By Saswat Pattanayak It was more than a coincidence that Sahir Ludhianvi was born on an International Women’s Day. His concern and respect for women was as much personal as it was political. For him, no one – and nothing – was more important than his mother Sardar Begum. Resenting her husband’s feudal properties, his mother had left that household and raised Sahir on her own. And Sahir grew up as an organic revolutionary against landlords and burgeoning capitalism of that era. And more importantly, as a progressive poet deeply aware of the capitalistic exploitations of women and the working class. An avid reader of Marx, Sahir early on was influenced by Faiz and Josh – prominent communist poets of that era. His early compositions included “Jahaan Mazdoor Rehte Hai” [Where Workers Reside]. In 1937, Sahir joined All India Students Federation (AISF), affiliated to the Communist Party of India (CPI) – committed to anti-imperialist and anti-colonial struggles. He was expelled from both the colleges (in Ludhiana and Lahore) that he attended, due to his political …
The censorship argument just as the artistic expressions themselves needs to be politically correct – the position must spring from the point of raised consciousness where the needs of the times – taking into consideration various locations of exploitations and associated struggles for social justice – are well understood and articulated.
Lokayata did not deny the consciousness so much as it complicated it. Instead of acceding to an assumption that consciousness could be a peculiarity of the spirit, it depicted consciousness as an attribute of the body. This occurred, according to them, because whereas the material elements comprise the living body, consciousness is produced in it.
While the defense of “sluttiness” remains the primary – and, valid – agenda for white feminists in the US, the demand for police protection of nightlife in Delhi remains a legitimate concern of savarna feminists in India.
By Saswat Pattanayak “Fashion determines, in each case, the acceptable limit of empathy.” – Walter Benjamin. Benjamin belonged to the interwar period that witnessed rise of fascism, actively aided by European intellectuals who were hostile to the masses. The bourgeois was disdainful of the “mass society”, and the ways in which new electronic media were displaying potentials for mass liberations. Its high-brow standards were being threatened by the low-brow tastes of American consumer capitalism. Its exclusive access to the sophisticated art forms was being undermined by the new medium of photography. “Socialist realism” was connecting the masses to what was historically being denied to them in the name of “art”. Writers and intellectuals were becoming the “engineers of the soul” in communist societies that thwarted elitism.