Politics and Poetics of the documentary – FLOW: for love of water

It has been a human characteristic all through the history that they long for whatever is better than what they have. This desire for the better is a never satisfy-able one. In fact, this is the sole reason for all the development, achievements, all cultures and civilizations we have. However, this desire to ‘be better’ and ‘have better’ takes a dangerous turn as it reaches a point where the ‘other’ is affected and sometimes eliminated. It is here that we as humans should prove our humanness. And it is precisely here that we fail too.

The documentary, ‘FLOW: for love of water,’ by Irena Salina is an in-depth gaze into the insensitive human greed for wealth. Insensitivity found here is ultimately towards oneself, because here we steal life giving water itself. For a guileless person, the concept of selling water surely would appear absurd. What surprise then, would it give him/her if he/she hears of a river being sold to an individual!

‘Flow’ succeeds in evoking that emotion towards nature, its resources and life forms, which is absent in today’s world- Love. Flowing like a stream, the documentary leaves a melancholic pain in the viewer’s heart- a pain that urges one into action. This magical flow is created using movements of colour, sound, voice, scenes and ideas. The name of the film, the idea projected, the theme and the dynamics match in a wonderful manner. In fact, ‘FLOW’ tells the story of interrupted flows. ‘FLOW’ sheds tears for the victims of greed and at the same time unleashes its anger at the corporate giants who with gnashing teeth try to devour a thousand generations’ wealth.

Apart from portraying the dangers of the impending danger of depleting fresh water resources, ‘FLOW’ also brings in expert voices to assert the fact that corporate interest sticks out like a sore thumb in this crisis. It is almost unbelievable seeing some of the very familiar and loved brand names like ‘Nestle’ engaging in such dirty politics shamelessly in order to fill their pockets.

Water is not a property to sell, we don’t own it. It is a natural resource. We need to preserve, conserve and use it with love and care. Anyone who watches this documentary with a simple heart will get this message engraved in her/his heart. At the same time, the documentary opens our eyes to the fierce waterless future, and the war multinational companies are waging against common man’s right for water. This is the beauty of the documentary. When one leaves the darkness of the theatre with tears in the eyes, I am sure there would be light in one’s inner eyes and decisions made in one’s heart regarding preservation of the most valuable gift we have- water.

Being a documentary, ‘FLOW’ had the privilege and freedom, not to conform to any existing style of narration. This well researched and excellently videographed documentary challenges all of us human beings in a subtle manner. It invites us to take to action by using water sparingly, and adopting means that ensure safety of our resources. We, the torchbearers of this generation should not be the ones destroy what the earth preserved for millions of years. 

Sajit M. Mathews

Tradition Vs. Modernity: A few reflections based on films

       Kallan Pavithran is a film by Padmarajan. The story is about a village burglar who turns rich after selling an antique Indian statue which he steals. Here the antique Golden statue enters the story as a trigger which brings in modernity. The peaceful life of Mammachan- the mill owner is turned upside down when this statue enters Pavithran’s life. The golden statue fetches him money, prosperity and status. He starts another mill in the village which represents a threat to the life and livelihood of Mammachan. The story is narrated in a realistic manner in a village set up. What interests me in the narration is the entry of the golden statue which also brings in all the pretentions and intrigue which navigate Pavithran’s life into the jail. Though the immediate cause for the ruin of Pavithran is his interest in women, that golden statue is the ultimate/distant cause.

       The mill Pavithran builds, the car he buys, his shining clothes and the aura of new money- all these stands tall representing the entry of an alien element. The soul of the village is not able to digest this, though apparently they have no problem in accepting him as a rich man. Padmarajan’s message may have been a different one. But what I gather from the movie is that modernity is not part of the village. In the end, it is the true tradition that wins. Pavithran as a poor thief was a well accepted element of the society. Without him the village was an
incomplete entity. But when he was corrupted by the golden statue’s money (modernity) he becomes an alien. He necessarily had to be dealt with. That is why, in the end when he was arrested, there was no reaction from the people as if it was the natural outcome of Pavithran’s life.

       Another instance from the same movie is when Pavithran takes his ex-wife’s sister into the city to flirt with her. He sees city as a safe place to do this. Village is home. Home is not the place to flirt. He could do this only in a place where anything is right. City is the place for this. City thus represents modernity. It is a den of all the
activists who dare not flirt at home. It is a hiding place. It is afree zone to be ‘genuine’- since they cannot be ‘genuine’ at home, in the village.

       If tradition is seen as opposite to modernity, there are many instances in our films. But if tradition is seen as more than merelythe state of being modern, or the opposition between old and new, it would be quite a task to analyze and filter instances of their coming together. Modernity is a welcoming state to development, change and new elements. It is about the creation of conditions where progress and change in culture and art are visibly made. It is about changing the attitudes and lives of human beings from within, often without their consent or willing knowledge. This lack of volition makes modernity a target of skepticism and suspicion. And it is true that
our times have seen such unwilling inflections in millions. Globalization and market culture are backed by the ideals of modernity. No wonder our films always have such elements.

       India as a ‘national’ entity has been seeing new elements being introduced into its blood for centuries. This became pronounced and painful when the colonial conquerors used our benevolence to bring us to their will. From that time onward, life for us Indians was on the pretext of the presence of foreigners in our land. The cultural, emotional, economic and psychological crisis created at the introduction of a foreign element thus is very well know to us.

       In a recent film by director ‘Santhosh Sivan’- Before the rains, this crisis is well enunciated. The plot is set in early 1930s, when freedom struggle is gaining momentum. In an interior Kerala village, there is an estate owned and managed by a British man- Henry Moores, played by Linus Roache. He lives alone. There are two native characters who help him with his life and work. One is a male assistant- Neelan played by Nahul Boss, a young bachelor. The other is a young married women- Sajani, played by Nandita Das.

       The story revolves around the construction of a road leading to the estate, which has to be completed before the rains. The presence of the English man is an uncomfortable factor in the village since he is not of the village. Especially for Sajani’s husband, who has to send his wife to Mr. Moores who lives alone, the Mr. Moores is a threat and a source of shame and suspicion. Between Sajani and the Mr. Moores, there was a warm but illicit relationship growing day by day. When the Mr. Moores’ wife comes, he had to keep her away against her will. In
the wake of events, she kills herself. But the blame falls on Neelan. Here, the village interferes, since the rules of the village is visibly infringed and its sanctity, under sacrilege. Gradually, the village elders find that the fault is with Mr. Moores. With this, village rests back in sanctity, though hurt and bleeding at the intruder’s violent and insensitive act and the loss of one of its daughters. Neelan who set out to kill Mr. Moores decides to let him go
after keeping him at gun point. The film ends when rain pours down on Mr. Moores and the incomplete road, washing away his dreams and fortune, as well as the shame of the village.

       In this movie, modernity as part of colonial power created havoc in the heart of the traditional village. They are not visibly opposed to the foreign element. But when it upsets the normal flow of the village’s life, they spring into angry but controlled action. They are engaged in an endeavour of restabilising the society- bringing
traditional society into its powerful status again. Neelan is put under trial and is asked to prove his innocence.
       It is important to note that the two characters who were in constant touch with the modernity element were always looked at with suspicion. Neelan was seen almost as a traitor. Sajani was suspected by her husband. Thus, a normal reaction to modernity that is ‘introduced’ into ‘tradition’ is suspicion.

       What is intriguing in such a discussion is the ability of people to detect what belongs to their tradition and what is alien (or modern)- in other words, what is tradition and what is modernity. It may be is subtle as in Kallan Pavithran or visible as in Before the rains. But people are able to spot it at first sight. I observe that this is because anyone can distinguish between what is one’s own self and what is alien.

       Again I am not sure whether this argument can be applied to the people and movies of our age. 21st century is changing at a pace which was never imagined by the 20th. Technology and complexity becomes surprisingly simple. Space and time are tackled through innovations. What was alien and foreign 10 year ago is part of my spirit, body and mind today. When the scenario changes like this, a study of modernity and tradition becomes even more challenging. 


       But on a second thought, I realize that nothing has actually changed. There is an exchange of roles. The oppressor and invader are not the same as in former centuries. But the concept of modernity remains the
same. In the early 1900s when film was introduced in the subcontinent, our audience was looked down upon by the people of the west as people of no taste for cultured things. Backward economic status combined
with that of a colony made Indians appear uncivilized for the oppressors. Today, more than 60 years after they have left us, we still feel colonized in many aspects of life- not because we cannot break fetters, but because we don’t want to! This is an unfortunate state of affairs. Indian society today is making an economic leap
towards becoming a super power. Technology and military power backs this leap. But the western economic and technological supremacy limits our horizons.

       Modernity is not an outsider today. What the state represents is an aggregate of all the philosophies down the centuries. Democracy serves as a safe platform wherefrom the legitimate rights of adivasis and tribals and those on the peripheries- the subalterns- can be legally denied. Rich become richer, middle class remain comfortable and the poor become poorer. This is the curse of 21st century. Polarisation of the world happens as never before. Every region on earth has a section of people who work for the rich. This was the case with colonies of last century. But its difference between today’s colonialism is that today, everybody accepts this condition.

       Mainstream films of today’s India (majority) do not reflect real asto evoke social change. These films work from the platform of a modern outlook. The camera looks from above, from the perspective of the modernity. Since the base itself is modernity it goes without saying that the values propagated are that of modernity. The most popular and money-gathering film of the year so far- ‘Three Idiots’ speaks of the necessity to let children find their own vocation- a noble ideal indeed. But the way it portrays a poor family (that of Mr. Rastogi)
tells a lot to the intelligentsia about the outlook of the movie. I was annoyed at the way it was screened. It would not have done any harm if not good to the movie if the director had given a positive impression of how a family lives in dignity and hope even when they had little to eat. It’s a matter of perspective. That is what happened
to our filmdom. Perspectives are changing. When films are made spending millions, profit is important. When profit is important, many other issues like social concern and genuineness become less important.

       That is what makes many of us look away from Malayalam movies of the day. There is a visible shift of perspective in Malayalam movies of the last decade. Elements of films have changed considerably. From
being one of the best industries, we have managed to reach a stage where we have movies with no messages at all. Adopting Hollywood assembly line technology and Bollywood dance-fight sequences made us forget quality in terms of storyline and value systems. 

Sajit M. Mathews

History of EFL University (CIEFL)

History of the English and Foreign Languages University- EFLU
(Formerly Centre for English and Foreign Languages-CIEFL)

Sajit M. Mathews

Introduction

            Words illumine everything. This is the motto and philosophy of the English and Foreign Languages University- the EFL U- the only university in India, devoted exclusively to the study of English and foreign languages. Down five decades of glorious and fruitful engagements with every aspect of pedagogical practice in India, the EFLU has proved that it lives up to its philosophy. Today’s EFL U, its glory and the finesse of its academic achievement are the results of relentless and motivated hard work, of a generation of veteran educationalists, who laid foundations of this temple of knowledge.

Phase 1

            The Central Institute of English- CIE, as it was known then, was founded in September 1958, with specific goals to improve the standard of English Teaching, to undertake relevant research and to publish materials. It was a venture of the central government of India, supported by the British council and the Ford Foundation. The formally established tasks of the CIE were Teaching, Undertaking relevant research and publishing materials.

Founding of the institute owed much to the vision of the then Prime minister of India, Jawaharlal Nehru. It was his special interest and love of Languages and of teaching, that led to the formation of the CIE. He could see the changing world and the necessity for learning a foreign language along with other Indian languages.

Phase 2

The CIE started off with 4 month Teacher Training Programmes offered twice a year. It also organized several conferences and refresher courses. Somewhat exceptionally for its day, CIE's courses provided Students, with guided group work, regular assignments, etc. which later were assimilated into the ongoing Class Room oriented research. With special focus on intermediate level syllabus design, the CIE contributed much to the nation's educational programme.

Structural Approach was the thrust of the institute in the beginning era. Later, creative and innovative thinking and research modified the philosophy of CIE several times until today. The ELE department was established in 1963 by Tickoo and company. For the first time in India, school text books were indigenized through two full length series of books by CIE starting from 1963. These books were used widely till the early 1990s, all over the country. Along with this, the institute was also setting the standard of Indian English, developing methodologies in teaching, undertaking research in inter-lingual contrastive analysis, etc. Simultaneous with these, the CIE produced a series of radio lessons [sj2] for schools of Andhra Pradesh. These programmes were later broadcast over All India Radio’s National Network  for years – English for Radio.

The EFL University pioneered the use of radio for language learning in 1963, and closed circuit television in 1973.

The Centre for Media and Communication has produced a five-year course of 75 graded programmes for learners of English at the elementary and intermediate levels of proficiency, and a course of 25 language teaching programmes for teachers.

The Centre’s radio lessons are regularly broadcast by All India Radio. Video programmes for advanced learners of English are broadcast by Doordarshan on the Countrywide Classroom channel sponsored by the UGC.

On 27th March, 1966, the institute shifted to the present campus, and was inaugurated by Dr. Zakir Hussain, the then vice President of India.

(CIE to CIEFL) In 1967, Mr. Ramesh Mohan took over as the Director of the CIE. For the next 18 years, the CIE went through tremendous changes under his able leadership.

Phase 3: 1972 - 1997

            In 1972, CIE became CIEFL, with additional responsibilities to study, spread and teach several foreign languages apart from English. A year after that, CIEFL was awarded the status of a deemed university, owing to its high academic standards. This period also saw lot of new initiatives like Vernacular- English programmed materials, introduction of correspondence courses, and establishment of German, Russian, French, Arabic and Material Production Departments. Meanwhile, two new campuses were opened at Shillong and Lucknow, to cater to the other parts of the country as well. The end of 1970s saw a series of evaluations and surveys to see how effective the CIEFL was in achieving its established goals. These led to better functioning of the CIEFL in the coming years. During this decade, the CIEFL spearheaded syllabus reform and curriculum development movements for Universities all over India.

            In 1983, the Educational Media Research Center- EMRC was established at CIEFL. Its specific purpose programmes in all subjects are broadcast over TV, with a viewership of over 20 Million.

            All these years, the library was gaining strength. Named after Ramesh Mohan, the library is a pride of the University, with a collection of over a hundred and fifty thousand books and 470 journals in all the fields of interests of the University. The accompanying Publications Unit, now equipped with state-of –the –art equipments disseminates research done here.

            English 400, UGC Package course, centre for translation and interpretation, Resourse book  at tertiary level, Spanish department,  Functional English Project, etc. were the other projects of this period.

Phase 4: 1997-2007

            In 1997, Pramod Talgeri took over as the third V.C. of CIEFL. Soon afterwards, the departments of the institute were realigned and re-designated as five schools, namely, ELE, Language Sciences, Critical Humanities, Distance Education and Foreign Languages. In the year 2000, MA Programme M.Phil. and Ph. D. Programmes were introduced. International Training Programmes started off.

Phase 4: EFL University- new milestone

            In the year 2006, CIEFL was given the status of a central University. In the following year, it was renamed as the English and Foreign Languages University by an act of the Parliament. Today, the EFL University has 11 schools and 38 Departments, in 3 campuses in India and 5 off-shore study centres abroad. It has tie-ups with 10 foreign Universities all over the world.

            Apart from the formal graduate, postgraduate, B.Ed., and Research programmes, EFLU offers distance and part time mode courses in almost all disciplines, including foreign languages. Ambitious programmes like multi-lingual dictionaries and English language Materials Bank are in store.

            Another contribution of the University is the design and implementation of the All India English Language Testing Authority – AIELTA. Envisaged as a future alternative to the present day language proficiency tests offered by other countries, it develops and administers a range of English language tests to measure a language user’s functional abilities. AIELTA  will soon go international.

            District centre Scheme and English Language Training Institute Support Scheme are two other high profile English Language Teaching outreach programmes. Both are time proved programmes in action for over two decades!

Conclusion 

To sum up, the attempt is not to add one more elite institute, but rather to create a People’s University of international standards. The academic commitment will be spelt out in clear terms: galvanize people, make borders redundant.

The Act mandates the new university to advance and disseminate “instructional, research and extension facilities in the teaching of English and foreign languages and literatures in India” as well as “to take appropriate measures for inter-disciplinary studies and research in literary and cultural studies, and to develop critical intercultural understanding of civilizations.” 

Rakshapravarthanam- story in Malayalam

Click below to download a story in Malayalam named 'Rakshapravarthanam'

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Thanks,
Sajit

Enniyenni - Story in Malayalam

Click below to read a story named 'Enniyenni' in Malayalam.

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Yours,
Sajit