September 20, 2016

Of Autumn Nostalgia, September, and The Blank Spaces Between Chapters


I remember the first time I saw trees in fiery autumn finery. It was late September; I was a newly arrived undergraduate at the university that I was attending in West Midlands, United Kingdom. As I battled all-consuming homesickness, cultural disorientation, and other newbie university student challenges, I nevertheless did occasionally emerge from my fog of bewilderment to briefly appreciate the brilliant theatre that these trees were putting up on display. They were in decay, true, but they appeared no less magnificent than in their glorious summer plumage. But I didn't take any pictures of them. All the photographs that I took of those initial months on my analogue camera depicted my university, my friends and the exciting memories I was making and accumulating. I experienced three more autumns during the time I lived and studied in United Kingdom but apart from a handful of pictures taken in my Oxford college's garden where bright yellow and orange autumn trees provide an arresting backdrop, it never occurred me to photograph the autumnscape for posterity.



How times have changed! Or, perhaps, more significantly, the way and how I look at nature. I made up for my earlier lack of autumn appreciation when I lived in Pittsburgh for a year and half, savoring how autumn unfurled over the months. I learned to love its nuances: the toast-crisp air, the sharp, invigorating, buttery sunshine, and a certain headiness that belongs to only autumn. I remembered exclaiming in surprised delight when the massive tree just outside my apartment window seemingly turned scarlet overnight. Yes, the summer was over, we were approaching winter - and yet, there was a promise in the air that was autumn's alone. That I could not photograph. What still vividly remains in my memories is the pleasure of walking out on a cool autumn morning, bundled up just so, literally drinking in the autumn air, the leaves crunching below your feet, so thickly, densely carpeting the path ahead that you could scarcely see the gray concrete or the viridian grass below. If no one was looking, I would take a childish pleasure in running through the leaves, seeing them swirl in the air,  like birds agitated into flight. 


The other day, while glimpsing these orange gulmohurs dotting the soil, I couldn't help but remember similarly hued orange leaves, as they must once more densely fall on the ground in various parts of the world while the season transits from summer to autumn. There is no autumn here, of course. The monsoons have concluded in Delhi, at least...but still, something feels different. It gets darker a tad earlier each day and the cool morning breeze makes me smile in anticipation for the mellower, delicious days of between late October-early December

Perhaps, the season reflects my current state of mind (or is it vice versa?) I  must admit that I too am in transit, immersed in a limbo. I feel that I currently inhabit the blank spaces in between chapters of a novel. The hectic summer flew past and I wonder what beckons in the newly forming season ahead. So I hibernate in the den of my words, the short stories that I am trying to write, characters who are slowly beginning to form and take shape on my pages. I don't know them and they don't know me - yet. And so we are both in - there's that word again - limbo. But I persevere, writing and writing, persuading them to reveal themselves. And perhaps, by doing so, I will migrate to my next chapter, writing myself into what is going to happen next. 

September is not over yet.

 Inspired by this Instagram post of mine

September 14, 2016

The Story of a Lotus Bud

I found it at my flower-wallah on Sunday night. This flower-wallah was the one whom I had been buying my flowers from ever since I had moved to Delhi. In all these months, I had previously never seen lotuses there; I was instead accustomed to choosing from a library of roses, carnations, gladioli, marigolds, mogra, chrysanthemums, and rajnigandha, becoming blase about their beauty in the process. The lotuses were a pleasant surprise to encounter. A few days ago, I had seen them featured in pink bloom on someone's Instagram feed. A month ago, my family had sent me pictures after pictures of pink, white, and ivory-hued lotuses while holidaying in Sri-Lanka, where the blooms lay luxuriously massed upon the tables as temple offerings or sold in street-side shops. I remembered the first time I had seen devotees offer lotuses at temples in Bangkok; they resembled pale gray green candles from the distance until I peered closer and realised that they were in fact lotus buds. I tried to recall where I had last seen a lotus; I could not remember. I thought of the Buddhist mantra I frequently chanted these days, the lotus a powerful symbol and component of its spiritual structure.

I did not have to think twice about buying the lotus buds. I don't know why I bought just one though. The first lotus that I saw was greying, its outer almond-shaped petals the color of an ageing flamingo. Please give me a new, fresher one, I imperiously declared. The flower-seller picked one out from the many buds nestling together in their current home, a greying green bucket and began to swaddle it in a newspaper sheet for me. The lotus exuded no fragrance though. For fragrance, I bought my mogras, whose scent I forever associated with summer, smelling of rain when there was none. How long will it take to bloom, I asked, after he finished wrapping the lotus bud for me. Not much time, he replied. Not much time: that was hardly any time at all! I was prepared to wait. 

I posted a portrait of it on Instagram the next day, murmuring about the multiple beautiful truths that resided within its delicately striated pink bud. I talked about the delicious anticipation of waiting to see it bloom. I was in oblivion until Subhashini gently reminded me that lotuses usually do not bloom outside of water. But of course! How could I have forgotten? Was mine a magical lotus that would bloom in air? She instead asked me to carefully open the petals to discover what lay inside. I felt as if I was being asked to go on a treasure-hunt. Our conversation took place during the night. I waited until the next morning to perform this pleasurable task. But alas! I thought I was being careful but I was not. As I coaxed the bud to open, the petals swiftly and disintegrated, detaching themselves from the stalk like the pages of a dying antique book fleeing from its spine. I was left with the denuded heart and the petals scattered around me. The lotus was no more. I touched its heart. I wished I had been more gentle, more thoughtful, I said. But there will be a next time: a new lotus, a new heart to love, new petals to read. Until then, I will content myself with a memory of eternal longing, the longing of waiting for it to bloom.

September 12, 2016

The Right to Walk: Women in Public Spaces

(Courtesy: The Conversation)

I recently published a piece, The Right to Walk: Women in Public Space on Feminism in India. It was the first time in ages that I had written a consciously feminist piece about a subject which had been consuming me ever since I moved to Delhi. I talk about accessing the public space in Oman and the United States before narrowing my focus on how I navigate the Delhi streets. It is an issue which continues to impact me but what I have observed is that I have recently begun adapting to the situation, deliberately becoming oblivious to the aspects which earlier made me furious: constant staring, the paucity of sidewalks/space to walk (well, at least, I have the gardens to walk in), and in general, never being at ease in the public space. Is adapting the right thing to do? Should I actively challenge the things which I resent and cause discomfort? However, so far, my only way to address the situation has been to write this piece, articulating my frustrations. I was amazed to see the number of likes (over 1000) the piece garnered on the Feminism of India's Facebook page and how many times it has been shared. It just goes to show how many women identify with the piece and how incensed and intense we are about the fact that we cannot access the public space in the way that we should be able to do. In any case, my voice is just one of the many who are championing the right to women to access the public space through movements such as the Blank Noise Project, which is a community/public art project that seeks to confront street harassment in India and a movement explores and encourages women to loiter in streets of India, Why Loiter. Our collective voices and action will contribute towards normalising a women's right to walk in the public space.

I hope to explore this idea in other pieces but for now, am just reproducing this initial piece on the blog:

I clearly remember the first time I experienced the unadulterated pleasure of walking. I had recently moved to Pittsburgh, United States; even though it was a steel-cold, gray December afternoon, I must have walked for over an hour, eagerly exploring the bylanes of my new neighborhood. By the time I returned to my apartment, I had seen several runners, mothers pushing babies in prams, and elderly folks amongst other using the sidewalk. That walk marked the first of the many walks I was to take over there. What I appreciated the most was the abundance of space that the walks afforded to me; I often had the sidewalk to myself, walking unobserved while simultaneously observing my new surroundings and people. The public space was a friendly, welcoming, and accessible one, encouraging me to walk and take pleasure in the experience, significantly offering it to men and women alike. It was nothing like I had ever experienced before.

Prior to moving to the States, I grew up and lived in the Sultanate of Oman, where I only walked during the night and that too for the exercise. The night made me invisible, something which I was grateful for because I no longer had to negotiate men constantly looking at me while I walked. The men never said anything but their act of looking spoke volumes enough – and the looking-at-edness made me experience extreme anger and discomfort. As it happened, I lived in a self-contained university campus kilometers away from downtown Muscat, where I still felt more protected than I would have in the urban spaces. I would like to point out that while Oman was a largely safe country for women, I nevertheless did not feel entirely comfortable walking for long stretches or periods of time in the urban areas; women friends and acquaintances often spoke of being followed or being harassed, making it extremely difficult for them to freely access the public space. Passing drivers often shouted out demeaning remarks, as if women walking on the street and moral laxity were synonymous with each other. Given all of these constraints, I welcomed these nightly walks. They say that you do not miss what you do not have; indeed, until I moved to the States, I did not really think so much of my walks apart from the functions they provided of exercise and contemplation. It never struck me that I was being deprived of a right or its gendered implications. I should add that it was not as if I did not have to face cat-calling or unsolicited conversations while I walked in various parts of the States; yet, on the whole, I still felt a lot more comfortable walking over there, no matter if it was night or day.

I moved to New Delhi in October 2014. Even though I had grown up in Oman, I had regularly visited India during annual trips since my childhood so it was not as if gendered public space dynamics were alien to me; however, I had always significantly moved around in a sheltered bubble which meant I hardly ever had to access the streets and public space on my own. Arriving and living in Delhi meant that I had to now consciously pay attention to renegotiating how and where I walked. I currently live in a gated, security-fortified Delhi Development Authority colony where it is still relatively easy to walk around but what happens once I step out? I encounter broken side-walks, if there were any at all, truncating the space that I have to myself when I walked. The narrow streets with their unpredictable traffic mean I have to be more vigilant of the passing vehicles, reducing my singular focus on the walk. Walking has become a mode of getting to point A to B, the destination taking precedent over the journey of walking, which I so enjoyed earlier. The sidewalk here does not offer much incentive for walkers to enjoy and be aware of the act of walking; there are no benches or other ways in which the pedestrians could engage with the urban space, which would invite them to linger there longer. You had no choice to but to simply carry on walking.

A public space theoretically allows democratic access to its users; yet, what I have most singularly realised over here is that there are sharp differences between a man and a woman walking in the public space. A man walks with authority, without perpetually looking over his shoulder, without worrying about constantly being watched and examined. Given that I am fond of phone photography and perpetually taking pictures while walking, I have faced double scrutiny of being both a woman as well as a photographing one. I am deprived of the precious me-time that my walks should afford me, encroached as they are by constant watching or unwelcome conversation. Can they not read my eyes and body language which singularly say, 'Leave.Me.Alone'? And as for nocturnal perambulations, I cannot even think about it, here in Delhi, the darkness potentially yielding multiple unknown terrors and threats.

I thought that I would find solace in the many parks that happen to dot my neighborhood; I thought that I would find the pleasures of walking there at least which was otherwise deprived to me in the streets and roads. I would find regulars walking around and around the circular paths, using the park space as a much needed one for exercise, social activities or to simply sit and soak the fresh air. Yet, even there, I was either constantly watched or found myself being followed on several occasions, the culprit tracing my steps within the garden and then from there onwards. I had to take alternate routes back home to dodge the follower, furious that the brief pockets of serenity I experienced in the parks was no more my own. What public space was left for me to call my own? Or perhaps public spaces and women were not synonymous with one another?

The only time I have found joy in walking the streets in Delhi have been the ones which curiously enough have been the canvases for incredible street art, such as the neighborhoods of Shahpur Jat and Lodhi Colony; the local populace is perhaps accustomed to the sight of people photographing and documenting the street art. It doesn't matter whether you are a man or woman; they simply encourage you to go and seek the wall-canvases which have made their neighborhoods attractive magnets for photographers, tourists, and art connoisseurs. Having taken ownership of and deriving pride from their neighborhoods, the inhabitants in turn seek to make visitors to the spaces that they call home as welcome as possible. For me, as a woman, I felt entirely comfortable walking around those neighborhoods, taking pictures, pausing to linger upon the art, chatting to the residents about the stories behind the art. I experienced the double pleasure of accessing the art in a public space as well as being able to appreciate it just as easily as any man would.

The public space is for the public and that public consists of men and women; it is not a contested territory, affording more rights to one gender over another. When I walk in a city, I would like to walk with the knowledge that it is my own and that I can access anywhere I want. At the end of the day, I do not want to move around in circumscribed spaces, subjected to a spatial censorship. I demand the right to walk without thinking that it is a right. 


You can read the full piece here

August 29, 2016

Collaboration Part 2: A Valley of Mountains Which Are the Sum of All Colors

There she sat, perched upon the boulder bordering the river, slumbering awake beneath the clear, blue skin of a sky. Headphones plugged into her ears, eyes fastened shut, the music pouring into her very being - and she was suddenly swimming in a river, the river snaking up and around and through mountains that were the sum of all colors. She was both inside them and outside them. They were the blue of a newly born river, the lime of a budding seedling, jade of a rain-washed tree, and the mauve of a decaying mogra. She did not know where these mountains were; perhaps, they existed only in the planet of her imagination, whose terrain she knew only so little of and still had so much to explore. She kept her eyes shut, knowing that the moment she opened them, the mountains would evanescence, the river would dry up, and she would be left with the indomitable gray bedrock of reality from which there would be no escape, no escape at all. And how could she let that happen?


This is the second part of my collaboration with my painter friend, Vidya; in the first part, she had beautifully interpreted one of my images and accompanying text through her art while here, I seek to give words to a musical dreamscape she magically evokes in this painting. 

I hope you enjoyed partaking of our collaboration as much as we enjoyed participating in it!