class
In theory, the concept of the app is a great one – it provides women, queer people, and people belonging to oppressed castes the tea-stall, cigarette-shop type of public spaces for conversation that are available to upper-caste cis het men. The relative anonymity acts like a safe cover, and the app affords a certain autonomy and agency to marginalised people to regulate the kind of conversation that goes on in rooms moderated by them.
This article explores how women are constructed as a ‘space’ manufactured by men to seek comfort, but void of having any active agency or participation in that space itself. I seek to bring this out in this article by drawing a parallel between the nineteenth century ‘Bharat Mata’ (Mother India) and the depiction of the twenty-first century ‘heroine’ in Bollywood movies.
In this write up, we’d like to share a sense of what emerges from a compilation of these responses. This is based on the thoughts and feelings that come through for those of us here at In Plainspeak who have had the joy of reading the original responses as they came in to us. (Some of the quotations that follow have been slightly edited for flow and to help connect themes.) We know that most things in the realm of art, information and ideas lend themselves to a wide range of inferences and insights depending on the individuals making the inferences.
Nathicharami takes sexuality and sexual desire away from upper-class, Gucci-clad women and makes its viewers acknowledge its existence in the lives of women (middle-class wives and widows, in the case of this film) who are invisibilised, both in the society they live in and as subjects of popular content.
हमें इस तरह से ढाला गया है कि तथाकथित ‘विकल्प’ जो हमारे संबंधों को परिभाषित करते हैं, वे भी हमारे लिए हुए विकल्प नहीं बल्कि समाज द्वारा सृजित हैं। हालाँकि, जैसा कि हमने देखा है, इन सभी चुनौतियों के बावजूद, महिलाएँ, जब वे खुद को व्यक्तियों के रूप में महत्वपूर्ण मानने लगती हैं, तो वे अपने परिवेश और परिवार के सदस्यों के साथ बातचीत करने की रणनीति तैयार करती हैं।