Abhivyakti: Subaltern Voices

As usual, the 9th Ravi Bharati Bihar Low Cost Film Festival featured a few films that provoked responses. One of these films was Debaranjan Sarangi's  'From Hindu to Hindutva'. This film revisited the scenes of the worst ever anti-Christian riots in Orissa and presented the various voices and viewpoints around the Khandamahal carnage. The film was mis-named.

Several people visited the festival with the sole purpose of seeing the film, and one of them was Mr Patrick John, a fairly well known commentator in the Patna Church media. He expressed his appreciation of the film and said that  it showed how religion is being use as an excuse to wipe out the minorities. He called for the Christians to find ways to heal the wounds. A pious thought, no doubt.

Rajinder Dash a former administrator who has handled some of the worst communal conflicts in Bihar during his time, mentioned that the film clearly stated the complexity of the problem: the clash between the militant missionaries on both sides of the divide: Hindu versus Christian; the other issue of it being a Dalit versus Adivasi conflict over land and resources, a third angle being the adivasi communities pitted against the mining companies, and a fourth angel being the political angle: administration, its political alliances with the mining lobby. The root of the clashes were mainly economic, he pointed out. Rajinder Dash, being an Oriya and familiar with the langage of the film and the area, said that the area was so remote that it was no surprise that the adinistration took a couple of days to repond to the violence.

If  Debranjan Sarangi's film [screened on the first day] presented the complexity of religious hatred and manipulation in the name of religion to commit murder and genocide, Arzoo, directed by Shashi Ghosh Gupta [screened on the last day] was the story of a young Muslim girl who rose above the hatred and trauma caused by the Gujarat genocide, and did something beautiful for children. the film was rated the most outstanding of the evening. Arzoo, agreed many participants, was the answer to all the Kandamahals and Gujarats. The courage of conviction of the protagonist of Arzoo shone through the film. Young people took an instant liking to the film. One participant said that the film should be shown in all the colleges of Bihar.

Morality TV or Living a Jehad – Ek manohar Kahani by Paromita Vohra sparked off a lot of reactions - outrage, disgust, incredulity, and wide eyed amazement at the blatant way in which human rights are violated in small town India, how news is manipulated and how myth and lies masquerades as news, the way the small town media of Indore panders to the Hindutva Brigade, and how the police and society targets women. Even women policemen are hand in glove with this regressive repression. Someone said.. "Just look at that sickening display of corruption and coercion... nothing like that would happen in Bihar....and yet they give Bihar a bad name!

The beauty and pace of Do Din ka Mela by Anjali Monteiro and KP Jayashankar took many viewer's breath away, and discussions ranged around the beauty of the shots, and certain sequences, the subtle humour, the nuanced editing.

Student films also sparked off debates and appreciation. BRIDGE THE GAP by Sharanya Gautam & Shilpi Gautam was appreciated for its very interesting use of symbols to argue for holistic primary education. Inside Out by Divya Cowasji and Shilpi Gulati sparked off a considerable discussion about a woman's right to space, a woman's right to her body, how the burkha has been portrayed as  a symbol of liberation, as a means for a girl to access spaces within the city, how the burkha isn't really a symbol of freedom, as a woman she should be able to claim the spaces without hiding behind the burkha and so on.

The films from Bihar were noticed for their portrayal of themes that many of the residents of Patna were not aware of - the beauty of Bhagalpuri silk, the forgotten wedding and birth songs from Mithilanchal, and so on.

Author: Frank Krishner