Thursday, December 11, 2008
Mission: Irresponsible
A few have commented on the absence of a Mumbai blog since the Nov 26th attacks. The truth is, I've been percolating. Splicing the personal from the political is never easy. Especially when each of the gutted, ravaged dots on the map of South Mumbai, when connected, compose family history.
Long before I was even a hazy figment of their imaginations, my parents spent many an afternoon at The Sea Lounge, a charming cafe on The Taj's first floor. To this day, they fondly recount these meetings, and if asked, my father might even be able to tell you what my mother ordered on their first date. Years later, as a toddler, I waddled, clumsily chasing wayward pigeons in Apollo Bunder near the Gateway of India (mere steps from where the terrorists first made their stealthy entrance, aided by inconspicuous dinghies) as my nanaji, or maternal grandfather, coaxed me to toss them fistfuls of grain. And more recently as a college student I practically begged my aunt and uncle to take me to the now gun-shot ridden Leopold's Cafe after thumbing through Shantaram, Gregory David Roberts picturesque ode to to the city. The stories are countless.
Now that all the blood has been shed, fingers pointed and tensions stirred, my dissatisfaction has more to do with the way those formally charged with telling the multiple stories--local journalists--handled their duties. These story-tellers had the power to be influential participants during this perilous siege, but to put it mildly, they blew it.
"We've forfeited the rights to our tragedies," exclaimed Arundhati Roy in a Guardian op-ed, soon after the siege. For as the hellish attacks unrelentingly gnawed at Mumbai, almost instantaneously, the world—the one defined by the slick, 24-hour-news channels, at least—tuned into what was christened, “India’s 9/11.” Throngs of hysterical reporters dominated TV screens, charged with spreading their interpretations of the saga both domestically and internationally, throughout the course of the attacks. In our Friedmanesquely flat world, however, hardly any global event is spared from the cable news bulldozer, threatening to compress nuanced conflicts into sentimentally charged sound bytes. Though the atrocities themselves were analyzed and dissected since that fateful November night, another highly consequential post-mortem is still underway—that of the media’s role and influence during this blaze of terror. The few critiques that are appearing though, come from the domestic front in the form of left-wing news web sites, controversial op-ed columnists and even local bloggers, who are stepping forth with their versions of the story, dissatisfied with the media’s highly sensationalist and frenzied coverage during the 60-hour siege.
When the Cold War paradigm for mainstream media was dismantled, in America at least, many wondered what the next dominant framework would be. It’s safe to say that “9/11 rhetoric” is the highly anticipated successor: “Fanatical Muslims replaced Soviet Communists and, like the reds, these enemies could be anywhere." In many ways, it's like President Bush merely pressed the re-start button on the Cold War talking points machine, and now, we see democracies across the world—like India—doing the same. As an ever-present tool, the rhetoric surrounding the war on terror is appealing, just as the Cold War was, lacking an exit strategy, with no tangible end in sight.
Though the mainstream media is ideally, supposed to function as the watchdog of any democratic government, the infiltration of corporatism is slowly hacking away at this idealized notion. As witnessed in the case of a relatively established democracy, like India, in light of the Mumbai crisis, the mainstream media acted as an extension of the government’s interests, whether it came in the form of an almost a knee-jerk desire to point fingers at Pakistan (although ultimately, a connection was revealed) or cloaking over the complexities of the conflict with a highly simplistic, 9/11-inspired, “good versus evil” script.
As traditional media no longer mirrors the democratic values that were once bestowed on it, it becomes crucial to turn to a sphere that is more congruous with ideas like diversity of opinion, accuracy and transparency. Cyberspace, in many ways—with the appropriate gatekeepers, of course—is the ultimate embodiment of that democratic space. In the case of Mumbai, we saw that space timidly but articulately speak for the city, following the November siege. Like anything democratic, however, it will be support, in the form of citizen viewers and readers and participators that can truly empower it as the perfect arena for a multitude of voices to co-exist, debate and ultimately, inform.
Tuesday, December 2, 2008
Tabloid Cricket? A Sport 'In Transit'
I honestly can't believe I'm writing about sports. (are pigs flying?)
But here's a piece on the evolving nature of Indian cricket as it transitions from a national sport to a league-based system, sparked by a guest speaker in my Sports & Globalization class last night. He repped the NBA's international operations branch and kept emphasizing how the advent of league cricket in India was making it easier for his organization to spread its tentacles there. Interestingly enough he mentioned a potential--albeit hush, hush--project between Hindi movie producers and the NBA in the hopes of generating popularity for the sport. Rumor has it that Kobe Bryant already met with a Khan or two. Bollywood Basketball may be closer than you think. But you heard it here first :)
In the meantime--my two cents on the IPL.
Monstrous flames blaze from his leg-guards, while a majestic drumbeat thunders in the background. At center stage is Shah Rukh Khan, kingpin of the commercial Indian film industry, outfitted in a black and yellow Kolkata Knight Rider’s uniform. As an entourage of extras join him, together, they engage in a spirited dance routine, set to an exuberant song entitled, “Korbo, Lorbo, Jit Bore” (Bengali for, “we will do it, fight for it and win it”). The pulsating drums quicken.
Such is the introduction to one of the first music videos to emerge from the Indian Premier League (IPL), and a flamboyant effort to catapult Kolkata’s state-based cricket team to fame. As the video continues, Khan undergoes a dramatic costume change—he trades in the uniform for a shimmering cloak—while the Bengali is replaced with snappy English lyrics: “We’re too hot, we’re too cool, we’re Kolkata, we rule!” It’s a messy amalgam: part folk song, part war cry, with a pinch of Bollywood and the flourish of a cheerleading routine. Is Indian cricket undergoing an identity crisis?
In many ways, the 60-second music video encapsulates the hazy transition that cricket is currently experiencing—in India, at least. Sports and national consciousness have often been linked, whether it is ice hockey and Canada, soccer and Argentina, or baseball and the United States. Throw in a turbulent colonial history and it further complicates the connection, as exemplified by India’s curious and constantly evolving relationship with cricket. What started off as a way of challenging the occupiers at their own game during the days of the Empire soon became a sport that was synonymous with patriotic virtue post-independence, as India attempted to define its national identity on a world stage. It is only appropriate, then, that cricket’s latest avatar comes in the form of intra-national competition, laced with all the symbols of market capitalism, reflected by the eight, state-based team that make up the IPL.
“A new cricket league is trying to spin off India’s colonial inheritance into a money making symbol of a brash, emerging nation,” writes New York Times journalist, Somini Sengupta. Others, including Rajdeep Sardesai, the editor-in-chief of a prominent Indian news channel, have described the sport’s new incarnation as “cricket’s version of tabloid journalism…it is much more about glamour and entertainment than about what happens between the players."
It should be noted that the version of cricket touted by the IPL is referred to as the Twenty20 brand. This brand is a slicker, more TV-friendly counterpart to the dowdy five-day matches introduced by the British. The name, Twenty20 refers to 20 overs—cricket’s version of an inning—granted to each team. It slowly becomes apparent that the ritualistic nature of the five-day version is being whittled down for the convenience of media sponsors and television channels, a sure indicator of the power that market forces have over the structure of a sport that has existed for centuries.
Ultimately, is the Indian Premier League just another product of globalization, the great leveler and homogenizer? Though it has only been in existence for less than a year, it is already ripe with all the ingredients for a marketer’s wet dream—high-powered stars, mammoth sponsors and an audience of thousands. This is not the only time cricket has transformed in shape, responding to the socioeconomic changes around it. One can only hope, though, that rather than getting lost amidst the powerful distractions, the essence of the game remains.
PS: For those of you who think cricket is limited to the Commonwealth, it's slowly making a presence in New York. The NY Times' "10 Best Books of 2008," (a highly anticipated list released yesterday) includes 'Netherland' a novel that highlights the sport against a post 9/11 backdrop.
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