Fragmented notions
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As we celebrate our 60th year of Independence, Films for Freedom, screened three documentary films. The films revisit our idea of the nation as a single entity
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TRUE PICTURE A scene from Jashn-e-Azadi, which shows the Dal Lake in Kashmir as wrought with the people’s suffering and anger.
Films for Freedom screened three documentaries as part of “Notions of a Nation – Jashn-e-Azadi” (How we celebrate our freedom-2007) directed by Sanjay Kak, “AFSPA (Armed Forces Special Powers Act) 1958” (2006) directed b
y Haobam Paban Kumar and “A Season Outside” (1997) directed by Amar Kanwar. The documentaries explored the connotations of freedom and the concept of the nation-state in “democratic” and “free” India which is about to celebrate its 60th year of Independence .
While “Jashn-e-Azadi” shifts the camera lens to focus on the Indian-occupied Kashmir Valley’s Muslims, “AFSPA 1958” talks about the resistance of the sisterhood of Manipur and “The Season Outside” deals with “shadow lines” of the Wagah border and broken memories of the victims of division.
Shot between 2004 and 2006, “Jashn-e-Azadi” has also footage by unnamed Kashmiri cameramen between 1989 and 2004 – the period when self-determination (azadi) in the valley started. The VHS tapes of these cameramen arrived like a fairytale at the doorstep of Kak’s home in Kashmir, after a long period of talking and meeting people for the film.
Sanjay Kak
The Dal Lake becomes reflection of reality, wrought with the people’s suffering and anger – whether it is the people protesting against the Indian State and its constitution, the involvement of the Army or the poignant poetry that is recited through the film about “what shall I sing and not sing”. A broken mother whose son was killed dejectedly responds about “what can one say about the dark times”, a woman breaks down while praying at a mosque, young girls take to the streets on a rally and a woman talks to doctors about how she sees dead bodies – even in her dreams and a father desperately looks for his son’s grave in the Martyr’s Graveyard. On the other hand, a handful of people gather to celebrate Independence Day at Lal Chowk (Red Square) where the Army urges the people to co-operate to ensure security and Indian tourists skiing exclaim how “these stupid people have ruined it and that Kashmir is theirs and that they don’t have to go to Switzerland to ski”. In the midst of all this, the Jammu and Kashmir Coalition of Civil Society move from village to village carrying out a survey of how many Kashmiris were killed and under what circumstances. There are seven hundred thousand soldiers in Kashmir – which means that there is one soldier for every fifteen people – making it one of the highly militarized zones, Amarnath Yatra’s Pilgrims get peace in the troubled valley and swear to kill those who go against the State, nine percent of the population voted in the last elections and then director reminds us that “domination of the Indian army does not mean victory.”
“AFSPA 1958” directly deals with the brutal aggression of the Indian Army in the resistance of the women of Manipur especially post the rape and murder of Manorama Devi. Questioning the army about “how burning effigies of political leaders is a crime, while rape is not considered and treated one”, mothers, sisters and daughters defy the army to “let the army have sex with me – we won’t feel dishonoured”. Images of a silent torch rally in the night, CM Obi Singh is helpless as the Central Government has no inclination to repeal the Act or of women protesting naked and lying down in front of the Assam Rifles all evoke powerful feelings that question the non-existence of the Upendra Commission and the silent suffering of Irom Sharmila. “A Season Outside” is a narrative film that captures the ironies of the Wagah border where proud soldiers performing for citizens of both India and Pakistan watch on proudly. Looks of disdain are thrown at each other between the two soldiers while workers transfer goods over the 12 inch wide line that is never crossed and is now stopped, while birds and butterflies safely fly across. An old lady looks out of her window and jams it to cut out the noise during partition, while at the Red Fort, head-butted rams fight each other and at the Tibetan Colony in Majnu Ka Tila, a boy pushes another down. The film in some ways plays the same games as ancestors (of partition) while looking at lives of present-day refugees and their exiled memories. The narrative seems blurred throughout, but the author is trying hard to “free himself from someone else’s memories like a nomad wandering through lines of separation, examining the scars of violence and dreams of hope scattered among communities and nations.”
AYESHA MATTHAN
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