"Midnight's Children" by Salman Rushdie

This blog is in response to a thinking activity given by our professor Dilip Barad sir https://blog.dilipbarad.com/2021/08/midnights-children.html this is the link of sir's blog you can go there and see more detail about Novel by Salman Rushdie "Midnight's Children". In this Blog I am going to write about some questions from questions bank of midnight's children, here is link of question bank https://docs.google.com/document/d/1p7u2UqxSzmqWeEH9bj_p5mqUYCzOaouorUiLnGFapnA/edit

About Author:-

Salman Rushdie, born on June 19, 1947, in Mumbai, India, is a renowned and controversial British-Indian author known for his writing style, innovative storytelling, and exploration of complex themes. He gained international fame with his second novel, "Midnight's Children," published in 1981, which won the Booker Prize and established him as a major literary figure.

(This an interesting video on Rushdie)

Rushdie's writing often blurs the lines between reality and fiction, blending historical events with fantastical elements. His work frequently delves into themes such as cultural identity, migration, religious intolerance, and the power of storytelling itself. He is known for his rich prose, intricate narratives, and a penchant for incorporating elements of magical realism into his stories.

However, it was Rushdie's fourth novel, "The Satanic Verses" (1988), that catapulted him into international notoriety. The novel's exploration of religious and cultural themes, coupled with its controversial portrayal of certain historical figures, led to accusations of blasphemy and provoked outrage among some segments of the Muslim community. Ayatollah Ruhollah Khomeini of Iran issued a fatwa in 1989, calling for Rushdie's assassination, leading to years of hiding and security precautions for the author.

Despite the challenges posed by the fatwa, Rushdie continued to write and publish prolifically. Works such as "The Moor's Last Sigh," "The Ground Beneath Her Feet," and "The Enchantress of Florence" showcase his ability to weave intricate narratives and engage with a diverse range of cultural influences.

Over the years, Rushdie has received numerous awards and honors for his contributions to literature, including knighthood from Queen Elizabeth II in 2007. He remains an influential figure in contemporary literature, often participating in discussions about free speech, artistic expression, and the role of literature in a globalized world.

Salman Rushdie's literary legacy is marked by his willingness to confront challenging topics and his skill in crafting stories that resonate with readers around the world. His works continue to provoke thought and discussion, making him a prominent voice in the realm of modern literature.

About Novel:-

"Midnight's Children" is a groundbreaking novel written by Salman Rushdie, first published in 1981. It is widely considered one of his most significant and celebrated works, earning critical acclaim and winning the Booker Prize in the same year of its release. The novel's title refers to the generation of children born at the stroke of midnight on August 15, 1947, which is the exact moment of India's independence from British colonial rule.

(Before reading summary you should watch this video to understand novel in better way)

The story is narrated by Saleem Sinai, one of these "midnight's children," who believes that he and his peers possess unique powers and a telepathic connection to one another. Through Saleem's perspective, Rushdie weaves a complex narrative that spans decades, tracing the lives of these children and their intertwined fates against the backdrop of India's tumultuous history.

"Midnight's Children" is renowned for its inventive blend of historical fiction, magical realism, and political allegory. Rushdie skillfully combines real historical events with fantastical elements, blurring the lines between reality and imagination. The characters' personal stories are interwoven with the larger narrative of India's post-independence journey, reflecting the nation's struggles, transformations, and political shifts.

The novel explores themes of identity, cultural heritage, nationhood, and the complex relationships between individuals and their countries. It also examines the notion of destiny and the influence of historical forces on individual lives. Through his storytelling, Rushdie examines the ways in which personal experiences are shaped by broader historical and political contexts.

"Midnight's Children" is celebrated not only for its compelling narrative and inventive storytelling but also for its vivid characters and lush prose. The novel's intricate structure and multifaceted themes have made it a landmark work in world literature, and it has had a lasting impact on the genre of magical realism. It remains a testament to Rushdie's ability to blend the fantastical with the historical, resulting in a work that both captivates and challenges readers while offering a unique perspective on India's complex history and cultural identity.

Questions and Answers:-

1. Thematic study of novel  "Midnight's Children".

Ans:  Midnight's Children" by Salman Rushdie is a rich and complex novel that explores a wide range of themes, offering a multi-layered and thought-provoking reading experience. Here are some of the key thematic elements found in the novel:

Postcolonial Identity and Nationhood: The novel is set against the backdrop of India's transition from colonial rule to independence. It delves into the complexities of national identity, addressing questions of belonging, cultural heritage, and the challenges of defining a collective identity in a diverse and newly formed nation.

History and Memory: Rushdie interweaves historical events with the personal memories of the characters. The narrative underscores the ways in which personal stories are shaped by and contribute to the larger historical narrative. The protagonist Saleem's ability to remember the details of every individual born at the stroke of midnight on August 15, 1947, serves as a metaphor for the collective memory of a nation.

Telepathy and Connection: The concept of telepathy among the "midnight's children" serves as a metaphor for the interconnectedness of individuals within a society. It symbolizes the idea that shared experiences and history create bonds that transcend physical distance.

Magical Realism: Rushdie blends magical elements seamlessly into the realistic setting. This allows him to explore the fantastical as a way of highlighting the extraordinary aspects of ordinary life and the nation's transformative journey.

Power and Corruption: The novel depicts the abuse of power and the corrupting influence it can have on individuals and institutions. This theme is exemplified by characters like Shiva, whose birthright as a "midnight's child" grants him physical power but also leads to a descent into tyranny.

Language and Storytelling: Rushdie's intricate narrative style reflects the importance of storytelling in shaping personal and collective identity. The characters' stories are not only a means of preserving history but also a tool for understanding and interpreting the world around them.

Cultural Hybridity and Diversity: The characters in the novel come from diverse backgrounds and regions of India, reflecting the country's rich cultural tapestry. Rushdie emphasizes the blending of cultures and the challenges of maintaining distinct identities in a multicultural society.

Socio-Political Critique: Rushdie critiques various aspects of Indian society, including the class divide, political corruption, and the impact of post-independence political decisions on ordinary citizens. He uses allegory and satire to comment on the socio-political landscape.

Personal vs. Collective Fate: The characters' lives are often intertwined with historical events, suggesting the tension between personal agency and larger historical forces. Saleem's story, as the narrator and a "midnight's child," represents this struggle between individual destiny and the fate of a nation.

Displacement and Migration: Many characters in the novel experience displacement due to historical events, mirroring the broader theme of movement and migration that is a fundamental aspect of India's postcolonial identity.

"Midnight's Children" is a rich tapestry of themes that collectively paint a vivid picture of India's post-independence journey. The novel's depth and complexity allow readers to engage with its themes on multiple levels, making it a literary work that continues to resonate and provoke discussion.

2. Short Note on Children of the midnight: Saleem, Parvati, and Shiva.

Saleem Sinai:  (Power of nose)

-Saleem Sinai is the protagonist and narrator of "Midnight's Children." He is one of the "midnight's children," born at the exact moment of India's independence. Possessing a telepathic connection with others born at that moment, Saleem's life becomes intertwined with the broader history of India. He sees himself as a metaphor for the nation's struggles and aspirations, with his personal journey mirroring the nation's postcolonial challenges. Saleem's narrative is marked by a blend of magical realism and personal reflection, making him both a storyteller and a character deeply shaped by history.

Parvati-the-witch (Parvati-the-witch of the Pickle-Bottle): 

Parvati is a character who represents both the mystical and grounded aspects of Indian culture. She is Saleem's lover and eventually his wife. Parvati is known for her ability to transform objects and individuals through her magical practices. She symbolizes the connection between the supernatural and the everyday, showcasing the magical realism that is a hallmark of the novel. Her relationship with Saleem also underscores the personal connections that can transcend the boundaries of time and space.

Shiva (Shiva of the Knees): 

-Shiva is Saleem's counterpart and rival among the "midnight's children." Born at the same moment, Shiva possesses physical strength and charisma, contrasting with Saleem's telepathic abilities. Shiva's life takes a different trajectory, leading him to become a symbol of power and authority. His journey serves as a commentary on the pitfalls of unchecked power and the complexities of leadership. Shiva's rivalry with Saleem represents the broader conflict between different visions of India's future and the challenges of navigating a rapidly changing society.

Together, Saleem, Parvati, and Shiva represent the complexities of individual experiences against the backdrop of a nation's history. Their interactions and personal journeys embody the themes of interconnectedness, identity, power, and the interplay between the ordinary and the extraordinary. Through these characters, Rushdie paints a vivid picture of India's post-independence struggles and aspirations, inviting readers to contemplate the intricate relationship between personal stories and the grand sweep of history.

Thank you so much for reading this blog..

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Final Solution by Mahesh Dattani

This blog is in response to a task given by Vaidehi ma'am and Alpa ma'am. Here is a link from where you can visit Vaidehi ma'am https://vaidehi09.blogspot.com/2021/09/film-screening-mahesh-dattanis-final.html. 

In this blog, I will be discussing several thought-provoking points. I'll be sharing insights from my firsthand experience of performing live drama for the first time. By reflecting on this experience, I aim to shed light on how it has deepened my understanding of the world of drama. Join me as we explore how participating in live drama can lead to a better appreciation and comprehension of this art form.

Final Solution by Mahesh Dattani

About Author:- 

Winner of the Sahitya Akademi award in 1998, Mahesh Dattani is one of the foremost Indian playwrights writing in English. Born to Gujarati parents in Bengaluru on 7th August 1958, Dattani studied in the local Baldwin Boys’ High School, an English medium Christian missionary school where his only brush with theatre came in the form of a typical Christmas pageant in which he performed as an angel without dialogues. 

(Short introduction of Author)

He then went on to study at St. Joseph’s College in Bengaluru and it was during his college years that he was introduced to Bangalore Little Theatre which significantly contributed to his subsequent immersion in theatre in its varied forms. Dattani wrote his first play in 1986 and has since continued his stellar journey in theatre and films, not just as a playwright, but also as an acclaimed actor, director, and screenplay writer. While his choice of language, his themes, and set-designs set him apart in various ways from other contemporary or older Indian playwrights, what links him to his predecessors is a shared vision of the social responsibility of the artist and a commitment to serious theatre. His plays therefore offer piercing insights into various modes of exploitation and marginalization, ingrained in different urban spaces, both within and outside the family and operating along both material and discursive axes. It is this consciousness that enables Dattani to explore subalternation in urban spheres, especially along the lines of gender and sexuality.

Dattani is fully conscious of this radicalism and his responses to several questions regarding his choice of such subjects make us aware of his commitment to serious theatre and his sense of responsibility as an artist. As he explains to Erin B. Mee:

"My own political stand came because I started doing theatre, not because I had something political to say and I used theatre as the platform – just the reverse. Since I’ve realized the potential of theatre as an agent, if not for social change, at least for reflection, I can’t be frivolous about it any more. Unless I have something strong to present, I wouldn’t write." 

After reading Edward Albee's play "Who's Afraid of Virginia Woolf?" early in his life, he became interested in writing. He was also influenced by Gujarati playwright Madhu Rye's "Kumarni Agashi" and developed an interest in play writing.

About Play Final Solution:- 

Here is basic summary of play which is divided into 3 act.

(Video summary)

Act one:-

In the first scene of the play Final Solutions, a newlywed named Daksha (or Hardika) writes in her journal (March 31, 1948). She records her experiences in her new home in the journal. She has negative views about her in-laws. India remains confined within the house's four walls despite having achieved freedom. She enjoys the music of Shamshad Begum, Noor Jahan, and other artists. She even wished to pursue a career as a singer like them, but she could not because of family obligations. She had the opportunity to meet a Muslim girl Zarine, who shared her love of Noor Jahan and Shamshad Begum's music. They eventually became a close friendship. The action now occurs in the present (in a Gujarati town), and she is an elderly woman. A Hindu god's idol is broken. According to rumors, Muslims intentionally damage it, and as a result, Hindu and Muslim crowds alternately chant their respective slogans, causing conflict between the two populations.

Smita, the granddaughter of Hardika, is on the phone with Tasneem's family after Tasneem just informed her (Smita), possibly her own family as well, that a bomb was set off in her hostel. Ramanik, Smita's father and Hardika's son takes the phone from her daughter and tells Tasneem's family that she is safe and disconnecting up.

Since the dogs have been set loose and there is a lot of anxiety outside, Hardika instructs her daughter-in-law Aruna (Smita's mother), to inspect all doors and windows thoroughly. In the meantime, two Muslim lads named Javed and Bobby are fighting by the roadside. Suddenly, some Hindu guys appear and begin asking and searching for them. After discovering a scull cap in Bobby's pocket, they immediately recognize them as Muslims. The crowd is following Javed and Bobby as they flee as they are being killed. When they go to Ramanik's front door, they begin to knock. Finally, Ramanik unlocks the door. They immediately rush in and close the door. Ramanik must save their lives, they beg. The crowd comes to Ramanik's door. They warn Ramanik to turn over Javed and Bobby to them, or they will break down the door and enter. Ramanik, however, rejects this.

Ramanik gets assaulted by the mob, throwing rocks and sticks at the home. Muslims are not welcome at Aruna's home, so she makes her husband remove them. Ramanik declines strongly. Ramanik starts a conversation with Bobby and Javed. Bobby is excellent; however, Javed is highly aggressive throughout the talk. When Ramanik inquires about their academic progress and learns that Javed is a school dropout, he immediately criticizes him. When Smita arrives, she recognizes them both.

Act Second:-

Aruna queries Smita about her connection to both of them. Smita reveals that Bobby is her fiance and that Javed is Tasneem's brother. Smita forcefully defends herself when Ramanik and Aruna criticize her for knowing them by stating, "There's no harm in that." Javed does not reside with his parents, and it is also made clear. Then Ramanik inquires as to how he may meet his sister. In contrast to them (the Hindus), according to Javed, he loves the members of his community. Javed apologizes when Aruna expresses her outrage. Ramanik's home is attacked with stones by the mob. Ramanik gets warned by Javed, who says, "Those are your people." Ramanik makes an effort to protect himself. He also describes how a Muslim mob murdered his grandpa shortly after the split.

Ramanik gives them milk. Javed shouts, "It must feel good to be the majority. They have complete freedom to do whatever they like with them (Javed and Bobby)," as he thinks. Ramanik, who is still sympathetic, describes the origins of the conflict. There were rumors that some Muslims stoned the chariots during the Hindus' Rath Yatra, causing the god idols to crash and break into pieces and even killing Pujari.

Curfew was imposed in their town as a result of the incident. Bobby and Javed receive pillows from Smita. Javed responds, "I'm used to it," to her request that they sleep on the floor because they have no other space. At this point, Smita begins questioning his true reason for visiting Amargaon. Bobby claims that he arrived in quest of employment. Smita forbids her father from accepting Ramanik's offer of employment at his clothing store. She explains to Ramanik that Javed was fired from home because he was working for a terrorist organization.

She further claims that Tasneem is who informed her of this. Since she promised Tasneem that she wouldn't reveal Javed's true identity, Javed accuses her of breaking her friendship. Smita confesses her error and flees after becoming mute.

Act Third:-

Ramanik begins by inquiring about Javed's participation in terrorism. Javed shouts expletives in a rage. Javed receives an angry slap from Ramanik, and Bobby calms them. Bobby then recalls how Javed accidentally touched a letter belonging to his Hindu neighbor, who had severely mistreated Bobby when they were children. After a few days, Javed flung bits of cow meat into his home out of rage. Javed was brutally abused by the person when they went to his home. Bobby continues the tale by stating that Ramanik's community helped to make him famous because, before that occurred, Javed was regarded as the local hero. Javed and Bobby choose to go.

Ramanik threatens them by stating he will contact the police because he wants Javed to take his job at all costs. Javed laughs loudly at first before explaining that he was given the go-ahead to murder the Pujari in the name of jihad. As soon as he got to the chariot, he attempted to stab Pujari, but the latter pleaded for forgiveness, causing him to give up. He let go of all his desires and tossed the knife aside, but someone else picked it up and killed the Pujari. Ramanik, touched, praises Javed's bravery. Smita appears and expresses regret for revealing him. After some time passes, Aruna also arrives and considers carrying water after making sure it is safe to walk outside. Smita advises enlisting the assistance of Bobby.

Smita's idea is rejected by Aruna, who is rigid about holy things, leading to a fight between the two women. Smita encounters Aruna's unquestioning beliefs after exposing them. Aruna is somewhat disturbed by her daughter's strange behavior. She enters the bathroom amid the commotion. Smita, Bobby, and Javed go outside to bring water.

Through their conversation, it becomes clear that Smita and Bobby had a romantic relationship but were forced to part ways because of issues in the neighborhood. Tasneem, the sister of Javed, later became engaged to Bobby. All three pals open up and start making jokes, even throwing out one another with water. As tensions between the two families develop, Hardika (Daksha), who remembers how her husband had physically and verbally abused her for visiting Zarine's home, reprimands Javed and wishes that his sister will also have hardships like her father (who was murdered by Muslims). Ramanik begs her mother not to hold them accountable. After Aruna exits the bathroom, Bobby enters the little temple suddenly. Despite Aruna's protests, he gently takes the idol in his hands, speaks about developing community harmony, and then places it back correctly.

Then, they both go. Later, Ramanik confesses to Hardika how he, his father, and his grandpa set fire to the father of Zarine's store to get it at a bargain (out of racial hatred) and how he is now repentant for his actions. He is unwilling to move back to his shop. Thus, no answers are offered in the play's conclusion to these societal problems that have persisted for a long time.

Points To Ponder:-

-This thinking task is based on my experience of studying the play through live performances and watching the movie.

Questions / Answers:-

1.)What is the significance of the title "Final Solutions" and what is the final solution of the play?

Ans:- 

The title "Final Solutions" holds deep significance in the context of the play by Mahesh Dattani. In Mahesh Dattani's play "Final Solutions," the title serves as a metaphor that reflects the larger themes explored in the narrative. The play delves into the complexities of communal tension, religious prejudice, and the cycle of hatred and violence that can emerge within a society. The "final solution" in this context may refer to the resolution of these issues, but not necessarily in a positive or conclusive manner. 

The play does not present a singular "final solution" in the traditional sense. Instead, it portrays the challenges and struggles faced by characters from different religious backgrounds in the context of a deeply divided society. The narrative focuses on the interactions between a Hindu family and a Muslim family, highlighting the impact of communal violence and the difficulty of finding a peaceful resolution.

By using the term "Final Solutions" as the title, Dattani prompts the audience to reflect on the consequences of unchecked prejudice, intolerance, and the dangers of allowing hatred to fester. The absence of a definitive resolution in the play's narrative underscores the idea that there may not be an easy or clear-cut solution to the complex societal issues it addresses.

In short, the title "Final Solutions" in Mahesh Dattani's play serves as a thought-provoking choice that ties into the broader themes of communal tension and religious prejudice. It encourages the audience to contemplate the implications of these issues and the challenges of finding meaningful resolutions.

2.)What was the difference you observed in the movie and play you performed?

Ans:-  When we were performing the drama, we hadn't watched any movies or other works based on 'Final Solution,' so we didn't have a reference for the expressions required. We had to rely on our imagination and act according to the written play script from the book.

In the film, the chorus is incredibly powerful and impactful. While our chorus during the performance was good, our resources were limited, and as a result, its impact could have been even greater.

3.) Share your thoughts on understanding drama through the drama-based pedagogy or involvement in theatrical practices.

Ans:-  Yes, We should learn play through drama-based Pedagogy. Understanding drama through drama-based pedagogy and involvement in theatrical practices is a dynamic way to engage with texts. It encourages active learning, empathy, and perspective-taking by embodying characters' emotions and viewpoints. This approach nurtures creativity, critical thinking, and interdisciplinary learning, while also fostering cultural awareness and addressing social issues. Through collaboration and performance, participants build confidence and communication skills. Overall, drama-based methods offer a well-rounded and immersive understanding of the human experience and its complexities.

I played the role of Hardika, a 50-year-old grandmother. Her father had died in riots, and she held a rigid mindset that attributed her father's death to members of another community. Due to this mindset, she believed that every person from that community was a terrorist.

4.) What kind of skills do you develop while undergoing the preparation process for a performance and how?

Ans:-  During the preparation process for a performance, I developed this skill's:

Interpretation Skills: Analyzing the script and characters enhances your ability to understand complex narratives and motivations.

Empathy: Stepping into characters' shoes fosters empathy and understanding of different perspectives.

Memorization: Rehearsing lines and blocking improves memory and recall abilities.

Communication: Practicing dialogue and expression hones verbal and nonverbal communication skills.

Collaboration: Working with cast and classmates enhances teamwork and cooperation.

Creativity: Exploring character nuances and improvisation nurtures creative thinking.

Confidence: Facing an audience boosts self-assurance and public speaking skills.

Time Management: Balancing rehearsals and personal commitments improves time management.

Adaptability: Handling unexpected changes in rehearsals cultivates adaptability.

Attention to Detail: Focusing on character traits and staging refines attention to detail.

Before the performance, we all learn Bhavas/Rasas and other essential skills that enhance our expressions and imagination. We engage in various exercises that improve our acting abilities.

I trust you found this blog enjoyable to read. Thank you for your visit and for reading until the end.

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Photography Workshop of Kaushik Ghelani.

In this blog I am going to write about my experience of the Photography Workshop which was held on 17th august 2023 and this workshop was organized by the Department of English, MKBU. In the workshop we learned so many new things. Workshop was led by famous Wildlife Photographer, Filmmaker Mr. Kaushik Ghelani. These workshops not only provide technical knowledge but also foster creativity and a deeper understanding of the art form.

In a world saturated with images, the art of photography remains a timeless and captivating means of storytelling. A well-composed photograph can convey emotions, freeze moments in time, and transport viewers to distant places. 

This workshop started at 12 O'clock and there were two sessions. The first one is from 12:00 to 2:30 and after a half hour break and then 3:00 to 5:30. First session is totally based on technical things and all other important skills of photography. After the first session in break we were given an assignment by Kaushik sir in which we had to capture 5 Photographs of nature or anything. And in those photos we have to use all the rules and important things which were taught to us in the first session.

First session of Workshop:-

The first session of the Photography workshop began with an introduction and a warm welcome to the chief guest and the students from the Live Science department who joined us for the workshop. The entire workshop was anchored by Trushali Dodiya. Following that, a floral welcome was conducted by a junior student named Riya Bhatt. After that Avani Jani who gave an introduction about Kaushik Ghelani sir. As per tradition, our professor, Dr. Dilip Barad sir, welcomed all those present with his words.

Learning Outcomes from Workshop:-

One of the fundamental pillars of photography is composition. Whether you're capturing landscapes, portraits, or abstract shots, how you frame your subject within the frame can make or break an image. Photography workshops often dedicate ample time to teaching participants about the rule of thirds, leading lines, symmetry, and other compositional techniques. Understanding how to balance elements within a frame can drastically enhance the visual impact of a photograph.

These are some of Kaushik sir's Photos.

Lighting is another vital aspect that can transform an ordinary scene into a work of art. Photography workshops dive into the nuances of natural and artificial lighting, teaching participants how to harness the magic of golden hour, experiment with dramatic shadows, and manipulate light sources for desired effects. Learning to read and adapt to various lighting conditions is an essential skill that workshops emphasize.

Here are some important rules or important things which Kaushik Ghelani sir taught us. There are some rules mentioned by sir in the Workshop like, 1:3 Preposition, Golden Point, Symmetry, Depth of Field, Break the rule.  

In these pictures, which are the work of Kaushik sir's photography, you can observe that all the rules have been applied.

A photography workshop is not just about learning the technicalities; it's also about fostering creativity. Workshops often include practical exercises and assignments that encourage participants to think outside the box. These exercises challenge photographers to approach subjects from different angles, experiment with unconventional compositions, and capture the essence of a moment in innovative ways.

Second Session of Workshop:-

Before second session starts Sir gave all of us an assignments that click 5 pictures of nature and show case your talent. So all of us Clicked pictures and after that second session started and sir already told us that in this session we will criticize and learn.

In the second session, Sir selected six individuals from a pool of 30 to 35 students from both the English and Live Science departments. Among them, two students were from the Live Science department, and four students were from the English Department. Their names are: Avani, Bhumi Ba, Rajeshwari Ba, Drashti (myself), Dhruvi, and Pratapsinh (the last two students are from the Live Science department). From this group of six, Sir assigned them first, second, and third ranks. Avani Jani secured the first rank, Dhruvi from the Live Science department secured the second rank, and I, Drashti Joshi, secured the third rank. 

-Here are the photographs taken by the winners.

1. Avani Jani's Photographs:-

2. Dhruvi's Photographs:-

3. Drashti Joshi's Photographs:-

Here are some other pictures which were clicked by me:-

In a world where a single photograph can convey emotions and tell stories across cultural and geographical boundaries, mastering the art of photography is a gratifying endeavor. Photography workshops offer a structured and immersive way to learn the craft, equipping participants with technical skills, fostering creativity, and facilitating connections within the photography community. Whether you're an amateur looking to enhance your skills or an aspiring professional seeking to make your mark, a photography workshop can be the transformative step that propels you toward a more profound understanding of this captivating art form.

In the end of the event, we took a group photo for documentation.

Thank you so much for reading this Blog..

Derrida and Deconstruction

This blog is in response to a thinking activity given by our professor Dilip Barad sir https://blog.dilipbarad.com/2015/03/deconstruction-and-derrida.html?authuser=0 this is the link of sir's blog you can go there and see more detail about Deconstruction and what this task is about. In this Blog I am going to write about my understanding of "Derrida and Deconstruction" and I will try to deconstruct some songs or poster of film. 

First question arises is what is deconstruction and what is the  connection of Derrida with deconstruction?

- Deconstruction is a philosophical and literary theory that emerged in the mid-20th century, primarily associated with the French philosopher Jacques Derrida. It challenges traditional ways of understanding and interpreting texts, ideas, and concepts by questioning the inherent binary oppositions and hierarchical structures that often underlie them.

At its core, deconstruction seeks to reveal the complexity and ambiguity in language, thought, and representation. It suggests that meaning is not fixed or stable, but rather fluid and context-dependent. Deconstruction often involves analyzing texts to uncover the hidden assumptions, contradictions, and multiple interpretations that may be present within them.

Derrida says,

“Language bears within itself the necessity of its own critique.”

Key ideas in deconstruction include:

1. Binary Oppositions:- 

-Deconstruction emphasizes the idea that many concepts and ideas are constructed through pairs of opposing terms (such as good/evil, male/female, presence/absence). Derrida argued that these pairs are not independent, but rather rely on each other for their meaning. Deconstruction seeks to blur or dissolve these oppositions, revealing the interdependence and instability of the terms.

2. Logocentrism:-

This concept points to the traditional Western philosophical emphasis on the written word as the source of truth and stability. Deconstruction challenges this by showing that language itself is inherently unstable and that meaning is deferred, meaning it is never fully present in a single word or text but is always reliant on other words and contexts.

3. Differance:-

A term coined by Derrida, "differance" plays on the dual meaning of the French word "differer," which means both "to differ" and "to defer." It suggests that meaning is both deferred (postponed, never fully present) and differs (is distinct and separate). This highlights the inherent tension and ambiguity in language and representation.

4. Play of Signifiers:-

Deconstruction emphasizes the idea that language operates through a constant play of signifiers (words or symbols) and that meaning emerges from the relationships between these signifiers rather than from fixed definitions.

5. Intertextuality:-

Deconstruction recognizes that texts are interconnected and referential, drawing meaning from other texts and contexts. This intertextual nature of language further contributes to the instability of meaning.

Deconstruction is not a clear-cut methodology, but rather a mode of analysis that seeks to reveal the complexities and uncertainties present in language and thought. It has been influential not only in literary criticism but also in fields such as philosophy, linguistics, cultural studies, and beyond. However, it has also been criticized for its perceived obscurity and the challenge it poses to traditional approaches of interpretation.

This is my basic understanding about deconstruction. Further in the blog I am going to deconstruct some posters of movies and some lines of songs. This is the Presentation of Barad sir there he is explaining how to Deconstruct a text?

How to Deconstruct a Text? from Dilip Barad

1. Dill Dance Mare:-

This is a song from the Bollywood movie Tashan which was released in 2008 directed by Vijay Krishna Acharya. Song name is Dill Dance Mare.

White white face देखे दिलवा beating fast ससुरा जान से मारे रे

अरे White white face देखे दिलवा beating fast ससुरा जान से मारे रे

ओ White white face देखे

हा White white face देखे दिलवा beating fast ससुरा जान से मारे रे

Oh very oh very (Oh very oh very)

Oh very happy in my heart (Oh very happy in my heart)

दिल dance मारे रे (दिल dance मारे रे)

In this song, as you can see, the first line goes 'White White face.' Here, we might interpret a potential theme of racism in the song. It appears that the lyrics suggest that when someone sees a 'white face,' their heart starts beating faster, and they might fall in love with the beautiful lady possessing that white face.

2. Chittiyaan Kalaiyaan:- 

This Song is from the movie Roy which is directed by  Vikram Jit Singh released in 2015.

In this song this word like Chittiyaan means white hand or we can say that the reference of who has a white beautiful hand is more beautiful than other women's. In this song we could find racism or opposite binaries of White and Black.

3. नानी तेरी मोरनी को मोर ले गए :-

naanii terii moranii ko mor le gae

baakii jo bachaa thaa kaale chor le gae

In this song you can see the second line is like, बाकी जो बचा था काले चोर ले गए, so this chor/ thief are black. So we can interpret that racism is also there in our childhood songs.

4. White tone:-

Name of face Powder itself is Problematic like it only Promote white tonation or white Colour skin. It is also problematic that it says that only white skin Colour is beautiful not other Colour like Black or brown Colour. It's also racism.

5. Poster Deconstruction:-

This movie is directed by Sung-ho Hong, Released in 2019. This movie has the idea of On Fairy Tale Island, a group of heroic villagers called the Fearless Seven – Merlin, Arthur, Jack, Hans, and triplets Pino, Noki and Kio – save a Fairy Princess from a dragon. However, after seeing her green face, they assume she is a witch and attack her. To teach them a lesson, she curses them to transform into ugly, green dwarves whenever people look at them. The curse can only be broken by a kiss from "the most beautiful woman in the world", which they believe is impossible since they are so ugly.

This movie appears to convey the problematic message that a woman's beauty is diminished if she is overweight. It seems to perpetuate the harmful practice of body shaming.

As you can see in this poster, what if snow white was no longer beautiful? And another question is what if those 7 dwarfs are not so short? Here we could find that body shaming is showing through height and overweight.

These are some of the examples which I have tried to deconstruct. I have tried my best to deconstruct. I hope you like it. Thank you So Much For Reading This Blog.

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