, replete with high drama, revenge and action a.k.a. the masala entertainer. If the above posters are any indication of the style of cinema that is coming out this year, then it looks like every filmmaker is jumping on the 80s bandwagon. Here is Karan Johar talking about this trend. Not surprisingly, he also happens to be the producer behind January’s super hit, Agneepath.

It’s not surprising that good old fashioned 80s style melodrama and action are making a comeback. These elements were becoming increasingly rare in contemporary Hindi cinema. So besides being widely entertaining, there is also a nostalgic value attached to films like these. But here’s the thing: the 80s weren’t really a great decade for the representation of women on screen.

The hyper-masculine film “hero” that we see in the above posters is a common trope in mainstream cinema but in the 80s his presence in a movie was almost mandatory. And the counterpart to him is, of course, the character of the supportive wife or mother, a two dimensional creature who only possesses qualities in the nature of loyalty, chastity and sacrifice. For the “sexy factor”, there’s a vamp or an item song thrown in. That’s right; it’s the old virgin/whore dichotomy. But what I find most sexist about these films is that most often, female characters were absolutely of no consequence to the plot! For example, in Agneepath, there’s the sexy item song by Katrina, Chikni Chameli (which I quite enjoy) and there’s the supportive girlfriend, played by Priyanka. But what does her character contribute to the story? Nothing. It appears as if, in the universe of these films, women have no significance, whatsoever.

By no means am I suggesting that female characters who have nothing to do but be good girlfriends are exclusive to 80s style or 80s cinema. One look at the top grossers of the past 3 years clearly demonstrate that films like Ra.One, Raajneeti and Tees Maar Khan continue to keep up this cinematic tradition (except now the girlfriend is also allowed to look sexy). What is now an aspect of brainless entertainers used to be the norm in the 80s. That’s why, I can’t help but look at the comeback of 80s type cinema with slightly mixed feelings. Maybe my hopes have been raised by the fantastic female characters in films like Kahaani, Kaminey, Ishqiya, Band Bajaa Baaraat (what a delightful movie!), No One Killed Jessica and even Jab We Met, all of which have also been box-office successes. But as a film-lover, who happens to be a feminist, is there anything more frustrating than a female character that is nothing but a prop in the story?

Misogyny in narratives of rape in Indian media

 

 

 

A newspaper report on the recent Gurgaon rape case concludes with the correspondent informing the readers that the victim was hired to “engage with male customers”. How is this piece of information relevant to the public at large? What does it really tell us about the crime? What it does, vaguely though, is describe the victim’s job. Is that relevant to the crime? Not really.

The reporting on the rape cases of the last few weeks has once again highlighted the Indian media’s failure to take into account some critical precautions while covering cases of sexual assault against women. Most crime reporters use the police as sources of information. The police often share a comfortable rapport with journalists who periodically seek them out for news. In private conversations, they possibly divulge more information than necessary. In an interview that I conducted last year with a few senior crime reporters, one senior law correspondent of an English daily admitted, that a good journalist always has more information than a copy needs. It is up to journalists to exercise their discretion, and leave out details that won’t necessarily benefit the story, the reporter added. Sure, the police should not be sharing intimate details of victims. Nevertheless, the media is obligated while reporting cases of sexual assault, to shield the identity of rape victims.

Section 228A of the Indian Penal Code, 1860 prohibits the disclosure, not only of the victim’s name, but also of facts that could lead to the identification of the victim, such as the place of residence, identifying or naming the victim’s family or friends, university, or work details.

The Press Council of India’s Norms of Journalistic Conduct (“the PCI norms”) warn journalists not to give excessive publicity to victims, witnesses, suspects, and accused. The paramount concern in addition to the protection of victims is that, in publishing intimate details of their lives, the media exposes them to unwarranted public scrutiny. This safeguard protects the accused as well. Much of that information fails to add any value, unless it serves a genuine overriding public interest. Such information often obliquely encourages questions about the victim’s character and panders to unhealthy public curiosity. In the T.I.S.S. rape case for instance, the media published details from the victim’s written statement to the police. That information did not serve any public interest.

So, how do the personal details of a victim’s marital status, like in the Gurgaon or Calcutta rape cases, add value to the story? How is it relevant to the crime? The Supreme Court in State of Karnataka v. Puttaraja, warned against the disclosure of the rape victim’s identity even in the printing or publication of judgments issued by the High Courts or the Supreme Court. The Court observed that, “social victimization or ostracism of the victim of a sexual offence for which Section 228-A has been enacted, it would be appropriate that in the judgments, be it of this Court, High Court or lower Court, the name of the victim should not be indicated.” Further, the PCI norms prohibit the visual representation or photograph of not just the victim, but also her family or relatives to avoid identification.

Beyond the question of naming victims, the recent media rape narratives also follow a familiar trajectory. The key terms, “married woman”, “unaccompanied in a pub”, and “late at night” come together to the conclusion, “raped”. What does the media narrative of married women alone in pubs at night insinuate? It suggests that the woman was reckless or foolish to be out on her own that late. There is a chauvinist undercurrent in that detail. It invites the response — what was a married woman doing in a bar alone at night? Why was she there?

It offers little insight into the reasons for the crime. Such rape coverage in the media promotes curiosity and interest in the victim’s life. It does not add to our understanding of rape or why it takes place. Instead, it feeds the propagation of the dominant misogynist view, that women of a “certain type” deserved to be raped.

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This article was previously published at mylaw.net.

On being misquoted in The Times of India

A week back, I was interviewed for this article in The Times of India, Crest edition. The article has misquoted me and I want to make a point of it here. It ascribes this quote to me:

The Pink Chaddi campaign talked of an issue that affected women in cities. Who has the time to march on the street?

I did NOT say “who has the time to march on the street?”. [Read More]

The unbearable lightness of skin colour

WHEN THE VERY FIRST group of white men landed in India, they must have been regarded with overwhelming curiosity and incredulity; not to mention, awe. Awe, the feeling of wonder and admiration, is the perfect word to describe an Indian’s perception of the white man. Never before have they set eyes on such pinkish, delicate, gossamer skin. It has to be the perfect form of beauty; the form of beauty that Indians think they lack. No one knows when this love-affair with fair skin started but it has definitely come to be revered among the masses. From the time the dark-skinned Indians became aware of a fairer race, they readily took the inferior place while the fairer group comfortably felt superior (as a relevant aside, there is a poignant essay by James Baldwin that describes his experiences as an isolated black man in Switzerland). This has more or less been the relationship between the conquering white race and the subdued dark-skinned race for eons. In the past, dark skin has been viewed with revulsion and frequently associated with baseness. Even Shakespeare portrays Othello in bestial imagery. We would find such racial associations deplorable in the 21st century. In fact, discrimination of any sort is not condoned in most progressive nations. [Read More]

Hits & Missus

SO. LOOKIT WHAT WE HAVE HERE. A telly serial about a man who a) goes bazaaring, b) dons an apron and cooks the produce he buys, and c) does it all with a big smug grin, thus calling for a neat cross through his “Mister” title and the bestowal of  “Mrs.”

It launched in Mumbai on January 31st this year and the promos, featuring a neighborhood and the man’s wife dancing around his pasty, grinning self as he lugged shopping bags full of greens, had me e-hunting grind guards for my teeth.

I must admit, I never did get around to actually watching the serial since I was in the middle of a big move. I don’t get the channel where I live now, but if anyone out there has been following it, please share an update. Wheee, spiking blood pressure, such fun!

And just by the by, the next time you compliment a chef, you must say “Thank you, Lady, that was delicious.” Never mind his anatomy. Only women shop for ingredients and cook. What, you didn’t you know that? See, now that’s why we need Sab TV. Followed by trusty nebivolol tablets. And a string of meditation beads.

Amen.

The Fairness of Tanning

THERE WAS A TIME when all you’d use Fair&Lovely for was to get married. But Fair&Lovely grew with time; now you want to be fair not only to get married but also to get back at a boy who’s been ignoring you all this while (obviously because you were dark) and to get a job (especially if you are interested in becoming a model or an air hostess). And now Fair&Lovely has discovered that boys might want to be fair too in order to win girls, so they have been blessed with Fair&Handsome. No more stealthy use of your sister’s or bhabhi’s fairness cream! Quite often termed Indian’s ‘colonial mentality’, the obsession with being fair (read beautiful) afflicts us to this day.

[Read More]

UNFPA Laadli Media Awards: Call for entries

POPULATION FIRST and United Nations Population Fund (UNFPA) have invited entries for the third UNFPA – Laadli Media awards for Gender Sensitivity(ULMAGS) for the Southern Region for 2010-2011.

The award has been instituted to acknowledge, highlight and celebrate the commendable efforts undertaken by various media to support gender-just perspectives from the field of advertising, print media, electronic media, including television, radio, documentary,web and blog, that challenge dominant social stereotypes, analyse social, economic and political development from a gender perspective.

[Read More]

On Roman Polanski

Sreeparna

ROMAN POLANSKI is a free man. The Swiss government refused to extradite him to the US. Does a crime committed by an Oscar winning director cease to be a crime? Should Roman Polanski be treated any differently because he is the director of The Pianist? Does the fact that he raped and sodomized a thirteen-year-old girl more than thirty-three years ago diminish the magnitude of the crime or its impact on the victim? The girl, little more than a child at the time met Polanski during a Vogue photo shoot in Los Angeles, California. He drugged as well as plied her with alcohol before he assaulted her in a hot tub in 1977. The charges against him were very serious including assault on a child under the age of 14 with under Californian law at that time, statutory rape. According to some newspaper sources his victim Samantha Gailey’s lawyer made a plea bargain with him so that she could preserve the anonymity of her client. He pleaded guilty to unlawful sex with a minor (a much lesser charge than his original offences) and spent a mere forty-two days in prison before he fled first to London (his home at that time) and then to France, his adoptive home.

[Read More]

Book Alert

Missing Half the Story
Journalism as if Gender Matters

(edited by Kalpana Sharma)
INR 395
ISBN 9788189884833
Published by Zubaan Books and available from their website.

Toilets, trees and gender? Can there be a connection? Is there a gender angle to a business story? Is gender in politics only about how many women get elected to parliament? Is osteoporosis a women’s disease? Why do more women die in natural disasters? These are not the questions journalists usually ask when they set out to do their jobs as reporters, sub-editors, photographers of editors. Yet, by not asking, are they missing out on something, perhaps half the story? This is the question this book, edited and written by journalists, for journalists and the lay public interested in media, raises. Through examples from the media, and from their own experience, the contributors explain the concept of gender-sensitive journalism and look at a series of subjects that journalists have to cover – sexual assault, environment, development, business, politics, health, disasters, conflict – and set out a simple way of integrating a gendered lens into day-to-day journalism. Written in a non-academic, accessible style, this book is possibly the first of its kind in India – one that attempts to inject a gender perspective into journalism.

Kalpana Sharma is an independent journalist, columnist and media consultant based in Mumbai. She writes regularly for several newspapers and websites on a range of issues including urban development, gender, contemporary politics and the media. She was, until 2007, Deputy Editor and Chief of Bureau, The Hindu in Mumbai. She has also written and edited several books and is a founder-member of the Network of Women and Media, India.

Laxmi Murthy, Rajashri Dasgupta, Sameera Khan and Ammu Joseph also collaborated on the book.

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