রাজ কাপুরের হার্টথ্রব ছিলেন নার্গিস। তাই আন্দাজের জন্য তার সাথে শুটিং করার সময়, রোমান্স আইকন দিলীপ কুমার তার থেকে নিরাপদ দূরত্ব বজায় রেখেছিলেন। রাজ কাপুর মেহবুব খান ক্লাসিকেও তার সহ-অভিনেতা ছিলেন। দিলীপ সাব এবং নার্গিসের মধ্যে কিছু তীব্র দৃশ্য ছিল। রোম্যান্স আইকন দিলীপ কুমার মাথায় ব্যান্ডেজ নিয়ে নার্গিসের কাছে সিঁড়ি বেয়ে উঠলে, শেষোক্তটি তাকে রিভলবার দিয়ে গুলি করে। ট্র্যাজেডি রাজা নার্গিসের দিকে আঙুল দেখিয়ে হাসিমুখে মারা যায়।
ক্রমটি এত কঠিন ছিল যে মেহবুব খান শটটি কাস্ট করতে তিনটি সময় নিয়েছিলেন। নিখুঁত পদ্ধতির অভিনেতা যে তিনি ছিলেন, দিলীপ কুমার অধ্যয়নকৃত সূক্ষ্মতার সাথে একটি নিয়ন্ত্রিত অভিনয় দিয়েছিলেন। এটা শুধু মেলেনি নার্গিসের তীব্রতাকে ছাড়িয়ে গেছে। তিনি মেহবুব খান এবং রাজ কাপুরের কাছে এটি স্বীকার করেছেন। যদিও জোগানের স্ক্রিপ্ট তাকে কেন্দ্র করে, নার্গিস জানতেন দিলীপ সাব কিছু দৃশ্যে শো চুরি করবেন। যেমন পাকা অভিনেতা বলেছিলেন, “ম্যায় নাস্তিক জো থেরা” কম পিচে, নার্গিস একটি নীরব প্রেমময় চেহারা উপস্থাপন করেছিলেন। জোগানের পরিচালকের মতে, কিদার শর্মা অভিনেতার অভিনয় দ্বারা সহজ করা একটি অফবিট ছিল।
রাজ কাপুরের পর, মেলা, হুলচুল, বাবুল এবং দেদারে দিলীপ কুমারের সাথে নার্গিস একটি সুপার হিট জুটি গড়ে তোলেন। তাদের রোমান্টিক দৃশ্য বাস্তব জীবনের ছিল এবং তারা একে অপরকে স্পর্শ করেনি। না রাজ কাপুরের মতো আবেগপ্রবণ, না দেব আনন্দের মতো অনায়াসে, দিলীপ কুমার তার রোমান্টিক দৃশ্যগুলিতে স্বতঃস্ফূর্ততার সাথে মেশানো পদ্ধতি। ভ্রুর নিখুঁত ব্যবহার, মাঝে মাঝে হাসি এবং তার ডান হাতের সময়মত ব্যবহার দিলীপ কুমারকে নিজের অধিকারে একজন রোমান্টিক আইকন করে তুলেছিল।
তিনি মন মেরা আহসান, শামে গম কি কসম এবং সুহানা সফরের মতো চিরসবুজ গানগুলি মোহাম্মদের জন্য নিখুঁতভাবে ঠোঁট দিয়েছিলেন। রাফি, তালাত মেহমুদ এবং মুকেশ। নার্গিসের চেয়েও থিস্পিয়ানের প্রিয় নায়িকা ছিলেন নিম্মি। ইউসুফ সাব আদর করে নিম্মিকে ডাকলেন, “পুগলি।” নিম্মির প্রাণবন্ততা দিলীপ কুমারকে সোয়াশবাকলার আনের মতো অভিনয়ের পদ্ধতির বাধা অতিক্রম করতে সাহায্য করেছিল। এটিই একমাত্র চলচ্চিত্র যেখানে স্নানের দৃশ্যে দিলীপ কুমার খালি গায়ে ছিলেন। তিনি তার লোমশ শরীর উন্মুক্ত করার পক্ষে ছিলেন না।
রোমান্স আইকন দিলীপ কুমার এবং নিম্মি কখনই মেলোড্রামায় বিশ্বাস করেননি। তাই দাগ ও দীদারের মতো ট্র্যাজিক ছবিতেও তাদের আবেগ নিয়ন্ত্রণ করা হয়েছিল। পরিচালক অমিয় চক্রবর্তী দাগের শুটিং চলাকালীন উভয় অভিনেতাকে তাদের দৃশ্যের রিহার্সাল করতে উত্সাহিত করেছিলেন। দাগে তাদের পারফরম্যান্সের একটি অস্বাভাবিক দিক ছিল তারা একে অপরের সাথে যোগাযোগ করতে খুব কমই চোখের পাপড়ি বেটেছিল।
ইউসুব সাব সবসময় নিম্মির নির্দোষতার প্রশংসায় ভরপুর ছিলেন। এতে অবাক হওয়ার কিছু নেই যে নিতিন বোস দীদারে দিলীপ কুমার এবং মিমির মধ্যেকার রসায়নটি দিলীপ কুমার এবং নার্গিসের চেয়ে ভাল ছিল। একজন অন্ধ প্রেমিক হিসেবে, দিলীপ কুমার নিম্মির সাথে পারদর্শী হয়েছিলেন এমনকি তার সরল অভিনয়ে নার্গিসের পরিশীলিত আন্ডারপ্লেয়িংকেও ছাড়িয়ে গেছেন। অভিনেতা উরান খাটোলায় তার কণ্ঠের তিনটি ভিন্ন পিচ বেছে নিয়েছিলেন কারণ নিম্মি তার ত্রুটিহীন অভিনয়ে একটি নিখুঁত ফয়েল অভিনয় করেছিলেন।
মীনা কুমারী সব সময়ই দিলীপ সাবের প্রিয়তমা ছিলেন। প্রেমিক হিসেবে নয়, একজন মানুষ ও অভিনেত্রী হিসেবে। সংবেদনশীল জিয়া সরহাদি পরিচালিত ফুটপাথ তাদের প্রথম চলচ্চিত্রে, দিলীপ কুমার মীনা কুমারীর সাথে নীরবে রোমান্স করেছিলেন। ফিল্মটির একটি নিম্ন-মধ্যবিত্ত শহুরে প্রেক্ষাপট ছিল এবং এটি ছিল কালো বাজারজাতকরণের বিরুদ্ধে প্রথম সিনেমাটিক টায়ারেড। মাত্র তিন থেকে চারটি দৃশ্যে দুজনেই একে অপরকে স্পর্শ করেছেন। তাদের রোম্যান্স ছিল ক্লাসিক ছাঁচের সংলাপ সহ বিরল অনুভূতি প্রকাশ করে। এই দৃশ্যগুলো এখনো পিয়ারলেস।
আজাদ, একটি আধুনিক দিনের রবিন হুড গল্পটি সমালোচকদের দ্বারা প্রশংসিত গড় ফুটপাথের তুলনায় একটি স্ম্যাশ হিট ছিল। চিতলকার এবং লতা মঙ্গেশকরের দ্বারা পরিবেশিত কিতনা হাসিন হ্যায় মৌসম গানটি দিলীপ কুমার এবং মীনা কুমারীকে তাদের রোমান্টিক সেরা গানগুলির মধ্যে একটি হিসাবে ছিল। যাইহোক, এটি ছিল বিমল রায়ের ইয়াহুদিতে উভয় অভিনেতাই তাদের রোমান্টিক দৃশ্যে দুর্দান্ত ছিলেন। লতা মঙ্গেশকরের মেরি জান, মেরি জান-এর মীনা কুমারীর ঠোঁটগুলি অভিনয়ের একটি পাঠ হিসেবে রয়ে গেছে। দিলীপ কুমারের শুদ্ধ, আত্মবিশ্বাসী সংলাপ ডেলিভারি তার মহিমান্বিত অভিনয়ে রঙ যোগ করেছে।
কোহিনূর, একটি হাস্যকর স্পর্শ সহ একটি কস্টিউম ড্রামা, অভিনয়ে মীনা কুমারীর তুলনায় তার বেশি সুযোগ ছিল। তাদের উপস্থিতি কোহিনূরকে বক্স অফিসে রেকর্ড-ব্রেকিং হিট করেছে। দো সিতারোঁ কা মিলন ভুতুড়ে রোমান্টিক ডুয়েট দুটিই বাস্তব জীবনের জুটি হিসেবে ছিল। সত্যিকারের রোমান্টিক দিলীপ সাব সবসময় মহিলাদের সম্মান করতেন।
Nargis was Raj Kapoor’s heartthrob. So while shooting with her for Andaz, Dilip Kumar maintained a safe distance from her. Raj Kapoor was also their co-star in the Mehboob Khan classic. There were some intense scenes between Dilip Saab and Nargis. As the romance icon Dilip Kumar with a bandage on his head approaches Nargis, climbing the stairs, the latter shoots him with a revolver. The tragedy king dies with a smile pointing a finger at Nargis.
So difficult was the sequence that Mehboob Khan took three takes to cast the shot. The perfect method actor that he was, Dilip Kumar gave a controlled performance with studied nuances. It not only matched but outwitted Nargis’ intensity. She confessed this to Mehboob Khan and Raj Kapoor. Though the script of Jogan centered around her, Nargis knew Dilip Saab would steal the show in certain scenes. As the seasoned actor said, ”Main Nastik Jo Thehera” in a low pitch, Nargis rendered a silent loving look. The shot according to Jogan’s director, Kidar Sharma was an offbeat one eased by the actor’s performance.
After Raj Kapoor, Nargis formed a super hit pair with Dilip Kumar in Mela, Hulchul, Babul and Deedar. Their romantic scenes were real life and hardly did they touch each other. Neither passionate like Raj Kapoor, nor effortless like Dev Anand, Dilip Kumar mingled method with spontaneity in his romantic scenes. Perfect use of eyebrows, occasional smiles and timely use of his right arm made Dilip Kumar a romantic icon in his own right.
He lipped evergreen songs like Maan Mera Ahsan, Shame Gham Ki Kasam and Suhana Safar perfectly for Mohd. Rafi, Talat Mehmood and Mukesh. More than Nargis, the thespian’s favorite heroine was Nimmi. Yusuf Saab affectionately called Nimmi, ”Pugli.” Nimmi’s vibrancy helped Dilip Kumar to transcend barriers of method acting as in the Swashbuckler Aan. This is the only film in which Dilip Kumar was bare-bodied during a bathing scene. He was not in favor of exposing his hairy body.
Dilip Kumar and Nimmi never believed in Melodrama. So even in tragic films like Daag and Deedar, their emotions were controlled. Director Amiya Chakraborty encouraged both the actors to rehearse their scenes during the shooting of Daag. An unusual aspect of their performance in Daag was they hardly batted eyelids interacting with each other.
Yusub Saab was always full of praise for Nimmi’s innocence. No wonder Nitin Bose found the chemistry between Dilip Kumar and Mimmi in Deedar was better than that of Dilip Kumar and Nargis. As a blind lover, Dilip Kumar excelled with Nimmi even surpassing Nargis’s sophisticated underplaying with her straightforward acting. The actor opted for three different pitches of his voice in Uran Khatola as Nimmi played a perfect foil to his faultless acting.
Meena Kumari was always a darling for Dilip Saab. Not as a lover but as a human being and actress. In their first film together, Footpath directed by the sensitive Zia Sarhadi, Dilip Kumar romanced Meena Kumari silently. The film had a lower-middle-class urban backdrop and was the first cinematic tirade against black marketing. Both touched each other in only three to four scenes. Their romance was of the classic mold with dialogues expressing rare feelings. These scenes are still peerless.
Azad, a modern-day Robin Hood tale was a smash hit compared to the critically acclaimed average Footpath. The song Kitna Hasin Hai Mausam rendered by Chitalkar and Lata Mangeshkar had Dilip Kumar and Meena Kumari as one of their romantic bests. However, it was in Bimal Ray’s Yahudi both the actors excelled in their romantic scenes. Meena Kumari’s lipping of Meri Jaan, Meri Jaan by Lata Mangeshkar remains a lesson in acting. Dilip Kumar’s chaste, confident dialogue delivery added color to his majestic performance.
In Kohinoor, a costume drama with a hilarious touch, he had more scope compared to Meena Kumari in acting. Their presence made Kohinoor a box office record-breaking hit. Do Sitaron Ka Milan the haunting romantic duet had both as a real-life pair. The truly romantic Dilip Saab always respected women.
কলকাতা: 1994 সালের জানুয়ারিতে, কলকাতায় IFFI অনুষ্ঠিত হওয়ায়, উৎসব পরিচালক, মালতি সহায় ব্যক্তিগতভাবে চেতন আনন্দকে ডেলিগেট হওয়ার জন্য আমন্ত্রণ জানান। সংবেদনশীল পরিচালক বিনয়ের সাথে প্রত্যাখ্যান করেছিলেন যে তিনি চলচ্চিত্র উৎসব এ আগ্রহ হারিয়েছেন।
কান, ভেনিস, মস্কো এবং পিকিং চলচ্চিত্র উৎসবে ভারতের প্রতিনিধিত্বকারী চেতন আনন্দের থেকে বেশ অস্বাভাবিক। তিনি বলেছিলেন, “আমি আইজেনস্টাইন, জন ফোর্ড এবং ভিক্টর ফ্লেমিং-এর কাজ দেখেছি এবং বিশ্লেষণ করেছি। গ্রেটা গার্বোর একজন প্রাণখোলা ভক্ত, আমি আর দ্য জেনারেল লাইন, হাউ গ্রিন ওয়াজ মাই ভ্যালি বা মাতাহারির মতো ছবি দেখি না।
2022 সালের জানুয়ারিতে আসেন এবং করোনা মহামারীর ভয়ঙ্কর দিনগুলির পরে আবার ফিল্ম উত্সব শুরু হবে।
বিশিষ্ট চলচ্চিত্র নির্মাতা গৌতম ঘোষ বলেছেন, “চলচ্চিত্র উৎসব সবসময় স্বাগত জানানো হয়। সিনেপ্রেমীরা বিশ্বের সব জায়গা থেকে সেরা সিনেমার কাছে উন্মোচিত হয়। শিল্পী, প্রযুক্তিবিদ, প্রযোজনা ব্যক্তি এবং প্রকৃত চলচ্চিত্র প্রেমীদের সিনেমার বিভিন্ন দিক নিয়ে আলোচনা করার জন্য একটি সাধারণ প্ল্যাটফর্ম রয়েছে।”
IFFI গোয়া, এই বছর মার্টিন স্কোরসেস এবং জাবোকে লোভনীয় সত্যজিৎ রায় পুরস্কার প্রদান করেছে। ওটিটি প্ল্যাটফর্ম, অ-বৈশিষ্ট্য এবং অন্যান্য চলচ্চিত্রগুলি প্রদর্শিত হয়েছিল। একটি শন কনারি রেট্রোস্পেকটিভও ছিল।
Madhuri Dixit at IFFI, Goa | Courtesy: Twitter/IFFIGoa
তবুও মিলিয়ন ডলারের প্রশ্নটি রয়ে গেছে: কেন আধুনিক টাইমস, অটাম সোনাটা এবং দেবীর মতো ক্লাসিক আজকাল অনুপস্থিত? আদুর গোপালকৃষ্ণ উত্তর দেন, “সেগুলো ছিল সিনেমার সোনালী দিন। সত্যজিৎ রায়, জিন লুক গডার্ড বা আকিরা কুরোসাওয়ার ছবিই হোক না কেন, সেগুলো ছিল মাস্টারপিস। সিনেমার প্রতি তাদের দায়বদ্ধতা আজকের মানদণ্ডের সমান হতে পারে না।”
সর্বোপরি, একক-স্ক্রিন থিয়েটারের ধীরগতির মৃত্যু এবং মাল্টিপ্লেক্স সংস্কৃতি ভারতে সিনেমাকে যথেষ্ট পরিমাণে ক্ষতিগ্রস্থ করেছে। একক প্রেক্ষাগৃহে দর্শকরা আগে ভালো সিনেমার প্রতি বেশি সাড়া দিত। একজন গড় দর্শকের সিনেমা সম্পর্কে ন্যূনতম ধারণা ছিল। মাল্টিপ্লেক্সে যাওয়া দর্শকরা বেশি পলায়নবাদী বিনোদন ভালোবাসেন। চিন্তা ও বিশ্লেষণ করার সময় নেই।
একবার মৃণাল সেন স্বীকার করেছিলেন, “মাল্টিপ্লেক্সে ফিল্ম দেখে আমার দম বন্ধ হয়ে যায়। আমি সবসময় একক পর্দায় স্বাচ্ছন্দ্যবোধ করি।” তাঁর ঘনিষ্ঠ সহযোগীদের তিনি সবসময় বলেছিলেন যে বর্তমান প্রজন্মের একজন চলচ্চিত্র নির্মাতা সত্যজিৎ রায়, ফ্রান্সিসকো রসি বা ডেভিড লিনের কাছাকাছি কোথাও আসতে পারবেন না। হলিউড থেকে, তিনি স্টিভেন স্পিলবার্গের বহুমুখী প্রতিভার প্রশংসা করেছিলেন।
আধুনিক ফিল্ম ফেস্টিভ্যালে, একজন প্রায়ই প্রচুর উত্তেজিত দর্শকদের সাথে সিনেমা নিয়ে আলোচনা করে। হাস্যকরভাবে তাদের মধ্যে অনেকেই হেনরি কিং বা লুই ম্যালের নামও শোনেননি। ভারতীয় দর্শকরা প্রমথেশ বড়ুয়া, নিতিন বোস এমনকি বিজয় বোস-এর উজ্জ্বল কাজগুলি সম্পর্কেও সাধারণভাবে সচেতন নন৷ সন্দীপ রায় ভারতীয় সিনেমার প্রতি এই গ্রীক মনোভাবকে “খুবই দুঃখজনক” বলে অভিহিত করেছেন৷
কেআইএফএফ-এর চেয়ারম্যান রাজ চক্রবর্তী বলেছেন, “আমি গত কয়েকটি কলকাতা আন্তর্জাতিক চলচ্চিত্র উৎসব চলচ্চিত্র সচেতন দর্শকদের দেখেছি। এই বিভাগে সিনেমা সম্পর্কে অনেক জ্ঞান রয়েছে এবং এটি OTT প্ল্যাটফর্মের সাথে খুব বেশি স্বাচ্ছন্দ্য বোধ করে না। এর সাথে কোন তুলনা হতে পারে না। অতীত এবং বর্তমানের দর্শক।”
একবার রিচার্ড বার্টন 70-এর দশকে রয়্যাল একাডেমি অফ ড্রামাটিক আর্টস-এ মন্তব্য করেছিলেন যে সিনেমার উৎসবের জন্য একজন সত্যিকারের সিনেমা-সচেতন দর্শকের প্রয়োজন। তার দৃষ্টিভঙ্গি আজও মেরিল স্ট্রিপ দ্বারা সমর্থিত। সিনেম্যাটিক ভাষার একটি দৃঢ় অধ্যয়ন এবং ক্লাসিক সিনেমায় প্রত্যাবর্তনই কেবল চলচ্চিত্র উৎসব রঙিন করে তুলতে পারে।
IFFI গোয়াতে, হেমা মালিনী এবং প্রসূন জোশীকে ভারতীয় চলচ্চিত্রে তাদের অসামান্য অবদানের জন্য সম্মানিত করা হয়। সর্বশেষ ফিল্ম ফেস্টিভ্যালের একটি বিশেষ বৈশিষ্ট্য ছিল সত্যজিৎ রায়ের বিভিন্ন কাজ সম্পর্কে FTII পুনের অধ্যাপকদের সাথে আলাপচারিতা। এটি আসন্ন প্রজন্মের চলচ্চিত্র প্রেমীদের আলোকিত করেছে যারা রে ক্লাসিকের সাথে তেমন পরিচিত নয়।
Kolkata: In January 1994, as IFFI being held in Kolkata, festival Director, Malati Sahay personally called and invited Chetan Anand to be a delegate. The sensitive director politely refused saying he lost interest in film festivals.
Quite unusual from Chetan Anand who represented India at Cannes, Venice, Moscow and Peking film festivals. He had said, “I have viewed and analysed works of Eisenstein, John Ford and Victor Flaming. A diehard fan of Greta Garbo, I don’t see films like The General Line, How Green Was My Valley or Matahari, anymore.”
Come January 2022 and film festivals will again start after the corona pandemic dreaded days.
Eminent filmmaker Goutam Ghose says, “Film festivals are always welcomed. Cine lovers are exposed to the best of movies from all parts of the world. Artists, technicians, production persons and genuine film buffs have a common platform to discuss various aspects of cinema.”
IFFI Goa, this year presented the coveted Satyajit Ray Award to stalwarts Martin Scorsese and Zabo. Films from the OTT platform, non-features and others were screened. There was a Sean Connery retrospective too.
Madhuri Dixit at IFFI, Goa | Courtesy: Twitter/IFFIGoa
Yet the million-dollar question remains: why are classics like Modern Times, Autumn Sonata and Devi missing these days? Adur Gopalkrishna answers, “Those were the golden days of cinemas. Be it films by Satyajit Ray, Jean Luc Goddard or Akira Kurosawa, they were masterpieces. Their commitment to the cinema cannot be equaled by today’s standards.”
In all fairness, the slow death of single-screen theatres and the multiplex culture has harmed cinema in India to a good extent. The audience in single theatres earlier was more responsive to good cinema. An average viewer had a minimal sense of cinema. The multiplex going audience does more escapist entertainment love. It has no time to think and analyse.
Once Mrinal Sen had confessed, “I feel suffocated watching a film at a multiplex. I am always comfortable with single screens.” To his close associates he always said not a single filmmaker of the present generation could come anywhere near Satyajit Ray, Francisco Rossi or David Lean. From Hollywood, he admired the versatility of Steven Spielberg.
At modern film festivals, one often comes across lots of excited viewers discussing cinema. Ironically many of them have not even heard the names of Henry King or Louis Mal. Indian spectators are not even generally aware of the brilliant works of Pramathesh Barua, Nitin Bose or even Bijoy Bose Sandip Ray terms this Greek attitude to Indian cinema, “Very sad”.
Raj Chakraborty, Chairman, KIFF says, “I saw a film conscious audience at the past few Kolkata International Film Festivals. This section has a lot of knowledge of cinema and is not too comfortable with the OTT platform. There cannot be any comparison with the audience of the past and the present.”
Once Richard Burton commented in the ’70s at the Royal Academy of Dramatic Arts that a festival of cinema requires a true cinema-conscious audience. His view even today is endorsed by Maryl Streep. A strong study of cinematic language and a return to the classic cinema can only make film festivals colourful.
At IFFI Goa, Hema Malini and Prasun Joshi were honored for their outstanding contributions to Indian cinema. A special feature of the latest film festival was interactions with professors of FTII Pune, about the various works of Satyajit Ray. It enlightened the upcoming generation of film lovers who are not so well versed with Ray classics.
Mumbai: India outclassed New Zealand in a brief but exciting series as they won the Mumbai Test by a record margin of 372 runs. Convincing victories in the T20 and Test series without dropping a game is sweet revenge for Team India which was ousted by the Kiwis in World Cups of all three formats of the game in the past two years.
It started in 2019 when the Indian juggernaut was halted by the Kiwis in the semi-finals of the 50 over World Cup in England. Team Blue was the favourite to win that championship but New Zealand crushed India’s dreams with a dogged display on the day. The ‘nice boys’ of world cricket, New Zealand had become a pain in the neck for Indian fans. Though India had not beaten them in an ICC event since the 2003 ODI World Cup, the 2019 loss hurt more.
In the 2021 World Test Championship, Kane Williamson and Co. outwitted India, who had dominated the tournament, with a one-sided win in the finals. Significantly, after losing to Pakistan in the recent T20 World Cup, India had a do-or-die game against their ‘new arch-rival, the Kiwis. But the Black Caps won easily as India bowed out of the tournament even before the knockout stage.
In the home series, India finally avenged their previous losses in style, beating the Kiwis comfortably, not only in the T20s but also in the test series. As India won in Mumbai, they also grabbed the top spot in Test rankings – fittingly ousting the Black Caps as the world’s top-ranked test side!
There were plenty of heroes for India in the series. In the absence of many senior stars, Mayank Agarwal, Axar Patel and Shreyas Iyer put up memorable performances. Mayank is not the first-choice opener anymore for India and may well sit out of the next test match in South Africa once K.L. Rahul and Rohit Sharma return. In such a scenario it is not easy to keep oneself motivated. Not only did Mayank display a fighting mindset, but he also showcased exemplary skills to counter spin on a turning track. In the Mumbai test, besides his 150 in the first innings, he scored a valuable 62 in the second. His achievement seems more special given that no other batter got a hundred in the match and only 2 fifties were hit on a track that was turning big.
Then there is Shreyas Iyer who was playing his first test series and hit a solid ton in his very first Test in Kanpur. Till now, Shreyas had been dubbed a short format specialist who could muscle the ball to huge distances but had not been tested in the longer form of the game. However, his smooth 100 in the first innings and then rescuing the team in the second innings, which was wobbling after a mini middle-order collapse, has found India a promising test batsman with huge potential going ahead. His performances have triggered a huge debate about Ajinkya Rahane’s place in the Test team. This discussion may not be music to Rahane’s ears but is a happy selection headache for India ahead of the crucial tour to South Africa.
It wasn’t just the young batsmen who shot into the limelight but emerging all-rounder, Axar Patel too impressed with his outstanding control over his bowling length and surprised many with his batting ability. During the second Test in Mumbai, he hit a steady half-century in the first innings and a whirlwind 41 off 26 balls when India was looking to declare in the second. Over the years, India has depended heavily on Ravindra Jadeja as an All-rounder, implying an overload of duties for him. Axar is filling that role successfully now allowing Jadeja a breather and a worthy left-arm bowling partner.
Meanwhile, it was business as usual for Ravi Ashwin who completed 50 wickets in 2021 and picked up his 9th Man of the Series award. Ashwin’s brilliance is reflected in the fact that 4-5 wickets under his name is almost a given and fans always expect such performances from him. Ashwin is quietly moving up the all-time great bowlers’ list. By bagging 300 plus wickets at home, he is now only behind the great Anil Kumble.
The series was played in excellent spirit between the two sides and it never looked as if India was out to seek revenge and it was billed as a grudge battle by many. But the victory was surely sweet as India was keen to make a statement after their recent losses to New Zealand. India won comprehensively and new entrants like Mohammad Siraj and Jayant Yadav in Tests and Venkatesh Iyer and Harshal Patel in T20s also left their imprints on this series.
As the new coach, Rahul Dravid got a perfect start to settle in his new role. With Rohit Sharma leading in the T20 format, the series with New Zealand also saw a successful start to India’s tryst with ‘Split Captaincy’. As Rahul-Rohit and Rahul-Virat forge a fresh think-tank, the team’s the tougher challenge is now ahead of them as they chase an elusive series win in South Africa.
Kolkata: Susheela, a 46-year-old native of Tamil Nadu’s Tirunelveli district rolls beedi for a living. She has been doing it, since the age of 14. At the age of 21, she got married and went to Mumbai with her husband. After a few years, when she was a mother of two, her husband was killed by looters. She returned with a 5-year-old son and a two-month-old daughter. Her in-laws took away her husband’s shop in Mumbai in exchange of a small piece of land in Tirunelveli. She was left with almost nothing. But with two small kids, she could not go out for work. Susheela resumed rolling beedis for a living. Now, her son is an engineer and her daughter has done BSc in Physics and wants to do B.Ed. Susheela even took a loan and built a house on her land too, with whatever she earned as a beedi roller.
The situation of Bhagyavati, another beedi roller was not good either, when she took up this profession. The 48-year-old mother of two, is a resident of Thach Nallur, a small village in Tamil Nadu, where the garbage from the entire district is dumped, thereby causing health issues to the kids of this village.
The contaminated air and water makes the place unhygienic for the people living there. This has caused many disabilities in people including two of Bhagyavati’s sons.
Her husband, an alcoholic, later diagnosed with HIV AIDS. He died, leaving behind two disabled children. Bhagyavati did not even get a widow pension either.
Rasul Beevi, 62, and her daughter Inul Jaria, 38, are from Nelapallya, Tirunelveli have a similar story.
Rasul is a 4th generation, and her daughter Inul is a 5th generation Beedi roller in her family.
The house runs on Rasul and her husband’s salary. They also supported their husbands during the pandemic with the money they had saved. She also single-handedly paid for the renovation of her home using the provident fund she was given from the beedi rolling company, that she worked for.
The daughter also pointed out that they love rolling beedis because of the liberty to do the job from their homes and at a time that they desire to work. She had applied for the educational scholarship for her kids which sadly stopped coming since the past two years, and she had to use the money she had saved from rolling beedis to complete her child’s education.
Susheela | Courtesy: Lack of Alternate Employment for Women Beedi Rollers
Chandralekha, who hails from Venkateshpuram has a unique story to share. She is a computer science engineer by profession and worked in a company in Tirunelveli as a Quality Controller. But because of Covid-19 lockdown, she had to quit the job and work full time as a beedi roller. Her parents and two of her siblings live together in their village and they are all engaged in rolling beedis. They collectively earn about 20,000 rupees every month. Chandralekha and her sisters are also preparing for examinations for Government jobs and have made it clear that she is going to continue rolling Beedi as a part-timer even after she finds another job. She and her siblings have been doing so, since they were 15 years old. She is the fourth generation of beedi rollers in her family.
These women are among the twenty individuals whose life has been studied by two researchers Vibha Vasuki and Dr Siva Prasad Rambhatla. The two were commissioned to conduct the study by the Mysore Beedi Mazdoor Association.
Twenty women are among crore beedi workers in India (including both organized and unorganized beedi sectors). Female workers comprise 90 to 95 percent of the Beedi industry. Beedi workers are also considered the most marginalized.
The researchers, however, mention that because of Covid-19 constraints, they could not meet two other women nor visit two districts—Tirunelveli and Mangalore.
And added that they have analysedNational Sample Survey Office (NSSO), the Central Statistics Office (CSO), Government of India–the Annual Survey of Industries (ASI) and other available secondary data in their 90-page long study, titled—Lack of Alternate Employment for Women Beedi Rollers.
Highest GST paying industry – 28 per cent
After the introduction of GST (Goods and Services Tax), beedis attracted a 28 tax per cent, i.e. the highest GST rate, as beedi was categorised as a ‘demerit’ good.
Ironically, from the financial year (2017-18), it has made no allocation of funds for the beedi welfare fund after 2017-18, since GST implementation.
Contributes Rs 25 billion every year to GDP
Beedi is widely consumed throughout the country. 10.4 billion packets have been sold in 2017- 2018 alone, raising Rs. 156 billion and generating a revenue of Rs. 25 Billion to the Government. An adult smoker consumes about 93 beedis per month on average, spending Rs 284 per month for the year 2016-2017. This has increased by Rs. 191 since 2009-2010.13 States like Rajasthan, Assam, Madhya Pradesh and Tamil Nadu were some of the highest tax levying states in the country. Beedi generated about 12% of the total revenue generated by the tobacco industry in the year 1996.
Apart from direct beedi workers, the industry has also given employment to people who are indirectly involved in producing raw materials like tendu leaves (used to wrap beedis). About 6 million people in farming, 20 million people in farm labour and about 4 million in leaf plucking are employed by the industry as studied by TARI (Thought Arbitrage Research Institute).
Tribal women collecting tendu patta | Courtesy: humanitiesacrossborders.org
COTPA (Cigarettes and Other Tobacco Products Act) Amendment Bill 2020
The COTPA Amendment Bill 2020 has clauses that restrain the sale of beedis, and retailers engaged in beedi trade would need to get a license to do so. Restriction on branding, ban on the sale of loose beedis, printing of date of manufacture among others, owners and union leaders believe that it will reduce the sale of beedis and lead to the forced closure of the industry which will eventually make many people lose their job.
What respondents say about COTPA Amendment Bill 2020
When Inul was asked how they feel about the government’s decision of making changes to the beedi rolling industry, she said, “Why do you want to remove this plant and plant it somewhere else, instead of just watering the plants in the current place?” She also said if this industry closes, they won’t be able to start anew as her entire life she has been rolling beedis.
Rasul also said, “I haven’t faced any major problems in life because of the job security and money earned in beedi rolling”. And if the industry closes, my entire family will sit at home and have nothing to do
While Bhagyavati mentioned that, if the government is willing to train her for an alternative career, she will do it because she needs to take care of her family no matter what. The 48-year-old says she can try her best to adapt, but in the end, if she cannot, it is up to the almighty himself, to save her family.
Safety Clinic for Beedi Workers at Kannur Kerala by Re Bharatgas Dharmadom (file picture) | Courtesy: @bpclmangaluru/Twitter
What industry’s union leaders and owners have to say
“The Govt has only announced the amendments (COTPA Amendment Bill 2020) but hasn’t given a solution to all the problems that are going to rise after the industry starts deteriorating. Most women in the industry know only one skill to survive, and that is beedi work. They have been running their families with the salary earned by beedi work, they have been getting scholarships and other benefits by rolling beedis. Most beedi workers have educated their children who went on to be in domains like engineering, police and other departments. If the industry stops, how will the children of beedi workers afford an education? People might commit suicide because they have no other means to make ends meet,” said Bharati Bolar, Secretary, Mangalore Beedi Rollers Association.
Bimal Desai, owner of Desai Brothers Limited suggested that the government should make the changes in phases and not drastically. Let people adjust to the new changes. If the Beedi industry is banned, illegal sales of tobacco products will rise as people will smoke out of habit. People will lose their jobs and lots of families will have trouble functioning even on a normal basis. A huge part of Telangana is dependent on the beedi industry and around 700000 jobs will be lost.
“If the sales diminish, factories might end up closing and all the employees will end up losing their jobs. Since the women are not trained in any other skills, it will become difficult for them to make ends meet,” claimed Sudhir Shankar Sable of Sable Waghire and Company Limited.
Want higher wages and more work available than alternate professions
The two researchers claimed in the study, the government’s enervated attitude towards transitioning beedi workers to alternative livelihood is alarming. The government needs to take note of the urgency of the situation and implement programs on a larger scale. Until such transition is made possible, it must ensure beedi workers are given their wages and benefits under the now applicable laws.
The study reads, “Many studies have stated over and over that there exists a willingness among most women beedi workers to shift to alternate professions if given a chance. However, when we spoke to the participants, we noticed that they were mostly unwilling to shift to another profession, while they wanted to stay in the industry because of the convenience, they wanted to be paid higher wages and more work available to them.”
It further said, “We asked the participants if they had ever been trained by the Government or any other organization to develop skills and move to an alternate careers and they said they had never been offered training. While some of them showed a willingness to explore alternative sources of employment, most of them are set in their ways and want to stick to the trade that they have mastered over decades,”
“While there must be labour and wage reforms that need to be brought into the Beedi industry, shutting down the industry through COTPA Amendment Bill 2020 will be a disaster for millions with no other skills or employment,” the study added.
Ambreen Zaidi’s book ‘The Warrior Widows’ documents the real-life stories of valiant wives of Indian soldiers – The Veer Naris as they are generally referred to. Ambreen has been the founding editor of the world’s first blog magazine Blogger’s Park and writes about the issues which need immediate attention. Presently she is running an organisation Changemakers that works in collaboration with various welfare groups of the Indian Army, where she and her team extend their services to war widows, orphans and people with needs.
The author chooses to call them Warrior Widows rather than war widows as they struggled, fought and dared to lead their lives bravely in the absence of their spouses supporting their family and some of them contributing to society in their own ways. Many of them are now commissioned officers keeping the memory of their husbands alive.
The book begins with a poem dedicated to the wives of the martyrs by Maj. General Ian Cardozo the first war- disabled officer of the Indian Army followed by a message of Damyanti V Tambey, President of War Widows Association.
When a woman marries in Army, she is preconditioned for a tough life, separation, postings at various places in quick succession and when her better half leaves for war or goes to the field area, she has to fend for herself and her children waiting anxiously for the arrival of her husband. Life is indeed unpredictable for her.
Anything can happen at any time. Death remains a part and parcel of Army life. But when it comes one realises the gruesome enormity of it. After coming in contact with the war widows of Jodhpur, when her husband was posted there Ambreen came in contact with many Veer Naris and that’s how Changemakers came into existence. India has approximately 27000 war widows and the number is swelling day by day. There are women who have lost their husbands in World War Two, Indo-Pak and Indo-China wars at a very young age. Most women hail from rural areas and are unaware of their rights and entitlements. They are uneducated, facing problems as they belong to a Patriarchal society.
The Central Government does release grants/pension and other service benefits but other inadequacies have to be addressed like psychological support, future guidance for children and sometimes denial of legal rights.
If the widow is not eligible for a pension, the family forces her to marry her brother-in-law, a custom known as Kareva marriage or Chaddar Andazi, much prevalent in Punjab and Himachal. It is actually not a custom but an obligation towards her deceased husband’s family. Thanks to Nirmala Sitaraman who has done away with the mandatory ritual of Kareva marriage. According to her, it was vital to retain the dignity of women.
The author feels that God Almighty handpicks exceptional girls to be Army wives. She wants to convey that war is ugly and produces nothing but disabled soldiers, widows and orphans. The trauma and horror of the war and the way it destroys lives and families leaving them emotionally damaged for a lifetime is worthless. Hence it becomes our duty as citizens to take care of our martyrs and their families as we owe the safety of our nation to them.
The book comprises 30 stories of war widows and is an interestingly soulful read. Written in simple language it does leave a deep imprint on our minds.
When the deadly gas was spreading havoc in Bhopal on a cold winter night in December 1984, Arjun Singh was hundreds of miles away — praying.
Hours after the leaking methyl isocyanate gas had left a trail of death in the Madhya Pradesh capital, the state’s then chief minister had taken a flight to Allahabad [now Prayagraj], where he visited the chapel of his childhood school to pray for “moral courage”.
The startling revelation was made by Arjun Singh himself in his memoirs, “A Grain of Sand in the Hourglass of Time: An Autobiography, published posthumously by Hay House.
At the chapel, Arjun wrote, he prayed for victims of the gas tragedy and “gain moral courage to act personally in the face of monumental catastrophe”.
In his autobiography, the late Congress leader said he wanted to set the record straight on allegations of his “disappearance” in the wake of the enormous tragedy that unfolded on the intervening night of December 2 and 3, 1984.
“Late in the morning of December 3, 1984, I quietly took off from Bhopal in a plane and landed in Allahabad, about 550km away. I went to my old school, St. Mary Convent, where with the permission of the principal, I sat in the chapel to pray for the welfare of my people and gain moral courage,” Arjun wrote on page 175 in chapter 21 titled “The Bhopal Gas Tragedy.”
That night, angry protesters had raised the slogan in Bhopal, “Gas Nikli Adhi Raat, Arjun Bhaga Ratoon Raat”. Translated, it would read “gas leaked at midnight, Arjun ran away under the cover of darkness”.
A victim of the world’s worst industrial disaster on December 3, 1984 | Courtesy: Prakash Hatvalne
The chief minister was reportedly advised by the local administration to stay away from Bhopal after the lethal gas had leaked from the Union Carbide factory in one of the world’s worst industrial disasters.
In official records, it is said that over 3000 persons were killed on the intervening night of December 2-3, 1984 when over 40 tons of poisonous methyl isocyanate (MIC) leaked from the storage tanks of the Bhopal-based Union Carbide India Ltd (UCIL). But rights campaigners like late Abdul Jabbar used to insist that the killer gas killed more than 25,000 people leaving 5,50,000 others injured and disabled.
Arjun’s disappearance was raised before Rajiv Gandhi, too, when the then Prime Minister visited Bhopal on December 4. Rajiv had asked Arjun to clarify but the chief minister had suggested setting up a commission of inquiry to address all issues, including the allegation of his disappearance. A commission, under Justice N.K. Singh, was appointed but it was folded up within nine months even before it had made any progress.
Jabbar also questioned Arjun’s move to name the then Union home minister, P.V. Narasimha Rao, as responsible for Union Carbide CEO Warren Anderson being allowed to leave India after visiting Bhopal on December 7, days after the tragedy.
In his memoirs, Arjun claimed that when he broached the subject of Anderson’s arrest with Rajiv, the Prime Minister had kept mum.
However, on page 174 of his memoirs, Arjun has given a detailed account of his meeting with Rajiv on December 6, 1984, adding an element of mystery. “At one of the hospitals (in Bhopal) that we visited, Rajiv took me aside to brief me. It was something rather confidential, which, naturally, I could not have shared with anyone. Everyone later wanted to know what did he say? What was it all about? What were his instructions or his brief? Well even today I cannot reveal what he told me. It is a state secret that I shall carry to my grave.”
भारत के प्रधानमंत्री: देश, दशा, दिशा- प्रसिद्ध भारतीय पत्रकार रशीद किदवई द्वारा हिन्दी में लिखी गई यह पहली पुस्तक है, जो हाल ही में ‘राजकमल प्रकाशन’ से प्रकाशित हुई है। रशीद जी ने इसमें जवाहरलाल नेहरू से लेकर नरेन्द्र मोदी तक भारत के 15 प्रधानमंत्रियों के कार्यों की विवेचनाएं की हैं। इसमें हर एक प्रधानमंत्री के बारे में बात करते हुए उन्होंने कई दिलचस्प घटनाओं का सहारा लिया है, पूरा लेखन बड़े अर्थपूर्ण, सटीक और निष्पक्ष ढंग से स्वतंत्र भारत की राजनीति के इतिहास का सार बयां कर देता है। खास बात यह है कि पूरी पुस्तक पढ़ते हुए बौद्धिक भारीपन महसूस नहीं होता और राजनीति के प्रति जिज्ञासा का भाव पैदा होता है।
पुस्तक देश के हर प्रधानमंत्री से जुड़ी रचनात्मक और सकारात्मक सोच पर तो रोशनी डालती ही है, यह उनके कामकाज को समालोचनात्मक तरीके से भी सामने रखती है, जहां आपको देश के सर्वोच्च पद पर आसीन रहे हर प्रधानमंत्री की कहानी में उनके लिए कोई-न-कोई सबक जरूर मिलेगा।
यदि बारीकी से अध्ययन किया जाए तो हर राजनेता के भीतर मानवीय दृष्टिकोण का आभास मिलता है। उदाहरण के लिए, जवाहरलाल नेहरू धैर्यवान, गंभीर और भावुक किस्म के इंसान थे। लाल बहादुर शास्त्री विनम्र, सत्यनिष्ठा और दृढ़ता की मूर्ति थे। इंदिरा गांधी स्वाभिमानी और कठोर निर्णय लेने वाली मजबूत हृदय की महिला थीं। राजीव गांधी सज्जन, सुशील और मृदुभाषी नेता थे। पी. वी. नरसिम्हा राव चुपचाप बड़े कदम उठाने वाले ऐसे बूढ़े व्यक्ति थे, जिन्होंने भारत की आर्थिक दशा और दिशा ही बदल दी। एच. डी देवेगौड़ा आंचलिक नेता की छवि रखने वाले राष्ट्रीय स्तर के नेता रहे, तो इंद्र कुमार गुजराल को कठिन दौर में प्रधानमंत्री की कुर्सी संभालने वाली शख्सियत।
अटल बिहारी वाजपेयी सबको साथ लेने वाली नेता की छवि रखने के बावजूद अपने मन की करने वाले व्यक्ति थे। डॉ. मनमोहन सिंह कार्य तो अपनी मर्जी से करते थे, लेकिन मार्गदर्शन और हर निर्णय पर मुहर लगवाने के लिए हमेशा हाईकमान का मुंह ताकते रहते थे। नरेन्द्र मोदी ऐसे लोकप्रिय नेता हैं, जो नेहरू के विरोधी के तौर पर अपनी छवि गढ़ने के बावजूद कुछ सियासी मामलों में नेहरू का ही अनुसरण कर रहे हैं। इन सबके बीच किसान नेता चौधरी चरण सिंह की सादगी मिसाल के तौर पर पेश की जा सकती है। वहीं, वी. पी. सिंह ने पहचान की राजनीति को नया रूप दिया था।
‘ऑब्जर्वर रिसर्च फाउंडेशन’ के प्रेसीडेंट समीर सरन ने पुस्तक की प्रस्तावना लिखी है। सरन लिखते हैं कि भारत को आजादी मिल जाने के बाद संविधान-सभा द्वारा देश का कामकाज चलाने के लिए वेस्टमिंस्टर मॉडल चुना गया। प्रारंभिक रूप से इसके तीन कारण थे। पहला तो यह कि भारतीय गणतंत्र की स्थापना करने वाले नेतागण ब्रिटिश संसद की इस लोकतांत्रिक व्यवस्था से परिचित थे। दूसरा, वे सामूहिक जिम्मेदारी के विचार से अभिभूत थे। तीसरा, ‘समकक्षों में प्रथम’ के विचार से कांग्रेस भी सहमत थी। यह तत्कालीन राजनीतिक नेतृत्व की मंशा के अनुरूप भी था। दरअसल, तब एक वर्षीय कार्यकाल के लिए कांग्रेस अध्यक्ष का चुनाव हुआ था, जिसका व्यक्तिगत स्तर पर किसी नेता की स्थिति पर कोई फर्क नहीं पड़ा था।
वह कहते हैं कि प्रधानमंत्री के लिए ‘समूह’ में समान स्थान रखने वालों का प्रतिनिधि’ की जो परिकल्पना की गई थी, वह धीरे-धीरे अप्रासंगिक होती चली गई। दशकों बाद सामूहिक जिम्मेदारी का अर्थ प्रधानमंत्री कार्यालय की जिम्मेदारी होकर रह गया।
हम आज भी देखते हैं कि किस तरह सरकार की सफलताओं और असफलताओं के लिए प्रधानमंत्री या प्रधानमंत्री कार्यालय को जिम्मेदारी ठहराया जाता है। पिछले वर्षों के अनुभव बताते हैं कि सरकार अपने कामकाज में संसदीय होने से ज्यादा एकपक्षीय होती जा रही है।
‘भारत-निर्माण की वस्तुपरक झांकी’ शीर्षक से पूर्व केंद्रीय मंत्री यशवंत सिन्हा लिखते हैं कि एक युवा देश, लेकिन प्राचीन व समृद्ध सभ्यता के वाहक राष्ट्र भारत के इतिहास, विशेषकर आधुनिक भारत की आर्थिक यात्रा का अध्ययन एक दिलचस्प काम है। आजादी के बाद भारतीय अर्थव्यवस्था के अध्ययन में हमें समाजवाद, उत्तर-समाजवाद, उदारीकरण व उत्तर उदारीकरण पर विशेष ध्यान देना होगा। आजादी के बाद भारत के सामने अनेक समस्याएं मौजूद थीं। कई संकट मुंह बाए खड़े थे। अब देश को एक गुलाम राष्ट्र से सेक्युलर, सोशलिस्ट व डेमोक्रेटिक रिपब्लिक अर्थात धर्मनिरपेक्ष, समाजवादी व जनतांत्रिक गणराज्य बनने के पथ पर आगे बढ़ना था। अंग्रेजी के वरिष्ठ पत्रकार व कई सम्मान प्राप्त लेखक रशीद किदवई की यह महत्त्वपूर्ण पुस्तक देश की इसी अविस्मरणीय यात्रा की एक वस्तुपरक झांकी प्रस्तुत करती है।
दूसरी तरफ, आजादी के 75वें वर्ष में रशीद किदवई की यह पुस्तक पहले प्रधानमंत्री जवाहरलाल नेहरू से लेकर वर्तमान प्रधानमंत्री नरेन्द्र मोदी तक के विचारों और कार्यों का अपनी कसौटी पर बेबाक मूल्यांकन करती है। यह पुस्तक एक लोकतंत्र के तौर पर भारत की प्रगति तथा उसके रास्ते में खड़े अवरोधों के बारे में सोचने के सूत्र देती है। सोशल मीडिया के भ्रामक दौर में यह पुस्तक तथ्यपरक तरीके से देश के विकास की आवश्यकताओं पर शीर्षस्थ नेतृत्व की राजनीतिक महत्वाकांक्षाओं के बारे में बात करती है, जिनके चलते भारतीय लोकतंत्र प्रभावित हुआ।
एक अनुभवी पत्रकार की कलम से देश के सभी प्रधानमंत्रियों का यह निष्पक्ष आकलन भारतीय लोकतंत्र के प्रति संवेदनशील हर नागरिक के लिए आवश्यक दस्तावेज साबित हो सकता है।
‘किताब की बात’ शीर्षक से लेखक रशीद किदवई लिखते हैं कि भारतीय राजनीति खूब फल-फूल रही है। भ्रष्टाचार, वंशवाद, नफरत और निम्न स्तर के बावजूद देशवासियों को लोकतंत्र एवं व्यवस्था में पूरी आस्था और भरोसा है। जातिवाद, असहिष्णुता, झूठ और धोखे का स्वाद अनगिनत बार चखने के बाद भी हर चुनाव में समाज के तकरीबन समस्त वर्ग के लोग लंबी कतार में खड़े होकर अपने प्रिय जनप्रतिनिधि और राजनीतिक दल को वोट डालकर खुद को सुखी व सुरक्षित महसूस करते हैं।
उनका यह कहना भी सही लगता है कि धर्म, सिनेमा और क्रिकेट की तरह राजनीति में भी हम भारतीयों की बेहिसाब दिलचस्पी के बावजूद समकालीन राजनीति पर अच्छी पुस्तकों की कमी है। ऐसे में रशीद किदवई की इस प्रकार की पुस्तकें लिखी जानी लोकतंत्र के कौशल को समृद्ध करने जैसी पहल लगती है। राजनीति से जुड़ी ज्यादातर पुस्तकें जीवनी और संस्मरण ही रहे हैं, इसलिए ‘भारत के प्रधानमंत्री’ जैसी पुस्तक तथ्यात्मक और आलोचनात्मक लेखा-जोखा करने की दृष्टि से भी अपनी अहमियत बताती हैं।
Kolkata: November 26 is the first anniversary of the farmers’ protest, the world’s largest protest at the world’s largest democracy. While Prime Minister Narendra Modi has announced to repeal three controversial farm laws, the protesting farmers have paid a very high price for protesting against the Bharatiya Janata Party (BJP) government. BJP has a majority not only in several state assemblies where farmers were agitating against the laws but in both the houses of parliament too. In the last 365 days, farmers were not only name-called right from Khalishtani, Naxals to Andaolanjeevi. Andolanjeevi was said inside the parliament by none other than prime minister Modi itself. They were mowed down by the ruling party leaders. And it was not only the four farmers who mowed down, 676 farmers were also killed while protesting against the law.
However, the courage of peasants only soared and they got support from outside India as well. In several other countries including the United States and Canada, rallies were held in support of Indian farmers.
Bhartiya Kisan Union (BKU) leader Rakesh Tikait had claimed in February this year that they will continue protesting till October. It proved right and as the protest entered in November and Uttar Pradesh’s election come closure, PM Modi led the BJP government decided to repeal farm bills.
Yogendra Yadav of Swaraj India had also claimed two days ahead of PM Modi’s announcement that the farm laws are on the death bed and that it will have to go. Yadav had mentioned that now the agitation is for the unity of the country.
Now as Samyukta Kisan Morcha took a stand to continue the protest till the bills did not get repealed in parliament. And the law could not be made for Minimum Support Price (MSP), the protest completes a year.
Watch eNewsroom‘s video story, as we try to club major incidents which took place during the ongoing protest.