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Media Messenger/Vol-1/Issue-2 July, 2016

RNI Registration Number: MAHUL/2014/60617ISSN - 2455-2046

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Media MessengerA Bilingual Research Journal in Media

Prof. Dr. Gyan Prakash Pandey (Assam University, Silchar)

Dr. Girija Shankar Sharma (Dr. B. R. A. University, Agra)

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I N D E X

S.N. Paper Author Page

01 “Digital Media in India: Study of Indian Hindi, English & regional language TV news Channels”

Sushobhan Patankar 01

02 Impact Of Globalization On Television News Content

Gajendra Deoda 07

03 The Role of Community Radio in waste management

Dr. N. Mamatha 11

04 A Study Of Satyajit Ray’s Incorporation Of Realism And Modernism In The Apu Trilogy

By Paromita Das 17

05 Community Radio and Women Empower-ment: Study of Mandeshi Tarang

Ashwini Kamble 23

06 Media celebrities’ reactions to PM’s US visit & Obama’s India visit: An evaluation of twitter postings

Mrs Shakuntala G Soratur

Dr M Gangadharappa27

07 Translating and contemporizing Fable form into a performing art

Ms. Prasanna Hulikavi

Radhika Ingale34

08 Media should refrain from perpetratingsuperstition and help in eradicating it

Prof. Shahid Shaikh 41

09 Impact of Controversies on Hindi Movies (2008-2013): A Study

Dr. Raju C. John 50

10 56

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Media Messenger/Vol-1/Issue-2 July, 2016 1

Research Article Media Messenger (A Bilingual Research Journal) ISSN - 2455-2046

“Digital MeDia in inDia: StuDy of inDian HinDi, engliSH & region-

al language tV newS CHannelS”

Sushobhan Patankar (Symbiosis Institute of Media & Communication, Symbiosis International University)

ABSTRACT

Indian Television media is going through a most challenging environment it has ever faced. At the beginning of last decade of 20th century government of India opened Indian skies for private television news channel. Since then over the past two decades a number of TV news channels started their operation in national and regional space. In spite of intense competition many news channels managed to survive. But since the introduction of broadband internet and its exponential growth all across the country posed a new challenge in front of existing players inIndianTVnewsmarket.Thischallengefurtherintensifiedasnumberofactiveinternetusersincreased exponentially since 2007. Growing number of active internet users forced Indian TV news channels to not just innovate as far as content is concerned, but they were also required to plan to engage viewers on second screen that is personal computers, Laptops, Tabs and ever increasing number of smart phones.

Aims and Objectives of the paper:

This paper seeks to study strategies and content innovation applied by Indian TV news channels to engage more & more viewers

This paper seeks to study strategies and content innovation applied by Indian TV news channels to engage more & more viewers

• It will explore how many Indian Hindi and English language News channels are adapting to better content presentation in order to engage viewers on their websites

• This paper aims to study content innovation adopted by Indian regional language News ChannelsmorespecificallyMarathiNewschannelsontheirwebsites

• This paper aims at studying compatibility of content of Indian Hindi, English and Marathi language news channels for handheld mobile devices like Smart phones, Tabs and iPad.

-----------------------------------------------------------------------------------------------------------------------

MAIN ARGUMENT

Indian Hindi, English and Marathi language news channels are adopting a practice called repurposing. This means to change something so that it can be used for different purpose. In the US and Europe News Channel websites are adopting innovative content presentation techniques to engage their viewers but in Indian Hindi, English and Marathi language news channels’ websites are not taking adequate efforts to innovate in the case of content presentation is concerned.

In the regional space like in case of Marathi News channels, they have a great opportunity to


take their content to Marathi speaking people spread across the globe, but a thorough study of Marathi news channel website and their mobile device interface shows that there is need for innovation in presenting content on websites and mobile devices.

“Digital Media in India: Study of Indian Hindi, English & regional language TV news Channels”

In Indian context delivery of News content on website and Mobile devices is particularly critical for the news channels because of proliferation of Internet in India. India has 238.71 million internet subscribers out of which 220.38 million users are wireless internet subscribers (The Indian Telecom Services Performance Indicators, Telecom Regulatory Authority of India, October - December, 2013). Alongwith ever increasing intetnet users and expanding internet connectivity availabilityofaffordableSmart-phones isalsoa factor ingrowing influenceof Internetasamedium.Also approximately 21 million(The Ministry of Overseas Indian Affairs, May 2012) Indians spread across the world are also key segment viewers of Indian News Channels. In view of these numbers, TV news Channel cannot ignore the fact, that websites and mobile interface of TV News Channels’ can become very vital touchpoint for interacting and engaging viewers besides Televsion Screen. In 2014 Loksabha and vidhansabha elections thereafter were covered widely and news content related to these elections was delivered by all the news channels on all possible platforms. Indian viewers too have accessed news related content not just on TV but also on Websites, YouTube Channels of News Channels, News Apps promoted or owned by news channels on TAB and other mobile Devices. Loksabha and VidhanSabha elections provided opportunity to all the news channels to reach out to maximum number of viewers via internet. News channels catered to audience on internet by providing news content on multiple platforms, through which News Channels have tried to engage maximum number of viewers. This trend is evident in English, Hindi and Regional Language news channels equally. In this paper researcher has studied trends observed on websites, YouTube channels, and mobile apps of reputed English, Hindi & Marathi news channels delivering news content on desktop and mobile devices.

Theoretical framework

Henry Jenkins in his book CONVERGENCE CULTURE WHERE OLD & NEW MEDIA COLLIDE argues that By convergence, I mean the flow of content across multiple mediaplatforms, the cooperation between multiple media industries, and the migratory behavior media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want. Today affordable smart phones and high speed internet has enabled audience to access media whenever and wherever possible. The scenario which is emerging today was envisioned by Marshal McLuhan. In his book UNDERSTANDING MEDIA THE EXTENSION OF MAN has stated that “Medium is message” and it is the medium that shapes and controls the scale and form of human association. Marshal McLuhan’s argument underlines the fact that extent at which a medium will grow and number of viewers it will be accessed by is determined by the medium itself. McLuhan presented this argument for Television as a medium but this argumentisrelevantformoderndaymediumlikeInternet.ThereachandefficacyofInternetas a medium has raised many challenges for the media creators. One such challenge has been


identifiedbyHenryJenkinsinhisbookCONVERGENCECULTUREWHEREOLD&NEWMEDIA COLLIDE is that producers will have to deliver the content which is most suitable for the medium that is internet. McLuhan’s argument and Jenkin’s supporting argument advocates that like Print, Radio, & Television, Internet is an independent medium, its reach is growing exponentiallyanditsusershavespecificdemands,tofulfillthesedemandscontentcreatorswillhave to devise and create different forms suitable for internet to present their content.

Based on these arguments researcher seeks to study websites and mobile interfaces of Major English, Hindi and Marathi news Channel. This paper tries to explore scale at which users are accessing the internet for viewing news and current affairs programs and in what form content is delivered to users on websites and mobile device interface.

Television News in India

In the year 1991 private news channel started operations in India, Zee News, Aaj Tak, Star News werethefirstprivatenewschannels.Since2002manyotherchannelsstartedoperatingsincethelaunchoffirstnewschannelinIndiatotalTelevisionviewershiphasgrownmultifoldovertheyears, and growth in viewership of Private TV news channels has also increased proportionally. As per KPMG FICCI report 2013, there are 154 million cable and satellite households in India. Out of which approximately 6 percent or approximately 10 million viewers watch news channel. In 2002 there were just 11 news channels and by 2088 this number rose to more than 55 (Kumar, 2012), this phenomenal growth gives an idea how TV news genre developed rapidly in India. This growth also underlines the fact that there is a lot of demand for News and Current affairs programs and there is market for News content delivered in English, Hindi and Regional language. While Private Television networks grew in India simultaneously a new medium emerged as well.

Internet as a medium in India

In August of 1995 Videsh Sanchar Nigam limited (VSNL) brought internet in India and in two years internet subscriber base grew to 0.14 million. In the year 1999 new telecom policy was formulated to encourage the development of telecommunication in rural areas. This new policy made it mandatory to connect all district headquarters by internet. Since the year 1999 proliferationofinternetgatheredmorepaceThiswasthefirststepinwideningtelecomnetworknot just in urban areas but also in rural areas of India. National Telecom policy set a target of high speed internet connectivity using ISDN technology by the year 2002 in towns having more than 2 lac population. Even though DoT was trying to widen the reach of internet but the penetration of broadband in India was very low till the year 2010. It had just 10.55 million broadband connections in the country by the end of October 2010 as against the target of 20 million broadband subscribers by 2010 set by the Broadband Policy 2004(Department Of telecommunication; Ministry of Communication & IT; Government of India, 2011). However the auction of 3G and BWA( Broadband Wireless Access) spectrum in June 2010 opened the gates for the availability of the latest technology and innovations for Indian consumers.(Department Of telecommunication; Ministry of Communication & IT; Government of India, 2011) .3G spectrum radically changed scenario of Internet connectivity in India. Since 2010


till 2013 broadband connectivity in India has grown exponentially (Table 1).In case of wireless internet subscribers, in the year 2013 every quarter substantial growth was registered in number of wireless internet subscribers.

Year Number of BroadbandSubscribers

December-14 85.74 MillionDecember-13 55.2 MillionDecember-12 14.98 MillionDecember-11 13.35 MillionDecember-10 10.99 Million

Data retrieved from Telecom Regulatory Authority of India Table 1

As on December 2014 India has total 267.39 million internet subscribers out of which 220.38 million subscribers are wireless subscribers. (Telecom Regulatory Authority of India, October - December, 2014). It is estimated that by the end of year 2015 India will have 330 to 370 million internet users which is approximately 12 to 13 percent of total internet users worldwide.Although many significant number of users will be accessing internet throughshared infrastructure like net cafes, household computers and so on but half of the internet users will be accessing internet using their mobile devices. (McKinsey & Company, December 2012). Availability of inexpensive Smartphone is an important factor in phenomenal growth of the Internet. A Smartphone enables users to access social networking sites, access information and entertainment related content. Fast internet enables delivery of this content with even more efficiency.Thus Smartphone is becoming a key tool in accessing content over the Internet.Hence it is important to know Smartphone Market in India at this point.

Smartphone Market in India

Today Indian Smartphone market is worth 1 billion dollars (Aulakh, www.economictimes.com, 2014).Accordingtosomeresearchfirmsinlastquarterof2013IndianSmartphonemarketgrewby 166 percent (D’Monte, 2014). It is this ever increasing size of Indian market has sparked immense competition in Indian mobile handset market. Along with multinational brands like Samsung, Apple, Nokia, HTC, Sony, Motorola some of the Indian and Chinese companies are also launching their products in Indian market. Because of intense competition in Indian mobile handset market today there is pressure on handset makers to introduce cheaper Smart-phones in the market. Even a cursory survey of some of the ecommerce websites reveals that today Smart-phones are available for a price as low as @Rs 3000. This affordability of Smarphones enables even a person with moderate earnings to access internet using highspeed 3G or slower 2G data connection. Thus availability of cheaper Smart-phones in India has also played a key role in widening reach of Internet in this country.

Above discussion highlights three factors because of which for a TV news Channel delivery of content on mobile device is becoming a critical aspect in drawing more viewers to their content.


These three factors are as under

1. Intense competition in News Genre in India has compelled news channels to look for audience even beyond Television screen.

2. Faster Internet has provided viewers a choice to access the content whenever and wherever they want.

3. Smart-phones and TAB Computers are becoming a tool through which today a viewer can access internet. Affordability of Smart-phones has helped not just in widening the reach of the Internet but it has also provided viewers a new avenue to access content over their Phones.

Conclusion

In Indian TV news genre a trend is evident and that is of realization that in media scenario is changing very fast. This change is happening in medium of dissemination, devices on which content is getting delivered and the way viewers, users or consumers are consuming news content. Although there are few issues as far as growth of the internet as a medium in India is concerned,

• There are 238 million internet users in India but it is just 23 percent population of India.

• India’s twenty percent population is still illiterate.

• Smart Phones are still an expensive gadget for majority of the mobile phone users.

Considering these issues, manner in which Indian news channels are trying to use the internet as medium as effectively as possible. Today Indian TV Channels realize that their viewer is not restricted to one screen that is TV but their viewer desires to access content anytime, anywhere. For this reason Indian TV news channels are working towards providing content on desktops, smart Phones and other mobile devices like iPads, Tab computers and so on. It is the internet that is driving news channels to innovate and present their content in new forms and these forms helping news channels to reach out to wider audience and as a result News Channels today looking to scale up their viewership. Now the challenge for News Channels is to keep innovating and explore novel techniques to present their content. As apple co-founder Steve jobs had said once "It's really hard to design products by focus groups. A lot of times, people don't know what they want until you show it to them." This is appropriate for Indian news channels, Indian TV news viewer today has very limited choice as far as content is concerned but it is the form in which that content is delivered that will make the difference.

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(2014, June 01). about us: abpnews.abplive.in. Retrieved June 01, 2014, from ABP news website: http://abpnews.abplive.in/about_us/

• Aulakh, G. (2014, March 19). Smartphone rates may slip below Rs 2.5k by year-end . The


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IMPACT OF GLOBALIzATION ON TELEVISION NEWS CONTENTGajendra Deoda, B.M.M Department, Sathaye College, MUMBAI.

I. INTRODUCTION

Television is one of the nicest inventions of man. In India television started in the year 1959. Educational programs, film based entertainment shows and various language news bulletinson a government owned channel dominated television till 80s .The sudden arrival and rapid expansion of foreign satellite channels change the scenario drastically. Increased number of channel from one in 1991 to nearly 70 in 1998 and almost 200 today has opened the doors of globalization... Today television has realized its potential to be a global medium even though our priority of programs is mainly news and entertainment shows producers are now moving aheadtoattractinternationalaudiencewithinternationalcontent.Inthisresearchworkfivetopnews channels operating on national level are selected. Also evaluation and comparative study is conducted to examine changes in the style of news content.

II. BACKGROUND AND NEED

• DigitalmediahavechangedthepresentationstylesbothinTVandfilms.Thesecanbestudiedinasignificantmannertoobservethesechanges.

• ByadoptingdigitaltechnologyTVnewshavetotallychanged.Theirchangingprofilecanbestudied by careful observation of this content and style of presentation.

• The various aspects of digitalization of TV news rooms can lead to new understanding of new modes of presentation.

III. SIGNIFICANCE OF STUDY

• ThedigitaltechnologyhaschangedtheprofileofTVchannelsinIndialeadingtowardsexcel-lence and quality.

• A close observation and careful study of new technology will lead to new understanding of the style of presentation.

• The new tools and techniques of visual communication in digital age have revolutionized news channels.

IV. OBjECTIVES OF THE STUDY

In the present work following objectives have been set forth:

• Tostudynewlyemergingdigitaltechnology,whichhaschangedtheprofileofthenewsmedia.

• To throw light on changing styles of TV news rooms

• To examine new aspects of electronic media in the 21st century


• To underline problems and to recommend suggestions for improving the comparative content analysis

V. HYPOTHESES

According to Webster’s New International dictionary hypotheses means “proposition, condition or principle which is assumed, perhaps without belief, in order to draw out its logical conse-quences and by this method to test its accord with facts which are known or may be deter-mined.”. Here following hypotheses have been drawn:

• InthedigitalerathestyleofTVnewspresentationhastotallychanged.

• Thenewscoveragehasbecomemoreliveandrealistic

• ThenewmodesandmethodsofdigitalerahavebeenchangingtheworkingprofileofTVnewschannels.

• ThedigitaltechnologyhasbenefittedTVnewschannelstoshowtheirrealcontent.

VI. RESEARCH DESIGN

The descriptive and observation research design will be used here for proper understanding of the research problems. About descriptive research design Wilkinson and Bhandarkar have observed that “descriptive studies often provide a jumping pad for the study of new areas in socialsciences.Freudremarkedthetruebeginningofscientificactivityconsistsindescribingphenomena and then in proceeding to group, clarify and correlate them.” Several observations have been made after watching television content.

VII. SOURCES OF DATA COLLECTION

The present study is based on primary and secondary sources of data collections. About sources of data collection Wilkinson and Bhandarkar have observed that “The distinction between pri-mary and seconadary can be made even more useful if a further division of documents between what John Madge calls record and reports were to be effected.”

In this work data collected by observation method is primary source and published works, re-ports and selected data of TRP has been treated as a secondary source of data collection.

• Contentanalysis:Acontentanalysisoffivenewschannels(likeNDTV,Aajtak,ABPNews,Times Now & India TV) is conducted in this study to understand how the news presentation styles are developed by media news channels.

Observation method is used for collection of data and analysis of data.

Impact Of Globalization On Television News Content :

Television is one of the nicest inventions of man. It is a popular electronic medium which performs the functions of dissemination of information, education, entertainment and commu-nication. ”Television has become a medium of un-parallel reach with a seemingly extraordinary range of choices for the viewer” [1]. In India television started in the year 1959. Educational programs,filmbasedentertainmentshowsandvariouslanguagenewsbulletinsonagovern-


ment owned channel (Doordarshan) dominated Indian television till 80s. The sudden arrival and rapid expansion of foreign satellite channels change the scenario drastically. Increased number of channel from one in 1991 to nearly 70 in 1998 and almost 200 today has opened the doors ofglobalization.WithinaveryshortspanoftimetelevisionindustryinIndiahasflourishedtre-mendously. India’s growing economy, fast growing advertising world, vast and rapidly expand-ing middle class with aspirations to a western lifestyle have changed the television completely. Different satellite channels, catering to different languages and tastes has proved to be stronger and stronger. Today television has realized its potential to be a global medium even though our priority of programs is mainly news and entertainment shows producers are now moving ahead to attract international audience with international content.

Observations :

1. Presentation style of news and other entertainment programs has changed drastically.

• Newsstructureandformatischangedsignificantlyinrecentyearsnewsstructureismix of interviews, live coverage and packaged segments

• We have more talk-oriented evening shows.

• Newsisnotintooldpyramidformatofhavingheadlinesfirstandthendetails.Onenews is picked up for discussion.

This transition may cut the cost of having a crew and correspondent provide live event coverage.

• That’s why it is said “News is becoming a commodity specially on the electronic front” [2].

• Earlier News anchors use to read news now they analyze news

• Due to advance videoconferencing on big screens understanding of news and views is clear

• Interactivity is increased. People participate in the talk shows and panel discussions.

2. New advance technology of multi camera set-up, ob vans, and special effects has changed the format of programs.

• DuetoadvancetechnologymulticamerasetupisusedintelevisionfilmmakingMulti-camera setup usually known as multicam is a method of Film making and Video pro-duction. Several cameras are employed on the set and simultaneously record or Broad-cast a scene. It is often contrasted with single camera setup which uses one camera.

• With the advent of HDTV picture and sound quality is improved

3. Production cost is increased both for indoor and outdoor shooting.

• Due to highly decorative sets, advance technology equipment’s, shooting at foreign and other locations production cost is increased.


4. Regional channels today compete with national channel effectively.

• Due to presentation style and advance content regional channels compete with nation-al channels

5. 26% of FDI is allowed in up linking of news and current affairs channels and for non-news media that is entertainment it is 74%. (Press information Bureau-Website)

Conclusion and New Theory :

Hence in this era of globalization following changes are observed.

Presentation style of news and other entertainment programs has changed drastically. New advance technology of multi camera set-up, ob vans, special effects have changed the for-mat of programs. Regional channels compete with national channel effectively. Hence in the world of globalization Indians have to wait and watch the changes in the days ahead. Hence in the world of globalization Indians have to wait and watch more changes and its impact in the days ahead.

New theoretical frame:

• The digital technology has become a boon for TV news rooms.

• A proper and clear understanding of facts has led to new mode

• The new technology has brought forth rational changes in the system.

Select bibliography

1. Dewdney A. & Ride P. “The new media handbook” Routledge, New York, 2006

2. Fenton N. “New Media: Old News: Journalism and democracy in the digital age”, Sage publications, London, 2010

3. Lister M. Drover J Giddings S. Grant I and Kieran K. “New Media – A Critical intro-duction” Routledge, Oxon, 2009.

4. Liverouw L.A. and Livingstone S.M. “Handbook of new media: Social shaping and consequences of ICTs” Sage Publications, 2002

5. Durai R “Dictionary of digital media” Author Press, New Delhi, 2005

6. United Nations Development Program: Human Development Report 1995

7. Kumar K. “Mass communication in India” Jaico publishers, Mumbai, 2011

8. Laughey D “Key themes in Media theory” Rawat Publications, Jaipur, 2008

9. Baym N.K. “Personal Connections in the digital age” Cambridge Polity 2010

10. Television – What’s on, Who’s watching by George Comstock

11. The Indian Media - Vanita Kohli

12. Encyclopedia of International Media and communication Vol 3 and 4 – Donald Johnston.

13. Press information Bureau-Website.



THE ROLE OF COMMUNITY RADIO IN WASTE MANAGEMENT

Dr. N. Mamatha (Assistant professor, DOS in Mass communication and Journalism, University of Mysore)Dikila Bhutia (Research Scholar University of Mysore )

Abstract Media intervention in social issues has proven to be effective in more than one incident.over

the recent years we have seen, heard and watched many news reports about garbage disposal or waste management In Bangalore, particularly in the last two to three years when the amount of waste increased substantially with the growing population. The major news media covered the issue substantially, mainly newspapers such as The Hindu and Times of India. The coverage got the authorities to take actions quickly but with the never ending garbage piles, the issues kept increasing. As many researchers points out attitude of the public is an important factor in the waste management, the public in the Indian cities were found to be less concerned about the gar-bage they are disposing. In a research conducted by Vijay Kumar and Dr.R.K Pandit Problems of solid management in Indian cities (2013), they point out that even if solid waste management isanobligatoryfunctionofurbanlocalbodies,theactualpracticedoesnotreflectthelevelofobligation required. They also point out that there is a lack of proper waste management. They suggest that there is a need for the authorities to educate and make people aware of the issue and change their habits. A report by the UN Economic and Social Council Africa on food security and sustainable development suggest that a proper management and international cooperation through sharing of information can help improve the waste management system in India distinc-tively.

Sincecommunityradioisoneofthemediumswhichreflectstheaudienceparticipationatitsbest, to study the effect of this media will also lead to a proper understanding of the public attitude towards the issue and will help assess the media attitude towards the issue. Therefore, addressing the two most important problems pointed out by several researchers,this paper will analyze the role of community radio in creating awareness of waste management among the public of Bangalore.

Key words : Waste management, Community Radio, Radio 5, Sustainable development.

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Introduction

The historical ruling of the Supreme Court in 1995 made way for a third tier in broadcasting i.e. community radio, social activists and NGOs saw this ruling as an opportunity thrown at them after many years of struggle. In the ruling supreme court declared airwaves as a public property and to be utilized for the greater good of the public and this statement alone was enough to give rise to nationwide uproar of the activists and NGOs demanding a framework for community radio. After the ruling several conferences and workshops organized by NGOs in collaboration with UNDP and UNESCO led to community radio being available to the communities too. Particularly the ‘Partapur initiative on community radio’ held in Hyderabad pushed the decision making process of the Government. As Hebermas in his theory states that ‘events and occasions


can be called public when they are open to all, in contrast to closed or exclusive affairs’. Hence, it is acceptable when community radio is called as a public medium because of the mere fact that it is not exclusively owned by one entity. It is the only medium that stands for the public in a time where all the other media have become too commercialized and generate similar contents due to several reasons ranging from commercialization, media ownership to the news agencies regulated news.

Vinod pavarala, one of the key players in the community radio scenario in India, in one of his talks in Goethe-Zentrum Hyderabad (sept -2014) said that there is uniformity in the media content being generated by the mainstream media and says that community radio can serve as the alternative public sphere in India and check the hegemony of the mainstream media. Many researchers conducted after the community radio became available to the community have also concludedthatthemediaisnotabletoflourishwellduetoseveralrestrictionssetbytheGovern-ment, Shalini Raghariah and Binod G.Agrawal in their paper ‘The future of community radio: Some observation’ (2010) point out that the progress of community radios is going to be rather slow due to the restrictions placed by the state and gave funding and external dependence as oth-er reasons. In his paper ‘Community radio under progress: Resuming a paused revolution’(2015) ,acknowledgedthefactthattheprogressisslow,thatinfiveyearsonlyfewstationsgotsetup.

Communityradioinsimpletermscanbedefinedastheplatformthatprovidesthemarginalizedortheunheardpublicavoicetoreachoutandtoinfluencethedecisionmakingprocessthroughparticipatory communication. Harihar Panda in his paper ‘Community radio broadcasting in Odisha as a toll of mass media’ found that the community radios have more listeners due to the fact that someone from the community represents them through the radio as a medium.

This paper is an attempt to study the programs conducted by Radio Active (90.4 MHz) on waste management from 2007 to 2016.

Programme details of Radio Active :

The radio covers three basic kinds of issues-

1. Based on Civic issues

Under civic issues Radio Active acts as a platform to individuals, groups and communities who cometogetheranddiscussrelevantissuesandtrytofindasolution.TheprominentProgramsare:

• ‘Waterandsanitation’whichhasbecomearegularpartofthelivesofBangaloreans,theprogram cover day to day issues related to water faced by the public of Bangalore. The show covers different areas of Bangalore and broadcasts live programs as well. The show is broadcasted from Monday to Wednesday from 12 noon to 12:30 pm and repeated at 9pm to 9:30pm.

• OthershowsoncivicissueincludeMahitiKirana,ongovernanceissues,health,education,water, food security and environment, it is broadcasted every Friday 11:30 am to 12:00 noon and repeated at 8:30pm to 9:00pm.

• DakshaSamooha,oncriticalissuesfocusingonfinancialawarenesswithoutreachactivi-


ties.

2. Based on community

In community based programs Radio Active function as a platform to the diverse communities from the underprivileged to the LGBT and from sex workers to the waste pickers. These shows are all managed by the community members themselves. Most of these shows are story based and talk shows that are broadcasted live by the community RJs .The prominent shows under community based program are:

• ‘YaariVaru’meaning ‘whoarewe?’, hostedby avibrant transgenderRJPriyanka, thisshow cover everything from day to day issues of the community to the social stigma, this show is broadcasted every Thursday from 12 noon to 12:30pm and repeated at 9pm to 9:30pm.

• ChiguridaBaduka,ashowwhichcreatesawarenessboutHIV/AIDSthroughlifestories,experiences, and the show is broadcasted Monday to Wednesday 3 to 3:30pm and repeated at 12am to 12:30am.

• AshitaruisashowfocusedonpeoplewithdisabilitywhichisbroadcastedWednesdayandThursday from 2pm to 2:30pm.

3. Based on Geographical Area

The radio covers a lot of areas in Bangalore and based in the coverage several parts of Bangalore produce their own shows. Prominent ones are:-

• ActiveDasarahallibroadcastedfromWednesdaytoFridayfrom12:30pmto1pmandre-peated at 9:30 to 10:00pm.

• ActiveSrirampuraisbroadcastedeveryMondayandTuesday2:30to3:00pmandrepeatedat 11:30pm to 12:00am.

These shows are produced from the same areas and have by RJs from the very same area. The show produced as stories, discussions, interviews, dramas and celebrations from the locality

The radio broadcasts for 365 days a year and hosts end number of shows that are based on the above mentioned categories.

A Case Study of Radio Active: First community radio station of Bangalore

Radio active was established in 2007 under the Jain Group of Institutions is an inclusive platform for diverse community who make Bangalore ,from the waste pickers to the LGBT community ,everyone who is a part of the city is a part of the station now. The station got involved with the waste manage-ment from the very beginning of its formation. In collaboration with the NGO ‘Eco watch’, which is an environment based NGO, Radio active organized a symposium in early 2009 where several issues related to waste management were discussed and after few months on August 15th a massive cleanup drive was undertaken where more than 4000 people volunteered which was a huge success compared to any other social activities as such. Though, in the words of the Director of the Radio


station Pinky Chandran, “ It was pointless, next day the garbage was back to where they were”, indicating that the clean drives undertaken for a day are not at all helpful.

The waste management initiatives are a part of the station’s Outreach project. Apart from the regular programs from the studio, the station also has Outreach programs where they go to the community and interact with them. It is done to create more participation form the community.

The outreach programs of the station consist of campaigns, projects and building capacities. The campaigns are Right to Education and Pension Parishad. The campaign for Right to Education has been active for a long time now in which the radio organizes workshops and awareness camps and also goes from place to place to make the people aware of their rights. A separate show for Right to Education is broadcasted on a daily basis. The Pension Parishad campaign is an ongoing effort of the radio to make the pension plans universal, where they have a show dedicated to the cause and they collect several stories of people living without pension and broadcast it.

Several projects have been initiated by the radio, the projects are Street animal welfare and man-agement, The year to hear: everyone has a story to tell, Single mothers network and ‘Integrated and participatoryurbanwastemanagementproject’,thiswasafiveyearlongprojectstartedin2009,where they promoted the ownership of the process of waste management and inclusion of informal wasteworkersintothesolidwastemanagementsystem(IDforwastepickers).Tofindasustainablesolution to the issue of waste management, Radio Active Director, Pinky Chandran and a group of other activists in 2010 came up with the idea of dry waste collection center, which would help with the dry waste segregation in waste management. In 2010, Radio Active embarked on a journey of providing identity to the waste pickers and after a lot of lobbying and trails in 2011, identity was granted to the waste pickers by the Lok Adalat.

Now every month on 17th there is a meet of the waste pickers group, which is better known as the ‘waste picker’s integration’ and a dry waste collection center has been set up. These initiatives have helped transform areas of urban Bangalore, today with many places such as Kormangala and Bommanahlli banning the use of plastic bags, gradually changes can be noticed in the society. Sev-eral other programs are being aired by the station such as Daastan-e Nayandahalli, Namma Kasa, Namma Honne and Kasa Shramika parisara Rakshaka cover the issue of waste management on a regular basis.

The radio’s ‘Building capacities’ is an attempt to encourage the use of community radio among dif-ferent communities by enhancing the capacity of the local institutions and the communities. Under thecapacitybuilding the JGIprovidesa scarpdealercertificationprogram incollaborationwithRadio Active and Hasirudala, which is a program on how to run a scrap business. Radio active also provide a life skills training to the school students from secondary to pre university level to increase theirself-esteemandconfidence.

Independent shows hosted and managed by the community is the real essence of the community radio and Radio Active serves the purpose. Based on the community participation and the results they are producing Radio Active has been quite successful with their endeavors from setting up dry waste collection center to the identity for the waste pickers.

All the information mentioned about the Radio station in the above lines was collected through face to face interviews and email interaction


Key Findings:

Radio active is not an exclusive but an inclusive platform for communities and organizations who want to reach out to their target audience.

Most of the campaigns and projects they have undertaken so far has been a collaborative activity.

The radio has been acting as platform to several communities who had no voice, today several suc-cessful shows are run by these communities on a daily basis.

A gradual change can be noticed in the communities that are represented by one of their own. Most of the areas of Bangalore are actively participating in many shows and campaigns with the Radio. From Nandyahalli to Dasarahalli, all the areas are coming up with their own show and displaying a lot of interest in the activities organized by the radio.

Regular meets are organized by the communities themselves in the Radio’s headquarters. The com-munity participation in the meet is increasing gradually and people are becoming aware of the programs broadcasted through Radio Active.

The station is gradually progressing due to the increasing community participation and interest in the issues that the radio highlights.

If the progress is steady than the radio holds the potential to become an excellent tool for social change in Bangalore in the future.

Conclusion :

As predicted by many researchers conducted nationwide, the effectiveness of community radio has not been questioned but the speed or the progress they are making is the real problem. Their op-erations are limited to certain distance and area and hence, diminishing the possibility of the radio reaching more people at the same time. The restrictions put on radio by the state are not letting the communityradioflourishorthrive,withtheclosedcornerswithnoopenings.Communityradiosuchas Radio Active, if provided with more space and area keeps the potential of changing the way we perceive a lot of things right form our environment to the underprivileged communities. Still in what they are provided with, the communities who work with the radio are reaching their target audience and day by day increasing their audience with their enthusiasm and hard work. This study is strictly limited to one radio station and the programs and the techniques may vary from one radio station to another. This study cannot be generalized to other community radio stations.

References :• Chandran Pinky, Director, Radio Active (90.4 MHz), interview(2016)• Radio Active 90.4MHz, Outreach, what is on air• Panda Harihar, CRS, Odisha, Community radio broadcasting in Odisha as a tool of Mass Media.• Pavarala Vinod, University of Hyderabad, Community radio ‘Under progress’: Resuming a

paused revolution (2015).• Raghariah Shalini, Agrawal G Binod, The future of community Radio in India: Some observa-

tions (2010).

• Das Saurabh, Christ University, Analysis of programs based on developmental issues: case studyoffivecommunityradiostationsinBangalore.


• The Hoot.org, proceeding of an internet conference, community radio in India (2001-2002).

• Malu Shalini r G Prasanth, Lakshmikantha Dr.Nandini, Waste Management public awareness and communication: A study on role of television in waste management (2014).

• Patrick I Akpoghiran, Ferdinand Okoro, Adopting broadcast media sensitization campaigns for solid waste management (2014).

• Hasebrink Uwe, Giving the audiences a voice: The role of research in making media regulation more responsive to the needs of the audience (2011).

• Pandit Dr. R.K, Kumar Vijay, Problems of solid waste management in Indian cities.

• UN Economic and Social Council: Report on food security and sustainable development (2009).



A STUDY OF SATYAjIT RAY’S INCORPORATION OF REALISM ANDMODERNISM IN THE APU TRILOGY

By Paromita Das

ABSTRACT

The present study has determined to investigate the incorporation of realism and modernism in the cinema of Satyajit Ray. The 19th century marked many changes in the social as well as nationallifeofIndia.SatyajitRaybeingakeyfigureinpostcolonialcinemahasbrokenawayfrom the shackles of traditional commercial cinema and chose to follow the path of art cinema wherebyhehasportrayedmeninhiscommondwelling.Whyhiscinemasowidelyaccepted?Whatarethereasonsofhisbeingestablishedontheinternationalfilmscenewithjustartcinemainhisbags?Thesetwoquestionshavebroughtupthequeryofsocialrealityandtheroutetosocial modernism that India was slowly entering and transition in any kind of philosophy seems very interesting if a close look is taken in its silent paths. Important here are the way in which theconstructionoftheartpieceshavetakenplaceandwhatfunctionshavefinallyledtoaccla-mation of his cinemas being a mirror of reality and modernism. In this research article I have chosenthreefilmsofSatyajitRay“PatherPanchali”;“Aparajito”and“ApurSansar”inorderto study the traces of social reality, tradition and modernism being interrelated in each movie.

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INTRODUCTION

“Afilmispictures,afilmiswords,afilmismovement,afilmisdrama,afilmismusic,afilmisastory,afilmisathousandexpressiveandvisualdetails”Ramnarayan(1991).SatyajitRay’scinemashave remainedunparalleled evenwhenwehave entered the current era offilmexperimentationwithmoregenresoffilmthanever.Thereasoncouldbehisayofmirroringtherealityandawishfulentering into the modern world, at a time when people ere yet to understand the power of cinema. Though he was criticized many a times due to his romanticizing the culture of the third world, his movies such as the Apu Trilogy famed him internationally. “It was the Apu Trilogy that established Rayontheinternationalfilmscene.Whilemanycriticscelebrateditasaeulogyofthirdworldcul-ture, others criticized it for what they took to be its romanticizing of such a culture” Cooper (2000).

“Literaryadaptation tofilmisa longestablished tradition incinema”Hayward(2000).TheApuTrilogy was no exception as it showed the intricate realities of the then Bengal Village life through thepenpicturepresentedbyBibhutibhushanBandopadhyay.Thebookwasfinallybroughttolifewith the videography of Satyajit Ray wherein he amalgamated qualities of life such a reality, wishful desires and the then human condition. Literature is somehow adapted from reality and then roman-ticismisattachedtoit.So,evenaworkoffictioncanbeadoptedfromtherealarenasoflife.Thecharactersmaynotberealinexistencebuttheauthorandthefilmdirectormaytakeupbitsfrom


thereallifeandincorporateitintothefilms.Modernismontheotherhandbringsaboutthechangesfrom the mundane and sedentary way of village life and the calls of the city with many opportunities tochoosefrom.AshappensinmostofthefilmsofSatyajitRay,theTrilogyrecordsabreakthroughinto the gradual transition from the traditional to the modern, thus bringing about reality of the sit-uation and characters. “Technologically speaking, the camera, although a modernist artifact, is seen as an instrument for reproducing reality and, as such, it is more readily associated with realism than modernism.” Hayward (2000). Thus Modernism and realism somehow go hand in hand and though Modernism is considered as an age of technological advancement as well as industrialism it is also as a psychological and mental setting wherein there is a tendency of progressive urbanization.

RATIONALE

“To mark the centenary of the birth of Rabindranath Tagore, Ray made Teen Kanya (Three Daugh-ters)in1961.ThePostmasteristhefirstofthethreepartseriesmakingupTeenKanya.Ayoungmanfrom Calcutta, exiled as postmaster in a remote village begins teaching a young orphan girl (who tendshishouse)toreadandwrite.Actingoutofsheerboredom,heistooselfishtonoticehergrow-ing attachment to him, and when the chance of a transfer comes he leaves without consideration. The second episode, Samapti, is a comedy about a young law student who rejects the dull bride chosen by his mother and marries the village tomboy. The third episode is Monihara, a ghost story about a wife who returns after her death to claim her husband’s last gift.” Goritsas (2002).

“Awed and charmed” by Apur Sansar, Quigly (2009) noted nonetheless that Indian “ideals of beauty aredisturbinglydifferentfromoursandmakeonedissatisfied”.Criticismshavefollowedhimbutthey seem to be more due to the huge social, traditional and cultural difference that lay between the east and the west. The themes that form the basis of movies in the east are neglected in the west.

SatyajitRayseemstohaveworkedonallthemesmakinghisfilmsoccupyalargeareabutcertainthingsthatarecommoninhisfilmsisthesocialmisunderstandingthatbuildsupduetoashiftfromthe traditional to the modern. “In contrast to the long and problematic history of colonial modernity, in which modernity was seen as an imposition, and dissembling strategies had to be evolved which would contest the modern even while deploying modern apparatuses and procedures, Ray worked out a strategy which would authenticate the modern, and its middle class vehicle, by showing it as emerging from out of previous aesthetic traditions.” Vasudevan (2015). Cities play an important part inmostofhisfilmsbringingaboutthethensituationofpeoplewhowantedtoshifttothecitylifefor a better way of living. He also breaks down stereotypes in many of his movies when he shows women standing for what they believe in. Even in “Aranyer Din Ratri” (Days and Nights in the Forest)thereisurbaninsensitivitywhereinthefourfriendsnevertrytofindouthowcriticallysickwas the Chowkidar’s wife, in spite of already having spent three days at the rest house. His movies can be regarded as a transition from the traditional to the modern and he even criticizes the loss of values that takes place when there is a shift from one culture to another. “They’re from the big city: brash,confident,careerist,andreadytolorditoverthemore‘backward’tribalcommunitieslivingon their new doorstep. They vow not to shave, but that goes out of the window when they come acrosstwobeautifulwomenstayingnearby,andanelegantgameofflirtationandembarrassment


ensues.” Wigley (2014)

InSatyajitRay’sfilms,Realismhascometoreflecttheperceptionofthemodernistmentalitythatwas slowly setting in the minds of the public. It can be said that Ray deviated from the conventional themesoffilmmaking.“TheworkofSatyajitRay,akeyfigureintheselfconsciousdevelopmentofanIndianartcinemaostensiblyseparatedoutfromotherfilmtraditionsandpractices,especiallythoseofthecommercialmainstream.”Vasudevan(2015).Heconcentratedmoreonfilmsthathadan universal appeal and were not meant for just entertainment but also went on showing the inner workings of the mind of the common men who was ready to enter the modern life notwithstanding what he is leaving behind. Slowly the urban mentality was setting in where no one seems to care of who is getting hurt. A constant want for livelihood and the economics of the then time forced men to leave the village way of life where there was place for everyone and penetra e into a place where onlythefittestwillsurvive.

Thus, there can be seen traces of coexistence of both realism and modernism and thus the researcher has taken up this study in order to know about the techniques incorporated by Satyajit Ray in his movies that has given them a realist and modernist approach

AIM OF THE STUDY

The movies of Satyajit Ray have been considered pivotal in the study of cinema as many studies have been taken up by many researchers (Cooper, 2000; Wigley 2014; Goritsas, 2002) in order to understand the incorporation of nationhood, modernism, realism, tradition and such other subjects in his movies. “Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon.”– Akira Kurosawa

The aim of the study herein, is, therefore to evaluate the cinema of Satyajit Ray from the realist and modernist perspective by bringing out the transition from the traditional to the modern by maintain-ing the reality of the time.

METHODOLOGY

The study is conducted three cases by taking three movies of the Apu Trilogy as individual cases for the study

Selection of movies

A study was conducted by the researcher to know the most popular movies of Satyajit Ray which hadestablishedhimontheinternationalfilmscene.“Oneofworldcinema’sgreatdirectorialdebuts,‘PatherPanchali’notonlyannouncedthearrivalofanewfilmmakingtalent;itwasalsocreditedby western critics with putting Indian cinema on the map.” (Wigley 2012). The selected movies are “Pather Panchali”; “Aparajito” and “Apur Sansar”

DELIMITATION

The study is limited to the three popular movies of Satyajit Ray that form the Apu Trilogy The study


is limited to the intertwining of realism, traditional and modernism in the three movies (as men-tioned above) of Satyajit Ray In the discussion, the characters will be referred to with their names in the plot.

DISCUSSION

Realism and Modernism in the Apu Trilogy

The three movies of the Apu trilogy taken up for the study, portray social realism of the time, be it in the image of the women and their plight, or the condition of the village life of the then time. The trilogy has been taken up from the novel of Bibhutibhushan Bannerjee’s novels, Pather Panchali and AparajitowhereinthemovieAparajitocomprisesofthelastonefifthofthenovel‘PatherPanchali’andthefirstonethirdofitssequel‘Aparajito’.

In the movie “Pather Panchali”, the movie opens with the daytoday activities of the protagonists (Apu’s) home. The imagery of the home and its dwellers give the picture of struggle and want. Apu’s elder sister Durga is seen to steal raw mango fruit from a neighbour’s garden. The mother Sarbajaya is shown to be the housewife who works hard every day and takes care of the family. The father aspires to be a great priest and a poet and the dependent childhood widow Indir thakrun, an aunt to Durga and Apu, who is a subject of Sarbajaya’s taunts as she resents having Indir in her home.BothApuandDurgashareaveryfinebondandspendtimesittingundertrees,runninginthefields,witnessingthetrainasitpassesandsoforth.DurgaalsoteasesApujustaseveryothersibling would do, even though she is affectionate towards him. The picture that the movie portrays is that of every common village of the then time. People had to undergo great labour and struggle to survive. The train that passes the village is symbolic here as it shows the passing by of modernity, of opportunity, by the village. Towards the later part of the movie, Durga dies owing to a cold and fever which worsens because of the unavailability of adequate medical care. After this, the family leaves their ancestral home in an oxcart. The travelling can be seen as a symbol of transition from the traditional to the modern, to the world of much wider opportunities. Though the movie is taken up from the novels, yet Ray incorporates his own ways in the movies. Eg. In the novel, the children never see the train though they run for it and in the movie the children witness the train as it passes.

“Aparajito” was released in 1956 and is a sequel to the movie “Pather Panchali”. The movie opens with the family surviving in Varanasi and living in a temple. After the death of Apu’s father, Harihar, the mother and son are left alone in Varanasi and Sarbajaya decides to return back to the village which Apu does not like. He wants to study in a school and does not want to take up the family ser-vice of priesthood. This means that Apu was not ready to take up the tradition of priesthood that is a legacy in their family. He wants to unveil a world he hadn’t seen and this could only happen with education and a different life in the city. Apu attains teenage and decides to leave for the Calcutta inordertofulfillhisdreamswhichshatterthewishesofSarbajaya.Theemotionaldistancewhichis not noticed by Apu breaks her heart. The city here implies the modern way of life which is full of opportunities but which takes away people from their loved ones. In a city there is very less time for emotions. Thus, in the buzz of city life, Apu could not hear his mother’s emotional appeal. Social realism plays a part here by bringing out the loneliness which Sarbajaya faces after her son goes off


to the city. She is left alone though she had thought that her son would take care of her during old age. She dies in the absence of her son who comes and leaves soon with the intention of never com-ing back. The belief and the tradition that son would take care of the aged parents does not happen here. Modern way of life was slowly setting in where selfdevelopment had become more necessary than others wishes.

“Apur Sansar” brings about another picture of social realism and modernity when the mother of the bride Aparna refuses to marry off her daughter to a mentally ill groom even though the father of the bride is opposed to idea of the mother. Though the social customs were rigorous at that time and refusing to marry her daughter meant that her daughter may have to remain unmarried for the rest of her life, the mother’s step seems to be more modern then even present times. Later the problem solves as Apu gives his consent in marrying Aparna. The title Apur Sansar can mean two things. In Bengali, Sansar is one’s family life and in a wider canvas, it can mean the world in which we live in. Thus, we can see two facet of Apu where he has to maintain his family life and start up a new struggle with new responsibilities. Also, that a man from a poor background should marry a woman of wealthier household could only mean a misfortune that has resulted in such a match. That was the time, when people had to marry within their ranks even if that resulted in personal ruin. The inci-dents within the plot starting from Apu’s conjugal alliance with Aparna to her death in childbirth has remained to be benchmarks in shunning the traditional conformist beliefs and has lead the path to a more modernist society where human beings are more valued that conventional beliefs. The images were of a new society with newer ways of life.

CONCLUSION

In the three movies taken up for the study, Ray has portrayed his protagonist in a very marginal-ized and humble background where the protagonist was subjected to everyday turmoil. He had to take up responsibilities as a child, had witnessed many sad happenings during his childhood. One instance that can be cited here is that, in “Pather Panchali” after the death of Durga when the family finallydecidestoleavethevillage,ApufindsthebeadnecklacewhichDurgahadrefusedtohavestolen. Apu throws the necklace away which shows his inner feelings for his deceased sister. Apu’s hardships of life has made him a man of lesser emotional appeal and thus can be witnessed in his treatment of his mother from whom he stays apart till her death due to the struggles of his daily life. Modernism thus can be seen as a resultant symbol of the ruthless nature of traditional life and poverty. Ray has incorporated all these elements which seem to be interrelated within a man’s life. Tradition, Realism and Modernism brings out the transition which the common man had to undergo in building a life of his own. Every struggle that he had to face became symbolic of the modern life that he wanted and what he could achieve with the opportunities that he had.

The researcher believes that a close look into the work of Satyajit Ray could provide a better insight into the then conditions of life prevailing at that time. His cinema is replete with social history and the reason of men being a follower of modernism. After all it is the hardships of life and the constant monotony of the existing life that led the common man to take steps which took him to a world of betteropportunities.ThesocialhistorieshavealwaysbeensubordinatedandifthefilmsofSatyajit


Ray were looked from this perspective, the reason behind his not running after the conventional commercialfilmswillbeclear.Hehankeredafterthelessknownshowinghisadventuristnature.The middle class was modernizing and Ray’s incorporation of realist techniques and artistry in his movies break away the traditional chains and bring out a meaning to the entire process of modern-ization. The moments of understanding within the cinemas will provide the complete framework of what can be call a start of the Indian modernity.

BIBLIOGRAPHY

• Bhattacharjee Monalisa (2012); 19th Century Bengali Women and the Films of Satyajit Ray: A study

• Cooper Darius (2000); the Cinema of Satyajit Ray, Between Tradition and Modernity

• Goritsas Helen(2002); Senses of Cinema; Great Directors; Satyajit Ray; Issue 20

• Hayward Susan (2000); Cinema Studies: The Key Concepts; Second Edition

• MacCabe Colin (1974), ‘Cinema and Realism: A Note on Two Brechtian theses’, Screen, vol 15, no. 2.

• Quigly Isabel (2009), “Apu in The World; http://www.outlookindia.com/printarticle.aspx?262710

• Ramnarayan Gowri (1991); Walking Tall

• RajadhyakshaAshish(1993),‘SatyajitRay;Ray—movieandRay’sfilms’,JournalofArtsandIdeas, nos.23—24.

• Sengoopta Chandak (2009); Apu In the World; Fifty years after the Apu Trilogy, the west still misreads Ray

• Vasudevan Ravi (2015), Nationhood, Authenticity and Realism in Indian Cinema: The Double take of Modernism in the work of Satyajit Ray

• Wigley Samuel (2014), Satyajit Ray: Five Essential Films.



COMMUNITY RADIO AND WOMEN EMPOWERMENT: STUDY OF MANDESHI TARANG,

Ashwini Kamble (Assistant Professor, Indian Institute of Mass Communication, Regional Centre, Amravati, Maharashtra)

INTRODUCTION

A well known and well established journalists Rajdeep Sairdesai has written, ‘the narrative of television news is often shaped by two or three ‘big’ stories of the day almost to the exclusion of all else.’ (Sardesai, 2015). The commercialization of media has affected the news. That is whywecanseewidecoverageofhigh-profileSheenaBoramurdercasebutcompleteignoranceabout the drought in Marathwada region of Maharashtra. Media is a dominantly commercial enterprise. There are structural constraints of the business to deliver a great journalism. People get the kind of journalism which advertisers want, because advertisers pay for the production. (Barkha Dutt, 2011) This is the experience and view of leading Indian journalists, as could be noticed during the discussion among Barkha Datt, Tarun Tejpal and Christopher Dickey at THINK 2011, organized by Tehelaka.

The traditional mass media like newspapers, radio and television are male dominated hence women do not get equal space and time to voice their opinions. According to the, Global Report on the Status of Women in the News Media-2014, 73 percent of the top management jobs glob-ally are occupied by men as compared to 27 percent occupied by women.

With above two points it is very clear that mainstream mass media cannot focus on development issues and women don’t get enough space to express. Hence, community media is an important platform for women to empower themselves through expression. Mandeshi Tarang is a com-munity radio in Mhaswad village of Satara district in Maharashtra. This is the study of this community radio.

REVIEW OF LITERATURE

Lots of literature is available on community radio and its role in women empowerment. It is impossible to review all the available literature here, due to word limit. UNESCO and AMARC these organizations have done extensive research at global level in this area. Many studies have proven the role of community radio in women empowerment and development of the society.

RESEARCH PROBLEM:

This is the study of Mandeshi Tarang community radio which is run by Mandeshi Foundation, aNGOworkingforwomenandpeopleofMaantehsil.ThisisanattempttofindoutwhatroleMandeshi Tarang plays in women empowerment. Do the women of Mhaswad listen to Mandeshi Tarang?Dotheyparticipateintheprogramming?Whatdotheyunderstandbyempowerment?Whataretheiropinionsaboutissuesrelatedwithwomen?


RESEARCH METHODOLOGY

Interviews of following people were taken to understand the importance to have community radio in Mhaswad.

Shivaji Yadav and Sachin Menkudale, Team members of Mandeshi Tarang

Nirmala Gonjari, very active member of Management committee of the and

Chanda Mane, the Principle of Dnyanwardhini Highschool.

Group discussion, with the women members of the community who are regular listeners of Mandeshi, has given the detailed information about their understanding of women empower-ment, their perception of community media, their participation in the programming, and other issues related with their daily life.

Women living in Koshti lane of Mhaswad participated in the discussion:

Kavita Davande (age 31) Archana Rasal (age 37) Padmaja Pore (age 35) Geeta Rasal (age 45) and Sushma Lotake (age 35)Malan Davande (age 60)

ABOUT THE COMMUNITY RADIO STATION:

Mann Deshi Tarang, FM 90.4 MHz, is a community radio operated under the aegis of the Mann Deshi Foundation, Mhaswad, in Satara. Chetna Gala Sinha is the founder chairperson of the foundation. The foundation works for the empowerment of the community, especially women. The community radio station was started on 17th November 2008. It covers an area of 20 km. radius, in which around 70 villages are included. It took around Rs. 9 lakhs for setting up the community radio station.

TEAM:

Shivaji Yadav is a station in charge of Mandeshi Tarang radio station. He has deep understand-ing of community media and local issues. His team includes Sachin Menkundale, Anup Gurav and Anuja Kulkarni. Sachin Menkundale handles communication and content development and technical works. Anup and Anuja work as program assistant and announcer respectively.

THE PROGRAMS

There are three time slots of broadcasting. First is in the morning from 7.00 to 10.00. Second is in the afternoon from 12.30 to 2.30 and the third is in the evening from 6.00 to 9.00. This is repeat broadcasting of the previous day’s morning programs. The following recorded programs go on air:

Name of the program rough translation targeted audienceMalavarcha Shivar Farm of an Open Field FarmersSakhi Sajani Female Friend like Sakhi-Sa-

heliWomen

Gammat-Jammat Fun Fair Children


Tarunai Youth Youngsters, specially college going

Radio Doctor General HealthYashsvita Successful Women Women achieversMavlatikade Towards Sunset Old Age PeopleJune te Sone Old is gold (Old Hindi Film

Music)General

Vishesh Karykram Special Programs (On special occasions)

General

weekly Programmes targeted audienceBalrang ChildrenLokrang GeneralChitrarang GeneralBhaktirang General/Senior Citizens

Bhavrang GeneralKavyarang GeneralSaptrang General

FINDINGS OF GROUP DISCUSSION:

Most of the members of the group discussion have participated in the programming of Mandeshi Tarang. Sushma Lotake has not taken part but her daughter usually takes part in the quiz compe-tition. She believes the programmes on health of children are useful and she has even used that information practically in her life. Malan Davande (age 60) who has sung Bhajans on Mandeshi Tarang believes that with this radio she has got a platform to express her at this age. Padmaja Pore who has a small scale pickle business, thinks that radio should give local news as they can’t afford to have any other news-media. The awareness programmes on health and education of children are important and useful. She herself has participated in a quiz competition and felt veryconfident.KavitaDavandewhohasparticipatedinahealthprogrammetoaskherquery,believes that thought the songs are repetitive and sometimes boring the information regarding agriculture, health and nutrition is very useful. All of them agree on a point that participation inradioprogramminggivesthemconfidence.MandeshiTaranghasalwaysgiventhemusefulinformation about many issues which helped them. For them, this is empowerment. They be-lieve that Mandeshi Tarang is a platform to perform, to express and to enjoy. To have this kind of open to all radio platform in a village like Mhaswad, is very encouraging, concluding remark of Malan Davande.

CONCLUSION

Mandeshi Tarang has developed the leadership qualities in the women of Mhaswad. Dipali Ke-skar, Nirmala Gonjari these women have witnessed the change in them. They have not only participated in the programmes but also encouraged others to participate. Many women have participated in the programming of the community radio voluntarily. Earlier hesitation to par-


ticipateinthediscussionhasbeenreplacedbytheconfidence,whichisshapedbytheMandeshiTarang. The study shows that the Mandeshi Tarang, a community radio is a tool of change and empowerment of the women in Mhaswad.

Bibliography:

• AMARC. (2007). Community Radio Social Impact Assesment. Canada: World Association of Community Radio Broadcasters.

• Tested in the Lowest Point on Earth! Women’s Empowerment and Good Governance Through Community Radio (p. 66). AMARC.

• Barkha Dutt, T. T. (2011). The Missing Code: Why people are always angry? (S. Chaud-hary, Interviewer)

• Noronha, F. (2003, May 31). Community Radio:Singing New Tunes in South Asia. Econom-ic and Political Weekly .

• Sardesai, R. (2015, December 10). TN Floods and the Tyranny of Distance. Retrieved from Breaking Views: http://www.rajdeepsardesai.net/blog-views/1059081529/tn-floods-and-tyranny-distance

• Community. http://www.transformationsjournal.org/ , Transformations, No. 4.

• Tabing, L. (2002). How to do Community Radio. New Delhi: UNESCO.

• Vinod Pawrala, K. M. (2007). Other Voices. Noida: Sage Publications.

• Discussion with a group of women of Mhaswad.

• Interview with Shivaji Yadav, Sachin Menkundale and Nirmala Gonjari and Chanda Mane



MEDIA CELEBRITIES’ REACTIONS TO PM’S US VISIT & OBAMA’S

INDIA VISIT: AN EVALUATION OF TWITTER POSTINGS Mrs Shakuntala G Soratur (Ph.D Scholar (UGC-NET), Mass Communication & Journalism Department, Karnatak University, Dharwad)

Dr M Gangadharappa (PChairman, Department of Mass Communication and Journalism, Karnatak University, Dharwad – 03. Karnataka. )

ABSTRACT

The New Media has facilitated journalists in many ways. Journalists not only get information on twitter, facebook and whatsapp but also use these devices to air their views and opinions and defendtheiractions.Earlier,readerswereeasilyinfluencedbywhattheyreadinnewspapers.Today social media users are analytical and vocal in their criticism about mainstream media journalists. While twitter has facilitated fast communication, it has also revealed the persona and politicalaffiliationsofmediacelebrities.Inthedigitalage,mediacelebritiescannotgetawaywith whatever they write.

In this paper, we have evaluated the tweets of media celebrities during Indian Prime Minister Narendra Modi’s US visit in September 2014 as well as their tweet postings during US President Barack Obama’s visit to India in January 2015.

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INTRODUCTION

Microblogging site twitter is the new instant medium of communication. Twitter is not just a social network, it is an information network. It facilitates users to send and read short 140-char-acter messages called "tweets". Registered users can read and post tweets, but those who are unregistered can only read them. Users access Twitter through the website interface, SMS or mobiledeviceapp.TwitterInc.isbasedinSanFranciscoandhasover25officesaroundtheworld.

It was launched in July 2006 by Jack Dorsey, Evan Williams, Biz Stone, and Noah Glass who createdit.ThefirstTwitterprototype,developedbyDorseyandcontractorFlorianWeber,wasused as an internal service for Odeo (podcasting company) employees and the full version was introduced publicly on July 15, 2006. The service rapidly gained worldwide popularity, with more than 100 million users posting 340 million tweets a day in 2012. In 2013, Twitter was de-scribed as "the SMS of the Internet". As of May 2015, Twitter had more than 500 million users, out of which more than 332 million are active (Wikipedia).

FEATURES OF TWITTER:

While tweets are publicly visible by default, senders can restrict message delivery to just their followers. Users can tweet via the Twitter website, compatible external applications such as for smartphones, or by Short Message Service (SMS).

Users may subscribe to other users' tweets—this is known as "following" and subscribers are


known as "followers" or "tweeps", a portmanteau of Twitter and peeps. Individual tweets can be forwarded by other users to their own feed, a process known as a "retweet". Users can also "like" (formerly "favorite") individual tweets.

Twitterallowsuserstoupdatetheirprofileviatheirmobilephoneeitherbytextmessagingorbyapps released for smartphones and tablets.

Userscangrouppoststogetherbytopicortypebyuseofhashtags–wordsorphrasesprefixedwith a "#" sign. Similarly, the "@" sign followed by a username is used for mentioning or re-plying to other users. To repost a message from another twitter user and share it with one's own followers, a user can click the retweet button within the tweet.

A word, phrase or topic that is mentioned at a greater rate than others is said to be a “trending topic.” Trending topics become popular either through a concerted effort by users, or because of aneventthatpromptspeopletotalkaboutaspecifictopic.ThesetopicshelpTwitterandtheirusers to understand what is happening in the world and what people's opinions are about it.

Twitter messages are public. Unlike Facebook or LinkedIn, where members need to approve social connections, anyone can follow anyone on publicTwitter but users can also send private messages. Information about who has chosen to follow an account and who a user has chosen to follow is also public, though accounts can be changed to "protected" which limits this informa-tion (and all tweets) to approved followers

Twitter has become a valuable tool for professional journalists and popular media faces to ex-press their opinions, gain publicity, lambast those whom they detest and defend their own ac-tions at lightning speed. They tend to take blunt positions while using the 140-character social networking site.

RESEARCH OBjECTIVES :

1. Review reaction of popular journalists on twitter during Prime Minister Narendra Modi’s four-day visit to the United States in September-end 2014

2. Evaluate reaction of mainstream media journalists and news organizations on twitter to US President Barack Obama's three-day-visit to India on January 25, 2015

METHODOLOGY

The contents posted by journalists on twitter were taken for evaluation. The researchers ran-domly picked up tweets that contained strong words and were prejudiced. The tweets of media celebrities such as Headlines Today’s Rajdeep Sardesai and, Shiv Aroor; Ashok Shrivastav of DD News; Barkha Dutt and Rahul Shrivastav of NDTV; and Sagarika Ghose of The Times of India were analysed as they are very active on twitter.

ANALYSIS AND DISCUSSIONS

When Prime Minister Narendra Modi was on a four-day visit to the United States in Septem-ber-end 2014, many Indian media celebrities tweeted on his visit in a critical way.

Prime Minister Modi was in New York from September 27, 2014 and held 50 meetings within


four days. Social Media (SM) and mainstream media (MSM) kept a close watch on his public moves and words. When Mr Modi was at Ground Zero paying tribute at 9/11 Memorial and Mu-seum, media personalities were busy tweeting about it. Pictures of Modi with Hugh Jackman and Carrie Underwood at the Global Citizen Fes-tival went online within minutes after the event. The programme Last Week Tonight had Jon Oli-

ver of HBO talking about Mr Modi.

On September 27, he addressed the United Nations General Assembly (UNGA). Most social media users (non-journalists) were enthusiastically lauding his speech, the standing ovation and loud cheers given by all 193 members. But media celebrities were bothered about other things. Take a look at the below tweet:

THE MADISON EVENT

MrModi'sbiggesteventduringthevisitturnedouttobeanunofficialone.OnSeptember28,the Indian American Community Foundation had organised a function at New York's Madison Square Garden (MSG). The 19,000 audience included those who were selected through a draw of lots.RepresentativesofAmerican companies,USofficials, elected representatives, politi-cians, investors, Wall Street businessmen and executives met the PM on this occasion. The Indi-an PM delivered an electrifying speech for an hour which was watched by millions of television viewers across the world. He spoke about the Lok Sabha elections, NRIs and announced various reforms for Indian origin (PIO) cardholders.

Meanwhile, outside MSG in the run-up to Modi’s speech, Rajdeep Sardesai, a senior journalist representingHeadlinesTodaywascaughtinamuch-publicisedscufflewithagroupofModisupporters. The incident occurred when Mr Sardesai was interviewing the Indian community people who were shouting pro-Modi slogans. The crowd hurled verbal abuses at him when he began to ask some distasteful questions to them. Videos of the incident showing him get-ting physically abusive went viral on the SM. Many media celebrities including Rajdeep’s wife Sagarika Ghose were soon tweeting in Rajdeep’s defence.


Rajdeep tweeted that he was abused by the mob outside MSG and the incident was caught on camera. SM users asked him to release the clipping to which he did not respond. Many videos of the incident recorded on mobile phones are available online but not the one that Rajdeep has referred in his tweet.

The last tweet posted by TV journalist Ashok Shrivastav of Doordarshan News, was one of those rareonesthatdifferedfromwhatmanyjournalistsweresaying.ThescuffleandtheMSGeventcontinued to trend all through October 2014 on twitter.

HASHTAGS THAT TRENDED

The Indian embassy had organised a din-nerwhereover700membersoftheinflu-ential Indian American community met the Indian PM. The SM was abuzz with details of the happenings but Rajdeep’s scuffle continued to dominate and trendalongside. Some of the popular hashtags that trended during Modi’s visit to the US were – #ModiatMadison, #ModiIn-NewYork, ModiinAmerica, #ModiInUS,

#ModiAtUN, #MODIson, #NaMoleague, #PMPrideofIndia, #ModiMeetsAmerica, #MakeInIn-dia, #GlobalCitizenFestival, #RockStarWelcome, #UNGA, #ModiMeetsObama, #mahabreak-up, #NaMosteAmerica and #Namorica, #Rajdeepslapped, and #IStandwithRajdeep which went onandonforaweekevenaftertheRajdeepSardesaiscuffle.Inall,Googlehas1,920,000imageresultsofMrModi’sfour-dayvisittoNewYorkand8,410,000imageresultsofhisentirefirstleg visit to the US. There are 4,74,000 image results of Mr Modi at MSG alone. , Google has 1,38,000 image results of Rajdeep at MSG show.

OBAMA’S INDIA VISIT:

US President Barack Obama's three-day-visit to India on January 25, 2015 as the chief guest for the Republic Day function was also widely covered by the mainstream and social media. Indian Information and Broadcasting (I&B) ministry created a special blog which was popularly accessed by Internet users. The ministry created the hashtag #IndiaUSA which reached 5.25 lakh accounts. The total number of tweets published by various accounts of I&B ministry about Obama's visit was 291 and these were re-tweeted 12,956 times. The potential reach of the ministry's Facebook posts was around 10 lakh accounts during January 25-27, 2015.

PM Modi wore a blue pinstripe suit at the Hyderabad House in New Delhi on Sunday (January 25, 2015) during a banquet hosted by President Pranab Mukherjee in US President’s honour. The pin stripes were not simple lines but his name 'Narendra Damodardas Modi' was intricately woven into the fabric over and over again to form the stripes. Social media reaction was scathing about the ‘Modi kurta’:

Modi's suit. Fabric: Holland & Sherry (UK). Tailor: Tom James. Gold thread with this name on it.


Total bill: £10,000.— Vijay Prashad (@vijayprashad) columnist, historian, January 27, 2015. (282 retweets 98 favorites)

When Modi met Obama, his name was all over - his suit — Reuters India (@ReutersIndia), January 26, 2015.

NarendraModiisn'tthefirst.HosniMubarakalsoworeasuitwithhisownnameonit.pic.twitter.com/HuigeWHfZ6 — Hasan Zaidi (@hyzaidi) Pakistani journalist, January 27, 2015.

Think @narendramodi pressed all the right buttons on the POTUS visit. Except the over-familiar Barack bit. And the suit! 8 on 10 overall. — Rajdeep Sardesai (@sardesairajdeep) January 27, 2015. (88 retweets 123 favorites).

Modi suited, and BJP booted! – Siddharth Varadarajan (@svaradarajan) February 9, 2015. (325 retweets 172 favorites).

Media celebrities showed their affection towards the US President by posting welcome tweets and applauded whatever Obama said in his address at Siri Fort Auditorium in New Delhi on January 26.

Welcome @BarackObama!Hope u'll share with our leadership your vision of vibrant civil rights, a free press and political reconciliation! Sagarika Ghose (@sagarikaghose) January 24, 2015.

Make In India tableau: YIKES. Grisly iron lion like something out of Aliens - Sagarika Ghose (@sagarikaghose) January 25, 2015. (37 retweets 29 favorites)

I think Obama brilliantly underlined the factors that make India great - especially our diversity. Hope all listened! #NamastePOTUS – Vikram Chandra (@vikramchandra) January 26, 2015. (62 retweets 53 favorites)

Now@BarackObamadirectlyasksthepeopleofIndiatohelpfightclimatechange.Alsospeaksofneed to respect diversity. #NamastePOTUS – Vikram Chandra (@vikramchandra) January 26, 2015. (14 retweets 11 favorites)

Siri Fort Event- Simple, ClearTalk, focus on 2Countries. Madisson Sq- PR Event, Cheap Theatrics, focus on NRI Gujjus. Thx.#TheObamaVisit . – Vinod Mehta (@DrunkVinodMehta) January 27, 2015. (68 retweets 46 favorites)

Since Entire Int'l media reported it, #ModiSuit not sidelight but became highlights of #TheObam-aVisit. Thx. – Vinod Mehta (@DrunkVinodMehta) January 27, 2015. (34 retweets 22 favorites)

With PR Events, Designer suits & bon-homie, Opinion of World Leaders don't change. Neither does BIG Investment come in. Thx. #TheObamaVisit . – Vinod Mehta (@DrunkVinodMehta) January 27, 2015. (67 retweets 40 favorites)

From gender equality to climate change to freedom of religion, @BarackObama presses all the right buttons. Great speech. #NamasteObama — Rajdeep Sardesai (@sardesairajdeep) January 26, 2015. (240 retweets 212 favorites)

Remarkable speech by @BarackObama on India's great diversity .Even quotes Art 25 on freedom of Faith.Areusualrabble-rouserslistening?–BarkhaDutt(@BDutt)January26,2015.(174retweets


137 favorites)

Take a bow (and a blush)@iamsrk @ BarackObama is here with his Bade Bade Deshon Mein quip :-)all that's left is themustardfields&dance!–BarkhaDutt (@BDutt)January26,2015. (241retweets 154 favorites)

“India will succeed as long as it's not splintered on religious lines”- powerful words from @BarackObama on inclusiveness & faith – Barkha Dutt (@BDutt) January 26, 2015. (264 retweets 195 favorites)

Whyaresomeofmy'friends'ontwitterangrywithwhat@BarackObamasaid?Surely,heisenti-tledtoconveyhis'dilkeebaat'?—RajdeepSardesai(@sardesairajdeep)January26,2015.(106retweets 119 favorites)

Couldn’t agree more with @BarackObama on how countries should be judged by how they treat theirwomen.ButwillhesaythisinSaudiArabia?–BarkhaDutt(@BDutt)January26,2015.(487retweets 335 favorites)

NewsTodayat9:has@BarackObamaputIndiaonnoticeonreligiousfreedom?Has@narendra-modiarrivedontheworldstageasastatesman?—RajdeepSardesai(@sardesairajdeep)January27, 2015. (36 retweets 48 favorites)

One slightly wrong note tho: why did @PMOIndia persist in calling POTUS "Barack", when latter stayedstrictlywithMrPM?AbitOTT-SagarikaGhose(@sagarikaghose)January27,2015.(94retweets 58 favorites)

"Senorita... bade bade deshon mein... you know what I mean," says US President Barack Obama #TheObamaVisit - Times Now (@TimesNow) January 26, 2015(467 retweets 274 favorites)

PM Modi to auction controversial suit with his name all over it http://reut.rs/17QFKtd — Reuters India (@ReutersIndia) February 18, 2015. (12 retweets 5 favorites)

"#TheObamaVisit” shows up as trending topic in India at rank 7 — TrendieIn-Trends (@TrendieIN) January 25, 2015. (0 retweets 0 favorites)

CONCLUSIONS

Evaluation of tweets posted by media celebrities during the said period (Mr Modi’s visit to US and Mr Obama’s visit to India) reveals the attitude and mindset of many popular journalists. Journalists have conveniently used twitter to express their strong political viewpoints. They were sarcastic about Mr Modi but except for one or two tweets, they were gracious towards Mr Obama. This shows the prejudice of top Indian journalists of our country.

Future researchers can take up a similar study with regard to many other issues and evaluate how followers respond to postings by MSM journalists on social networking sites.


References:

• Books and newspapers:

• Media Research Cross-Sectional Analysis by Uma Joshi.

• Process and Effects of Modern Communication by Karun Shetty

• Ethics and Modern Communication by Arun Bhatia

• Mass Communication Research by Bhanu Pratap Singh

• Online Journalism – A basic text by Tapas Ray

• New Media and Pathways to Social Change Shifting Development Discourses – Editor Kiran Prasad

Websites:

• http://en.wikipedia.org/wiki/Twitter• http://whatis.techtarget.com/definition/Twitter


TRANSLATING AND CONTEMPORIzING FABLE FORM INTO A PERFORMING ART

(SPecIAL RefeRence tO GOSHtA SImPLe PILLAcHI, A GRIPS PLAY)

Ms. Prasanna Hulikavi (Deputy Director and Assistant Professor Symbiosis Institute of Media and Communication,

Lavale, Pune)

Radhika Ingale (Assistant Professor Symbiosis Institute of Media and Communication, Lavale, Pune)

1. Introduction

2. Fables and their role in societies (special reference to ugly duckling)

3. Translating the fable into the play “Goshta Simple Pillachi”.

4. Directors note (process of actual translation through mediums)

5. Qualitative analysis based on feedback

6. Conclusion.

Goshta Simple Pillachi

Writer- Vibhawari Deshpande

Director- Radhika Ingale

Production- Maharashtra Cultural centre Pune.

1. INTRODUCTION

Thoughitisdifficulttotracethehistoricaloriginsandevolutionoffairytalesandfablestoaparticular time and place, we do know that humans began narrating tales as soon as they devel-oped the tool of speech. They may have even used sign language before speech originated to communicate happenings.

Though many ancient tales might seem magical, miraculous, fanciful, superstitious, or unreal to us, people believed them, and these people were and are not much different from people today.

Fairy tales are told with a certain objective—to transform the world and make it more adaptable tohumanneeds,whilewealsotrytochangeandmakeourselvesfitfortheworld.Therefore,thefocusoffairytales,whetheroral,written,dramaticorcinematic,hasalwaysbeenonfindingmagical instruments, extraordinary technologies, or powerful people and animals that will en-able protagonists to transform themselves along with their environment, making it more suitable for livinginpeaceandcontentment.Fairy talesbeginwithconflictbecauseweallbeginourliveswithconflict.Weareallmisfitfortheworld,andsomehowwemustfitin,fitinwithotherpeople,andthuswemustinventorfindthemeansthroughcommunicationtosatisfyaswellasresolveconflictingdesiresandinstincts.

2. FABLES AND THEIR ROLE IN SOCIETIES (SPECIAL REFERENCE TO UGLY DUCKLING)


Most histories of the fable associate its beginnings with Aesop in 600 BC. Despite Aesop’s significance, however, he did not invent the fable,which probably originated in Sumer andMesopotamia sometime in 800 BC, and we are not even certain that he existed. But we are sure that archaeologists discovered didactic narrative works on clay tablets and in scripts that resem-ble the fable in form as well as subject matter, and these Sumerian and Babylonian texts were probably transmitted orally and through manuscripts to the ancient Greeks. (Zipes, 2012) The stories, although not called fables at that time, were short and primarily featured animals, which wereanthropomorphizedandexemplifiedamoral.Asthefableswerespreadandtransformedbydifferent cultures, inanimate objects, mythical creatures, and even humans were often added to the cast of characters. Still, for the most part, animals dominated the stories and were involved in “human”conflictsthattheyhadtoresolve.Theconflictshadtobeadjudicatedinsuchawayasto potentially establish ethical guidelines or principles of fair play. In this regard, fables contrib-uted to the civilizing process of all societies and the constitution of the humanities. All the simple forms of narrative in fact weave themselves in and out of civilizing processes. Fairy tales, like ourownlives,werebornoutofconflict.Fairytaleswerenotcreatedorintendedforchildren.Yet they resonate with them, and children recall them as they grow to confront the injustices and contradictions of so-called real worlds. We cannot explain why the origins of the fairy tale are so inexplicable and elusive. But we can examine why they continue to be irresistible and breathe through us, offering hope that we can change ourselves while changing the world. However long ago they were told, they have a feel of timelessness around them.

Think of a time in your life when you felt left out or different; maybe you were the new kid in your school or your neighborhood, or the only person of your cultural background in your class. Maybe you can remember being teased for wearing glasses or braces, or for not being the best at kickball. These are all life experiences that teach us important lessons about inner beauty, acceptance and kindness toward others, and one of the most famous examples of such a lesson in Children's literature is Danish storyteller Hans Christian Anderson's fairytale the Ugly Duckling, published in 1843.

Characteristic of the fairytale story, Anderson's tale shows a character overcoming a challenge and miraculously arriving at a happy ending. The Ugly Duckling's transformation might not be magical in the same way we think of magic in stories like Cinderella; there's no fairy godmother waving a wand to make the Ugly Duckling beautiful, but the magic is in his self-discovery and how much being loved and accepted alters his appearance as much as his natural growing up. (Marinaro)

Part of the duckling's struggle comes from the treatment he receives from others, but also from the fact that he simply accepts their perception of him and doesn't realize until he gets a good look at himself how truly beautiful and wonderful he is. While he transforms into a beautiful swan on the outside, the real transformation occurs inside him; onlywhenhefindsagroupwhoacceptshimat face-valuedoeshehave thecourage toexaminehisown reflection.Themoral of the story teaches us to accept one another no matter how different we might appear.


3. TRANSLATING THE FABLE INTO THE PLAY “GOSHTA SIMPLE PILLACHI”-

Stories are a major part of a child’s life. Children hear stories told to them or read to them by parents, siblings and teachers. Stories are brought to children through songs and rhymes, but also through television, theatre and cinema. Events in stories often raise complicated life issues or they introduce children to aspects of the adult world they may not have experienced before. Dramatizing stories allows children to explore these issues. Drama also gives meaning to the language of the story and helps the young audience understand the meaning or moral of the story beyond the text. Concrete items, such as puppets, props and costumes, support drama activities based on stories. They help to bring the story off the page of the book and into real life. Children intheaudiencefindthatthingstheycantouch,hold,see,andwear,helpthemwiththemeaningof the story. (penguinreaders.com)

Writer of the play Goshta Simple pillachi ,Vibhavari Deshpande states that the philosophy and the spirit of the moral emerging out of the fable was kept in focus during the creation of the plot of the play.The characters and surroundings emerged out of brainstorminf sessions with the Director of the play.The connect with the fable was sought through the dramatic elements which emerged out of the visual imagery produced upon hearing the fable without the help of visual aids. A few similarities were maintained as a result of this visual memory and translated into the narrative.

For e.g. –

1. Themotifsofthepondandthereflectionoftheducklingaretranslatedintotheswimmingpoolandreflectionoftheprotagonist.Inthefablethereflectioninthepondtellstheduck-ling about the change that has happened in its outer appearance but in the contemporary version of the play, the character Jhumka tells Sawani (the protagonist) not to believe in thereflectionasitwillconveyonlyouterappearanceandthebeautyactuallylieswithinthepersonality and character of people.

2. In the fable the swan changes externally and becomes bodily beautiful,thus getting accepted by peers, but in the play the protagonist Sawani does not change externally (she continues to look dark skinned and bespectacled) ,it is the way that people realize her inner beauty and theconfidenceshedevelopsinherownselfthatchanges.

3. The hen and the crow tell the duckling about the changes it need to bring along in its person-ality for it to be accepted in peers and society. Similarly the granny (sweetu) in the play tries to make Sawani conventionally beautiful by applying fairness paste, creams and promising to buy her fashionable clothes and a smart modern haircut.

4. The story progresses through a parallel narrative of contemporary dance which connects the present situation in the play to the timelessness of fables and offers the viewer a chance to understand it beyond the text.

5. The characters which depict the hen, crow, peasant, other ducklings are converted into the


characters of Sawanis’ cousins and friends, her grandmother, a neighbor who speaks the philosophy of the play etc.

4. DIRECTORS NOTE -

The process of creating the content for this play was initiated after a discussion with a group of colleagues about their childhood experiences. Through this discussion the emotional trauma faced by a child with the conventional “no special talent” in the competitive world of today came to the fore. And I decided to approach the subject with the help of a fable, The Ugly Duckling, which is a metaphorical representation of the concept of inner beauty and realization of the same. The use of the contemporary style of dance takes the story of the ugly duckling ahead as a parallel narrative in the play.

Contemporizing this fable brought to life the story of Sawani, a girl who is ‘average’ according toexistingsocialnorms,andherjourneyoffindingherinnerbeautyintheworldwhichisluredby cosmetic appearance. Her average bespectacled looks, dark skin tone, absence of sense of style and low ‘conventional’ intelligence makes her the laughing stock of her cousin and friends whoarecompletelyundertheinfluenceofshallowthoughtsaboutbeautyandskill.

The design of the set also brings through the connect with the fable, as the use of the swimming pool links it to the pond in the original story. I have tried to bring in the element of personal lib-erating space by depicting the “Restroom” on stage, an area where Sawani is herself and hence completely un- inhibited.(I have designed the set as well.)

The use of playback theatre is done in the song “ekte agadi ekte”, where she watches her own life traumatizing sequences along with the kids in the audience and tries to ask questions about the concept of beauty.

ChildrenintheaudiencetakebackamotivatedsenseofconfidencewhentheyseeSawaniper-form the Finale swan Dance, which she is afraid of performing through the entire play and the conceptofconfidenceandselfesteemareunderlinedpositively.

5. QUALITATIVE ANALYSIS OF THE FEEDBACK -

A questionnaire was circulated among the school children in Pune, in 2 schools viz- Modern high school and Muktangan highschool, in the age group of 11-15 and they were also asked to give a visual interpretation and verbal reaction of the play through drawings and structured questionnaire post the shows of the play in their school.

Afewofthereactionsonthequestion“Howdoyoufeelaftertheplay?”areasfollows

1. “Ugly does not mean bad. They have some or the other qualities are not in anyone else .And we should not tease an ugly person.”- Shrutali Bhilare (14)

2. “Verynice.Iwasinfluencedandmymindtotallyattractedtowardsthemoral”-Esha Jagtap


(14)

3. “After the play I felt that the beauty of the mind is the only beauty in the world. There is no partiality from God about beauty.”- Atharva Kirkole (14)

4. “It was a fantastic act. It opened our eyes that we should not say to others that they are ugly, dumb etc.It makes them feel sad.”-Atharva Badgujar (14)

5. “The story was about a cursed duck and the play is about a cursed girl”-Amisha Borana (13)

6. “It changed my point of view about some people I think are ugly”-Shruti Deshmukh (14)

7. “After the play I realized that the beauty in our mind is more important than our face beau-ty.”- Sakshi Shelar (14)

8. “I read the story in a book, but the play was better done than the book”-Josh Pataskar (13)

9. “The play passes the message that we should never judge anyone by appearance”- Deval Bhapkar (14)

10. “In the end I realized that however beautiful the person is, his internal sweetness, kindness and honesty matters. Everyone has qualities and faults too.”-Anuja Deshpande (12)


Pictorial representations-


6. CONCLUSION -

From the above feedback and the overall response the play has received from the larger audience, it appears that there is certainly merit in Translating and contemporizing Fable form into a performing art. The main factors that contribute to this conclusion are:

1. The messages that fables convey are universal and transcend time.

2. By contemporizing the fable, it becomes much easier for the audience (especially the younger audience) to relate to and understand the underlying messages.

3. Contemporization offers one the creative freedom to incorporate current issues and scenarios which make it easier for the audience to relate to the story and identify with it.

4. By converting the fable into a performing art form, one can then use the advantages offered by the art form to strengthen and reinforce the message.

5. Many of the fables involve messages for a diverse audience such as parents, children, society at large etc. The performing art form allows all these elements to have and share this experience together (unlike a book, which would be read individually)

6. The performing art form can also include elements which can educate and entertain, thereby perhaps reaching out to a larger audience.

Bibliography

• (n.d.). Retrieved from penguinreaders.com: http://www.penguinreaders.com/pdf/downloads/pyr/PYRTGDramStories.pdf

• Marinaro, F. M. (n.d.). study.com. Retrieved from study.com: http://study.com/academy/lesson/the-ugly-ducking-summary-characters-author.html

• Zipes, J. (2012). The Irresistible Fairy Tale: The Cultural and Social History of a Genre. Princeton University Press, Literary Criticism - 235 pages.


MEDIA SHOULD REFRAIN FROM PERPETRATINGSUPERSTITION AND HELP IN ERADICATING IT

Prof. Shahid Shaikh (DepartmentofMassCommunicationandJournalism,Dr.RafiqZakariaCenterforHigherLearningand

Advanced Research, Aurangabad )

INTRODUCTION

Superstition and blind beliefs are considered as major social problem in India since centuries andisdeemedasthepredicamentinthedevelopmentprocessandacceptanceofscientificlogics.Superstition actually is any belief or practice which is explained by supernatural causality and is in contradiction to modern science.1 In his book “Believing in Magic: The Psychology of Superstition” Stuart A Vyse says, ‘The gap, between what is superstitious and what is not, widens even more when considering the opinions of the general public and scientists”2. It is attributed to lack of education but in our country educated and highly educated are also found to be superstitious.3 The beliefs and practices vary from region to region, with many having their own practices that range from harmless lemon-and-chilly totems for warding off ”evil eye” to serious concerns like witch-burning andsacrificingofchildrenandinnocentpeople.Someofthesebeliefsandpracticesarecenturiesoldand are considered part of the tradition and religion.4 Due to the superstition, India’s recognition in science is being badly affected says Rao U R.5 while noted author and historian Meera Nanda says that India cannot become a superpower in science unless it eradicates its various superstitions including astrology.6

India is the largest democratic nation in the world and any democracy stands on four pillars that are Legislature, Executive, Judiciary and Media.7 Among these, Media has the greater potential and power to create better world and better future.8 But after studying umpteen cases, it is observed that instead of creating awareness among the people of the nation and helping them provide good future, the media itself is spreading the superstition through its News stories, Soap operas, mega serials and advertisements only for fetching revenue without caring a mole for the evil effects on the society. If used with social responsibility, Media can play vital role in eradicating this evil from the nation and clearthehurdlesinthescientificdevelopmentofIndiawhichyethastheimageinothercountriesdepicting magicians who are making snakes, that do not have ears, dance on the music played by the wrangler.

MEDIA CONTENTTODAY

There are so many cases in our nation where people, all educated and illiterate, contact the astrologers for deciding the names of the new born babies or compare the horoscopes, (Kundli) before selection of brides or grooms. Marriages are performed on so called auspicious time (Muhurat)9 and these canbefoundeverythenandnowontheserialsonTelevisionorinthefilms.Thiscreatestheimagein the mind of the masses that such things are required to be performed and is also a part of fashion, thoughnotsupportedbyanyscientificreasoning.ThereareverywidespreaddialoguesonTVorinfilmsrelatedtosuchsuperstitions-“Kundliyamilgaiehai”,“ShaadikaMuhuratniklajaaraha


hai” and due to such beliefs, the fortune tellers are making hay. Only for fetching some bucks, they are spreading the misbelieves and creating social evil. It was in September 1951, that responding to anewspaperarticleaboutanastrologerpredictinganimminentwarwithPakistan,thefirstPrimeMinister of India, Jawaharlal Nehru expressed his desire to pass a law against astrology and sooth-saying.10

There are many self styled godman in Indian society who are proclaim themselves as spiritual leaders and are called as baba, guru, swami, Maharaj etc. These also include woman like “Radhe2 Maa” who is also worshipped by her disciples and media is after her where ever she goes to cover the story and glorifying her. A section of news papers and News channels also showed her photographs that were half naked and posed as a Bollywood model. This creates ‘pseudoworshipers’ who get attracted towards her for some other reason and superstition gets widespread. Such self-styled conman (and women) use the media in an intelligent manner and grab publicity without any expenditure and the society is left in doldrums and the gullible people are at stake.

Coverage given to Swami Premanand in 1984, Chandraswami and his disciple Narshimha Rao, Satya Saibaba, Asaram Bapu, Nirmal Baba are all examples of such people. Santosh Madhavan one of such conman was sentenced to 16 years of imprisonment in 2009 for raping under aged children including boys. He also was given more attention and positive coverage in media before this fact came to fore and it will not be wrong to say that media was an accomplice who helped that thug to do such a heinous crime. Sanal Edamaruku had criticized the Television channels for showing stories that feature godmen positively.11

Solar eclipses, Triple eclipses, witch hunts, Lemon-chilies’ fundas, black cats, owls, black magic, animal andbird sacrifice, inauspiciouswidows,human sacrifice,Ganeshadrinkingmilk (1995),curing amulets, magic problem solving rings etc are all the topics of superstition seen given coverage in Indian media which is criticized.

Accordingtoofficialfiguresbetween2001to2006anestimated300peoplewerekilledinAssamand35 murders related to witchcraft were reported in Sundergadh district of Odisha.12 There are also some laws in India like Drugs and Magic Remedies (Objectionable Advertisements) Act, 1954 in India that are for preventing the superstition but neither the implementing authority nor the courts of law take note of its violation.

MEDIA ITSELFA CULPRIT

Our country tops the charts in cases of superstition and mediacan be considered responsible for that as in spite of removing the blind believes and superstitionsof the people, some section of the media is also involved in spreading it for monetary gains. We saythat the media has an important role to play in removing the vices from a society especially, newschannels owing to their impact factor. But there are certain news channels that force people tobelieve otherwise. They are not here to remove the weed but to further populate it. With constantcompetition lurking from all four sides for news channels, they have invented a new way of attractingthe Indian audiences.13


Interestingly, there are few channels that have a slot for the programs which give a boost to superstitious believes and further strengthen it. News channels are very effective in India and can help removing such blind believes but on one side such channel are showing the programs against the self styled godman and increasing the number of such unveiled ‘fake Gods’ in their exposure list, they are on the other hand presenting programs as ‘Teen Devian’ in which three modern English speaking smart girls are sitting in the studio and narrating about the ‘Future Lives’ of people who are asking them the questions. This is contradictory to the channels own program of exploring the Tantriks. Juhi Gupta rightly says, “Superstitions, of any kind, of any level can tantamount to ruining the life of many individuals. It becomes media’s ardent duty to showcase those shows that free the people from the shackles of such evil, hollow and unfair tendencies rather than reinforcing something as grave and as baseless as superstitions.”14

The story aired by Television channels and carried by Newspapers related to creating of awareness against superstitions in which Karnataka excise minister Satish Jarkiholi along with 3 hundreds of people spent a night at Vaikunth Dham, a burial ground which is now a crematorium, on the occasion of the death anniversary of B R Ambedkar in 2014 received tremendous response from the people nationwide. The minister, who was one among the vociferous voices for bringing in the anti-superstition bill in the state Assembly, said he chose to spend the night at the crematorium to bust the myth that such places are the abode of ghosts. Jarkiholi is right in saying that unless people do not fightthesuperstitiousmindset,thosebelongingtolowercastesandotherbackwardclasseswillnotget justice. But this cannot be achieved by a law against superstitious beliefs and its enforcement by the police. The need is to change people’s mindset through awareness campaigns and by cultivating ascientifictemperamongtheyoung.15Andthiscanbeachievedbytheextensiveandvastuseofmedia in our country.The bill is in line with the one against a similar legislation in Maharashtra, which was favored by well-known rationalist Narendra Dabholkar, who was assassinated in Pune last year apparently by those who opposed his beliefs. There is little doubt about the need for the kind of Andha Sraddha NirmoolanSamitiwhichwas set up byDabholkar to fight against blind faith and blackmagic.Considering how the dead body of a godman is sought to be preserved by his followers in the Jalandhar area of Punjab in the belief that he will return to life, the value of campaigns against such bizarre practices redolent of the paranormal cannot be overstated. This was also brought to light by the media and then action was initiated and the way paved for cremation of body and action against the accused.News Broadcasters’ Association (NBA), having all news channels as members, has laid down a code of ethics for news channels. To quote the relevant section, “Refraining from advocating or encouraging superstition and occultism:- News channels will not broadcast any material that glorifies superstition and occultism in anymanner. In broadcasting any news about such genre,news channels will also issue public disclaimers to ensure that viewers are not misled into believing or emulating such beliefs and activity. Therefore news channels will not broadcast “as fact” myths about “supernatural” acts, apparitions and ghosts, personal or social deviations or deviant behavior, and recreations of the same. Wherever references are made to such cases, news channels will issue on air riders/ disclaimers/ warnings to ensure that such beliefs or events are not passed off “as fact” since they can hurt rational sensibilities.16 However, we can see many examples of blatant violations


of this criteria in many news channels of all languages, tailored to amuse people, catch attention and gain TRP, but do little to provide information, education or entertainment.

RAY OF HOPE TO ERADICATE SUPERSTITION

There are few examples that theresearcher had personally experienced and are worthy sharing here.1. As mentioned above, the “Lemon-Chilies” or Nimbu-Mirchi used as the auspicious totems

for warding off evil eye. This superstition had been mocked at in one advertisement of tyres, (though it is paid form of stuff) wherein the character Irfan Khan tells his friend- “Gaadi achche tyre ke zor par chalti hai Nimbu-Mirchi ke Bharose nahi”. This is a good message to overcome the blind belief.

2. In one of his article in the Newspaper DNA, it was written that one should not even propagate the superstition that do not harm anybody. The article was carried under the head- Dare to step on lime and green chilies - where it was said “The idea that there is no harm in following some superstition as long as it is not harmful is what is worrying”17 4 But alas though this is an attempt for eradicating the superstition from the Indian society the Maharashtra Eradication of Black Magic, Evil and Aghori Practices Bill is even today languishing with no political support from either the treasury bench or the opposition. This is shameful for the so called progressive state. It cannot be denied that people in India have faith in written words in Newspapers and so they are required to be more cautious. The press should not, in any way aggravate the already existing blind belief and irrational superstitions.18

3. A pretty good essay of the civil service India had mentioned on the blog-India is a home to many of the superstitions. Most of the Indians have an irrevocable faith in superstitions which are often baseless. People are often warned of bad omens like “if a black cat crosses their path” or “if somebody sneezes before making a start”. Superstitions thus have become an integral part of many a people’s lives in our country and this should be overcome with all out efforts at all level.

4. “Naagin” is a soap opera that is telecast on the Colors Channel at present. In this serial the whole story concentrates on the Naagin. Opulent and lavishly mounted, the show stars Arjun Bijlani, Mouni Roy and Adaa Khan. The only responsibility that the channel is taking is that at the beginning it is warning viewers saying that it is only entertainment program, that too is very small font which not even 10 percent of the viewers might be reading. And outside the showtheactorsof thissociallyevilserial laud thesoap.Arjunsays,“Fantasyfictionshowsappeal to everyone, including the youth. These shows are about concepts that we don’t see on TV often.These stories packed with drama,suspense and romance make for good content.” Another actor of the Naagin Ada Khan says “Audiences love supernatural and horror dramas in TV shows. Saas bahu saga no longer dominate the scenarios that is why makers are dishing outthe wide variety of content”19. It is not yet known that why this serial are allowed to be aired andthattodailywithdozensofepisodes?Thereshouldbewrite-upsandstoriesonTelevisionnews channels against such superstitious serials that are further damaging the crusade of the progressive community as it is on air during prime time. The media should pressurize the authority to take strict action against the actors who act and then support the superstitious


activities for increasing self popularity and do not think of the consequences on the society. Action was taken against the Comedian Kiku for imitating one self styled god man though that is not a crime as he did not defamed or insulted him. Why can’t such action be initiated by the policeorthecompetentauthorityagainstArjunBijlaniandAdaKhan?Hadthemediashownthe story, action would have been taken. But the truth lies in the profession and the groups like STAR, NDTV, Zee, Colors, Soni are all having ‘bouquets’ of various types of channels and if one group will criticize the program of other (which is harmful and not in the interest of people) , it will come back to it another day. Hence they are engage in ‘Business’.

5. Ye Hai Mohabbatein: The characters Ishita and Raman had in this serial being celebrating all the moments of the life and the serial too had started with some superstitious touches. The family is facing some problems and Ishita, Divyanka Tripathi, gets possessed by Shagun’s, Anita Hasnandani’s ghost and the family is affected by this. This is again a dissemination of the superstition on behalf of the Television that is irresponsibly propagating the make believe thing that ghosts exists and can do supernatural things. Notably, it can be observed that on the other hand the serial CID had been trying hard to overcome such ghost believes by unearthing after the investigations that there are some mischievous 5 characters who are trying to scare people for some or other reasons and many episodes of the CID had concluded with the note that Ghost are just the creation of mind and in reality they do not exist.

6. Fear Files: This show airs the stories that are considered as paranormal. It is host by Rathi Pande who also act in the show and to create drama, Fear Files would be showing scary stories of Shaitan versus Shraddha. This is again a show that can misguide the viewers and they may become more superstitious.

7. Kaala Teeka: The name of this serial itself speaks half the content and is an attempt to bring awareness against the “Evil Eye” or “Evil Sight” against the blind belief. The serial shows two girls at the center point. Out of these two, one is Kaali who is shown as the evil charm for the other one character, Gauri. Kali is always dressed in Black and she is always like shadow of Gauri and is to wade off bad luck that can possibly let her down. Diya Singh, the producer of the serial says that her objective is to spread awareness about the social evil. She said- “With this show, we aim to go beyond love stories and family dramas as it’s a topic socially relevant in both rural and urban India, with many people practicing some or the other thing to ward off evil. We have tried to explore what happens when one goes to the extreme with superstitions anddelvesintotherealmofdarkerspacewherehe/shedoesnotflinchbeforeharminganotherperson and how it all turns out to be futile in the end.”20

8. Sasural Simar Ka: This is a superstitious serial which depicts the evil spirits one after another. Earlier they had shown a Naagin, the role of which was played by Sara Khan, and also a ghost played by Nita Shetty. Now they show how Simar with the help of her family members get rid of the Daayan (Witch) named Mohina played by Pratyusha Banerji. Interestingly, there is no end as after Mohini Indravati played by Rashmi Ghosh is “Next Dayan in waiting”.

9. QuboolHai:Thisalsohasnumberofthewitches,thefiredemoncalledDjin,Ghostandalltheother family members of these evil spirits. The show had changed many tracks for providing smooth entry to various types of the evil spirits. Afreen (Pooja Bose), who became famous as Shiva’s Parvati in “Devon Ke Dev Mahadev”, is playing witch here and is seen troubling


Mahira’s (Surbhi Jyoti) life. Again this is an attempt to earn money by spreading evil in the society without any social or moral responsibility. Strict action is needed against such serials. Thequestioniswhynotdoesthenewschannelbringsuchproblemsonthefore?Ifthishadbeenmadeanewsitemandactiondemandedassoonasthefirstwitchwasportrayed,thenextwitches would have died before taking birth on the small screen.

10. Darr Sabko Lagta Hai: The Big screen people are also diverting towards the small screen for gaining popularity and one of them is Bipasha Basu who had made the debut with a superstitious serial Darr Sabko lagta hai. She narrates various stories on one basic theme that is “Supernatural”. Notably, it had all 26 episodes and possibilities of further extension in the number, like the earlier Sans-Bahu sagas.

Recently, the researcher noticed that one Newspaper of good repute had carried two articleson the killing of Dabholkar, Pansare and Kulbargi and termed their assassination as the work ofthose people who do not want to eradicate the superstition from the society for fear that their ‘fear selling and money earning shops’ may be closed down. The article while applauding the efforts of all the three slain leaders had opposed the mentality that was behind their killing. The article also said that the job of these leaders was for the cause of social awakening and in the light of science. 6 It says that many such people may be born in the country and may take this work ahead and keep the masses awakening by taking the responsibility on their shoulders. It seems mocking when the researcher turned to the inner pages, one of them carried the advertisement from Kolkata related to ‘Ichchasidh Anghthi’ i.e. if anybody is having any problems related to the family, with wife and brothers, disputes of land, cases pending in court, failing in getting married to the beautiful girl the man likes to marry or if the boys or girls are not getting married, they are not getting desired results in studies, if there are any hindrances in getting job etc. etc. that ring if purchased would solve all these problems in no time. This seems foolish and hypo crate in itself. The advertisement knowingly that it is misleading, published in the newspaper. Had that editor or the owner of the newspaper thought for a while that if the claims are true, why is ‘that’ Godman selling the Magic Ringnationwide.Hewouldhaveaskedtheringtofulfillallhisdesiresandlivedhappilybuttheadwas considered as ‘Revenue’ at the cost of misleading the masses for whose welfare, Journalism is to be practiced. Views that are free are expressed on the edit page but if it is fetching some money for such superstitious advertising, the newspaper will not ignore or deny publishing the advertisement. Instead, such issues should be taken as crusades for the welfare of the society deeming it as the responsibility of the fourth estate. It is high time that the media should stop airing or publishing stuff that is “Anti-Social” and tell people that ‘Everything that interests public is not in Public Interest’.One leading newspaper had published a very good article with views of the college students andthe writer Athira Sivadas concluded with this- “I believe that superstitions are silly and ridiculousbeliefs.Everythinghappeninghasareasonandascientificexplanation.Asmuchastheyareconsidered foolish, superstitions do affect the society a lot. For example, widows are consideredto bring bad luck. At one point in India, widows couldn’t get shelter and received harsh treatment.They were not allowed to attend auspicious functions. Also, black cats are hunted down becauseof the incredibly old superstition: Black cats bring bad luck. They have as much right to live freely without being cringed at do. I think that we all should attempt to steer our minds away from society-affecting superstitions and live as though they had never been created.”21


One good effort was seen being practiced by the RADIO media. In their laws for accepting advertisements for airing, they had laid some rules which also had mention about the ads that are promoting superstition. It states that the Advertisements for services concerned with the following shall not be accepted:- “Fortune tellers or sooth-Sayers etc. and those with claims of hypnotism”. One shameful incident is needed to be mentioned here for the consideration of the Media barons and critics. In August an Astrologer show was aired by a Kannad Channel which was criticized massively as it prognosticated the chances of getting raped. This so called astrologer predicted on the basis of Zodiac sign how a women might get raped and by whom. This ‘Indian Shame” said- “While those with the star sign of Virgo might get raped between the ages of 14-20 at their home, those born under the sign of Pisces could be raped by their neighbor’s husband andCapricorn, by their parents or colleagues.”22 The foolish self styled foreteller also suggested remedies to prevent fromgettingraped.Heexhumedconfidencethatifthefollowingmantraisrecitedtherapecanbeaverted: Om kreem kreem kreem kaalike kleem kleem kleem sarva shatru naaam prahaar bhanjaya maaraya vispotaya, kleem kleem kleem, kreem kreem kreem phat; write the mantra in red letters on a white paper and keep it along with turmeric and Vibhuthi.Take the 7 turmeric and Vibhuthi and apply on the rapist. He will either collapse or will get scared and run away,”. 23

Many social organizations approached the court demanding a ban on astrology shows on television channels but their toils are in vain it seems as court had not yet given any decision to do so. The Delhi High Court during a verdict stated that it was the responsibility of the government to take the required steps for curbing such shows. This means that the passing of buck is on and no one is taking the responsibility even to take action when the laws related to the are violated. There are umpteen such cases that may not be mentioned here but there is a ray of hope a larger part of Print, electronic and social media is against spreading superstition in the nation and are trying to convince the people thattheyshouldbethinkinginascientificwayanddonotfallpreytosuchthingsandhelpothersto do so.

CONCLUSION AND SUGGESTIONS

There are few examples that the It is obvious that media had affect to a larger extend in the democratic nation like India. As it is the fourth estate, it has the responsibility of creating awareness among the masses on any particular topic, educating them besides entertaining and informing but a part of media, especially the Television, is itself seen spreading superstition through its various programs. This range from the soaps to the primetime stuff wherein the stories of ghosts, astrology, blind beliefs are all crowded and shamefully the “Protectors are the killers” and even till date, the courts of law had not given any ruling on curbing the superstitious programs on Television. Media should actually pledge that it would stop airing superstitious programs and would participate in eradicating it taking it as the social responsibility. The social media, whichhad grown most popular now a days, should be instrumental in making people aware about the evils f the society and mobilize them to cope with the supporters of superstition. The media should give the message of eradication of superstition through the opinion leaders like Bollywood celebrities, social leaders and the people from the corporate world. Media should educate the people for keeping away from the paranormal beliefs that do not have any scientificsupportandisdevisedonlyformakingfooloftheinnocent,rathersuperstitiouspeople,


of the nation and grab their hard earn money. Laws can be amended and enforced strictly but the eradication of superstition requires the involvement and support of the masses and this can be created effectively only through the media. The rules for the “Superstitious stuff” in the media should be strictly followed and made mandatory for all the Mass Media to adhere to them. There requires audit of the serials on Television like the censor board for movies then and only then can the media be more effective in eradicating the superstition from the Indian culture and we will no longer be the inhabitants of the land where the snake dance listening to sweet music of the wrangler.

RefeRenceS1. Dale B. Martin (30 June 2009). Inventing Superstition: From the Hippocratics to the Christians.

Harvard University Press. p. 11. ISBN 978-0-674-04069-4. Retrieved10 September 2013.2. Stuart A. Vyse (2000). Believing in Magic: The Psychology of Superstition. Oxford University

Press. p. 20. ISBN 978-0-19-513634-0. Retrieved 10 September 2013.3. The God busters”. The Telegraph. 27 May 2012. Retrieved 13 September 2013.4. Joanne O’Sullivan (1 March 2010). Book of Superstitious Stuff. Charlesbridge Publishing.p.

119. ISBN 978-1-60734-367-7. Retrieved 14 September 2013.5. “Ex-ISRO chief attacks blind faith, astrology”. DNA India. 29 December 2011. Retrieved 10

September 20136. Is India a science superpower?”. Frontline. 10 September 2005. Retrieved10 September 20137. https://www.quora.com/What-are-the-four-pillars-of-democracy8. https://peopleint.wordpress.com/2011/05/07/media-is-most-powerful-among-4-pillars-

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IMPACT OF CONTROVERSIES ON HINDI MOVIES (2008-2013): A STUDYDr. Raju C. john

Controversyisastateofprolongedpublicdisputeordebate,usuallyconcerningamatterofconflict-ing opinion or point of view. The word was coined from the latin word controversia, as a composite of controversus- “ turned in a opposite direction”, from contra- “against”- and vertere- to turn, over-sus, hence, “to turn against”.

Controversy and Bollywood has very strong relation from the beginning, or we can say they both are synonyms of each other. Bollywood is the informal, and sometimes controversial, term used for the Hindi-languagefilmindustry.ThetermiscontroversialbecauseitcomeswiththeimplicationthattheHindifilmindustryisapoorimitationofHollywoodandalsobecauseitisoftenincorrectlyusedtorefertotheentireIndianfilmindustry.Infact,Hindicinemahasalonghistoryandhasitsownunique set of aesthetics and conventions. Films have always been a part of our life, sometimes the territory we don’t want to step in. Sometimes it is a mirror that shows the blunt truth which is hard to accept, particularly when it is on the big screen we all love. Sometimes the subject of the matter creates uncomfortability; sometimes it can also pierce our sensitivity. But whatever the root cause, movies in bollywood have often found themselves lurking on the wrong side of the establishment. But it is also a fact that sometimes the controversy has managed to give the extra push to the movie’s cause.

Method

The study will be descriptive in nature and the researcher will observe the controversies of Hindi movies, and its impact on them. The study will be conducted by observing the controversies related toHindifilmstocollectthedata.

The Sample

A sample size of 10 Hindi movies is taken for study which has been released from January 2008 to February 2013.

The Tools

DataCollected:ByobservingtheHindifilmsinformofliteratureavailableandwiththehelpofvideos the necessary information is collected.

Data Presentation: The data is collected through observation and presented in descriptive form.

A Study of Controversial Movies (2008-2013)

jodha Akbar (2008):

Controversy: Certain sections of the Rajput community in Rajasthan have raised an objection on Ashutosh Gowarikar’s magnum opus Jodhaa Akbar. According to them, the argument is that, his-


torically speaking, Jodhaa was not Akbar’s wife and she was not even a Jaipur princess, though she hailed from Jodhpur and was the wife of Jehangir. Moreover, Gowarikar is hurting the sentiments of Rajput to no end, by twisting history. But all is not lost for Ashutosh, as he is supported by the royal families of Jaipur and Kishangarh. They have extended their support to him by didding out some of the old original historical records to prove that Akbar married a Jaipur princess. Meanwhile, Maha-rani Padmini Devi, a member of the Jaipur Royal family, went on record to say that they had gone throughthescriptbeforeAshutoshstartedfilmingandthatthe‘mahurat’shotwastakeninJaipur.She also added that if at all they had found anything objectionable, then, they wouldn’t have given their nod for the same. The Karni Sena, a Rajput organization based in Jaipur, has threatened from the Rajput community staged a protest demonstration and shouted slogans against Ashutosh. They furtherintensifiedtheirprotestsbyburningpromotionalpostersofthefilm.

Budget : 400 million Box Office : 1200 million

Billu (2009):

Controversy:Thefilmwasoriginally titledBilluBarber,butsalonandbeautyparlorassociationraisedobjectionsbyfindingtheword“Barber”derogatory.Asheadofthefilm’sproductioncompa-ny, Sharukh Khan eventually removed the word from the movie title and promotions, renaming the filmBillu.Healsoinvited‘TheHairdressers’associationofMumbaimemberstothepremierofthemovie in order to assuage their protests.

Budget: 230 million Box Office: 320 million

3 Idiots (2009) :

Controversy:PriortothereleaseofthefilmdirectorRajkumarHiranicommentedontherelation-ship between Five Point Someone by Chetan Bhagat and 3 Idiots. A controversy developed a few days after the release, however, over the fact that Chetan’s credit, “ Based on the novel Five Point Someone by Chetan Bhagat” appeared in the closing credits rather than in the opening ones. At that time, Bhagat stated that “he was expecting an opening credit and I was quite surprised to not seeing it. They had bought the rights, made the payment and committed to a credit in the contract. It’s there, but it’s not about it being there, it’s about the placement and the prominence”. In a 31 December 2009 blog spot post on his personal website, Bhagat stated that he was told the movie was only 2-5% based on the book, but when he saw it, he felt that it was 70% of the book. He also argued that he was misledbythemakersofthefilm,thoughhenoted,that“thishasnothingtodowithMr.AamirKhan,I am a big fan of Aamir and he has made my story reach people. However, he was told by the makers not to read the book, and he hasn’t. Thus, he cannot comment on the issue in a meaningful manner.”

Budget : 35 crore Box Office : 385 crore

My Name is Khan (2010) :


Controversy:KaranJoharfilmfounditselfintroubledwatersafterShahRukhKhan,whoco-ownsKolkata Knight Riders, criticized the fact that Pakistani cricketers were not bought by the clubs competing in the 2010 Indian Premier League (IPL). Upon arriving on at Newark Airport in New Jersey,hewaspulledbyimmigrationofficersafterhisnamepoppedupontheircomputers,ques-tioned for over an hour (Khan Claims it was at least two hours) about the nature of his visit, and was later released.


No One Killed jessica (2011) :

Controversy:DuringthefilmingofscenesinDelhi,oneshotwastakenatGuruGobindSinghIn-draprastha University, where University School of Information Technology (One of the 12 on-cam-pus schools of University) was disguised to Patiala District Court. During the process, the University Vice Chancellor Dilip Bandopadhyay was prevented from entering his own campus. Bandopadhyay argued with bouncers, on guard outside the main gate, to let him enter while the camera rolled, allegedly without his permission. As a result, the University terminated the contract of a faculty memberaccusedoforganizingthe19Aprilfilmshootoncampus.

Budget : 90 million Box Office : 580 million

Delhi Belly (2011) :

Controversy: A stern protests and even a court case against its dialogue and content, which critics say are vulgar and offensive. The screwball comedy Delhi Bellly, starring the actor-producer-direc-tor’s nephew Imran Khan, revolves protesters stormed a cinema in the western city of Kolhapur, forcingascreeningofthefilmtobecancelled.AtheatrewasattackedinthecentralcityofIndorefollowing action by a right-wing Hindu organization that called for the movie to be banned for having toomuchabusiveandvulgar language.Even inMumbai,acomplaintwasfiled incourt,accusing Aamir Khan, who has a cameo role, of showing “obscene” acts and outraging and insulting religionorreligiousbeliefs.Industryanalyst,however,havesaidthefilmhasarousedpublicinterestasitwasareflectionofyoungpeopleinmodern,urbanIndia.


Hate Story (2012) :

Controversy:VikramBhattdirected‘HateStory’whichisoneamongthemostcontroversialfilmsin2012.Thisfilmcaught incontroversy for itseroticcontentandcontroversial trailer.Thefilm‘HateStory’isaneroticthrillerfilmstarringPauliDam,GulshanDevaiyaandNikhilDwivediinleadroles.Besides,bongbeautyPauliDammadeherBollywooddebutwiththisfilmin2012.Thisfilmhasraisedcontroversyforitsposterwherethebarebackofactressisexposed.Thefilm‘HateStory’isa‘A’certifiedfilmwhichhasalsofacedcensorshipbecauseofitssexualandnuditycontent.


Budget : 10 crore Box Office : 11.62 crore

Barfi(2012):

Controversy:AnuragBasu romantic comedy film,Barfi! has also caught in controversial radar.Although,thefilmBarfi!isoneofthebestfilmthathasgrabbedmanyacclamationandtouchedmillionhearts,thefilmcourtedcontroversyafterthereleaseasitissaidtobecopiedfrommanyfilms.AnothercontroversialissuecameupwhenMurphyEnterprises,aMumbaibasedcompany,sent legal notice to UTV Motion Picture for using their copyright trademark name Murphy without getting NOC.

Budget : 70 million Box Office: 349.7 million

Vishwaroopam (2013) :

Controversies: Vishwaroopam has been in the news for several critically viewed controversies. The firstofthiskindwasthetitlenamingissue,wheretheHinduMakkalKatchipartydemandedthechange from its current Sanskrit title to a purely Tamil one. When Kamal Hassan announced a Di-rect-To-Homepremiereofthefilm,theatreownersdemandedarollbackofthisplan,astheyfearedmajor revenue losses to DTH companies. Threatened by a complete theatre boycott of Vishwaroo-pam,Hasanagreedtoreleasethefilmfirstintheatres.Later,MuslimgroupsinTamilNadudemand-edthebanofthefilmandclaimedthatthefilmwouldhurtMuslimsentiments.AlthoughthefilmwasclearedbyCentralBoardofFilmCertificationofIndia,DistrictcollectorsinthestateofTamilNadu gave orders to the theatre owners to not show Vishwaroopam, citing law and order problem, howeverthefilmreleasedinotherstateswithgreterMuslimpopulationsthaninTamilNadu.

Thefilm fraternity of India condemned the actions instructed byChiefMinister ofTamilNaduJayalalitha as a critical attack on freedom of speech in India, but she denied all allegations against herregardingpoliticalandbusinessinterests.Afterpersistentpressuretocutthefilmbyallegedlyobjectionable scene, Kamal Haasan said, he could be forced to leave the state of Tamil Nadu and India,butclarifiedlater,thatthiswasmerelysaidinangerofhissituation.Heestimatedthelossof revenues, due to banning policies, somewhere between 30-60 crore rupees. A mutual agreement withtheMuslimsofTamilNaduwasfinallysettledonFebruary2,2013,whenHaasanacceptedtomutefivescenes.


Result : According to the study of all 10 Hindi movies the result is as following:

jodha Akbar (2008) :-Thecontroversywiththemoviehelpedthemovieearnprofit.Thebudgetwas Rs. 400 million and it earned Rs. 1200 million.

Billu (2009) :- The budget of this movie was Rs 230 million and it earned Rs 320 million, its contro-versy attracts Barber community to watch the movie and it earned around 100 million.


3 Idiots (2009) :-Thiswasthebiggesthitontheboxoffice.ThebudgetofthismoviewasRs35crore and it earned Rs. 385 crore. The movie had certain controversy attached with it but the movie stood bigger than that.

My name is Khan (2010) :- The budget of this movie was Rs 38 crore and it earned Rs. 200 crore, hence the controversy helped in good business.

No one killed jessica (2011) :- No one killed Jessica had very small controversy which was created purposely. The budget of this movie was Rs 90 million and it earned Rs 580 million. The controver-syhadnotmuchtodowiththeprofitofthemoviebutthesocialmovementforjusticehelpedthemovie.

Delhi Belly (2011) : This movie had controversy over its abusive language, which attracts youth. The budget of this movie was Rs 25 crore and it earned Rs 92 crore.

Hate Story (2012) : The movie was not successful, the budget of this movie was Rs 10 crore and it earned 11.62 crore.

Barfi (2012) :Barfiwasverynicesuccessfulfilm.ThebudgetofthemoviewasRs35croreanditearned Rs 175 crore.

jism 2 (2013) : This movie was also a successful movie because its budget was 70 million and it earned 349.7 million, so the controversy of the actress Sunny Leone helped this movie to run well.

Vishwaroopam (2013) : The budget of this movie was 95 crore and it earned 275 crore because this movie had very big controversy and remained headline of media for quite some time. This was very helpful for the movie.

Conclusion : With the above study we can conclude, that all the movies came between the year 2008 to 2013, with them, controversies affect the movies in a positive manner (except those movies which got banned due to controversy). Sometimes controversy is purposely created to be in head-lineswithanintentiontomakethemoviesuccessfulorgainprofit.Butit’snotnecessarythateverytime the controversy may lead to success. In some cases even the movie is banned or if the matter is with judiciary the release of the movie can also be delayed. But from the above study it can be concluded that the controversies prior to the release of the movie helps positively.

Bibliography

• Gulzar, Nihalani Govind, Chatterjee Saibal (2003), Encyclopaedia of Hindi Cinema, Popular Prakashan, New Delhi

• Dasgupta Chidananda (2008), Selected Writing on Cinema, Penguin, New Delhi.

• Kaur Raminder, Sinha Ajay (2005), Bollywood: Popular Indian Cinema Through a Transna-tional lens, Sage, New Delhi

• Kaarsholm Preben (2004), City Fliks: Indian Cinema and Urban experience, Seagull, Calcutta

• http://www.smashits.com

• http://www.bollywoodhungama.com


• http://www.nfaipune.nic.in

• http://www.boxofficeindia.com

• http://www.ibosnetwork.com


महाराषटरातील महहला सकषमीकरणात विविध परसारमाधयमााचा उपयोग

परा. विजयकमार पाईकराि, शरी रोहहत कसब

यशिातराि चवहाण महाराषटर मकत विदयापीठ, नाशशक

सारााश:

जनमाधयमााचया आधार महिला सकषमीकरणासाठी सकषम आणण साासकतिक आधारावरील नव पयााय तनमााण करण गरजच झाल आि. मीडिया िातरजञान समजन घणयासाठी परशिकषण व कायािाळा आयोजजि करण आवशयक झाल आि. तयाि कमरा अगल, विाइस ओविर, शसनमोटोगराफी, पटकथा लखन, वति सापादन यासारखया बाबी महिला सकषमीकरणाचया दषटीन घण आवशयक आि. तयाचवळी लखन समीकषा िी अतयाि मिततवपणा आि, ि ववसरन चालणार नािी. महिला सकषमीकरणाची पयाायी माधयम ववकशसि िोि असिानाच माधयमाामधय यणाऱया महिलााचया ववकि आणण असभय परतिमचा ववरोध करण तििकच आवशयक आि. तयामळच शल ाग समानिा मानणार सकषम परष व महिला िच विामान वयवसथि सधारणा कर िकिाि. तयाकररिा माधयमााचा परभावी वापर करन समाजाला महिला सकषमीकरणासाठी परररि, जागि करणयासाठी साितयान परयतन कलजािि .

परासताविक ि कळीचमदद -

मिाराषराि सवााधधक साखयन ववववध माधयमाि महिला पतरकार, फफचर लणखका, धचतरकार, आणण िॉकयमरी फफलममकसा, शल ाग समानिच अभयासकरम असणाऱया जनसावादाचया सासथा, जनसावाद ववषयाि िजञ शिकषक यााची साखया सवााधधक आि. या सवााचया एकतरतरि व पररणामकारक परयतनाामळ महिला सकषमीकरणावर साितयान परकाि टाकणारा एक पयाायी माधयम उभा करिा आल आि. महिलााना दययम आणण दबावाि ठवणाऱया िकिीाचया ववरोधाि वयजकिगि अथवा एकतरतरिपण कललया साघषााला महिला सकषमीकरणाची परफकरया अस मिणिाि.. एकपरकार कोणििी अधधकार नसललया जसथिीिन महिलााना तयााच जीवन सवतनयातरणान जगणयासाठी परररि करण िोय. महिला सकषमीकरण िविाच साधय िोईल जविा महिलाानािी कामाि समानिा, सापतिीचा आणण जीवन जगणयाचा समान अधधकार परापि िोईल. भारिीय साववधानाचया परासिाववकि, मलभि अधधकार, मलभि किावय आणण तनदिक शसदाािाामधय शल ाग समानिचा समावि करणयाि आला आि. तयाि महिलााना समान अधधकार


दणयाि आल नािीि िर राजयािील महिलााना अधधक िकक बिाल करणयाचा अधधकार हदला आि.

महहला आणण मीडिया गरप: दोन दिकाापासन वमन अनि मीडिया गरप या नावान महिला पतरकार आणण धचतरपट तनमाातयााचा समि कायारि आि. सवापरथम माधयमााचा समीकषा करणारा असा िा समि िोिा. तयानािर या समिान महिलााच अस ववषय लावन धरल ज माधयमााकिन एकिर दाबल जायच, फका वा परचाररि करणयाि यि नविि फका वा मग अतयाि ववकि पदिीन सादर िोि िोि. माधयमािील शल ागभद या समिान परकषाान माािला. आिा िा समि महिलााच नटवका करीि असन तयाची सवि:ची वबसाइट दखील आि. समिािफ महिलााचया ववववध समसया आणण आविानाावर कायािाळा आयोजजि कल जािाि.

महहला लणिका साघटना: समार १९७० चया कालावधीि महिला लणखका साघटना सथापन करणयाि आली. मराठी साहितयाचया मखय परवािाकिन दलाकषकषि झाललया महिलााना एक िककाच वयासपीठ शमळवन दणयासाठी या साघटनची सथापना झाली. मराठी भावषक कादाबरीकार, लघकथा लणखका, कवतयतरी आणण पटकथा लणखकााना साघटीि करन मिाराषराचया साहितय कषतराि तयााना सथान शमळवन दणयाच काया करीि आि.

महिला चळवळीिील सादि अतयाि परभावीपण परसाररि करणयाच कामिी कािी समिाामाफा ि िोि आि. तयाि लोकगीि, गीि आणण सागीि माधयमााचा समावि आि.

िततपतरक: महिलााची राजकीय अधधकार यावर आधाररि पाचायि राजमधील महिलाावर आधाररि ि वतिपतरतरका परकाशिि िोि असि. या वतिपतरतरकचया माधयमान गराम पाचायि, िालका पाचायि आणण जजलिा पररषदि तनविन आललया महिलााच सकषमीकरणावर भर हदला जािो. राजय सरकारचया माधयमान िी पतरतरका वविररि कली जाि. िर ररसोसा आणण सपोटा सटर फॉर िविलपमट यादवार ि परकाशिि कल जाि. याशिवाय साववतरीबाई फल पण ववदयापीठाचया महिला अधययन क दरामाफा ििी इािीयन असोशसएिन फॉर वमनस सटिीज िी वतिपतरतरका परकाशिि िोि. .

ननयतकाशलक: मिाराषरािील अनक महिला दानतनधी आणण वगाणीदारााचया मदिीन मराठी भाषिील तनयिकाशलक परकाशिि करीि आिि. बाईजा ि सवााि जन तनयिकाशलक आि. तयाि नोकरदार महिलााचया वयथा, आकााकषा आणण अपकषााची दखल घिली जाि. सतरी ललकारी


ि सतरी मकिी साघटनच मखपतर असन तयाि महिलााचया ववकासाबाबि वववचन कल जाि. शमळन साऱयाजणी ि मधयमवगीय आणण उचचवगीय बवदजीवी महिलााच माशसक आि.

आकािवाणी :

महिलााचया समसयााबाबि ववववध जनमाधयमााचा अधधकाधधक वापर िोऊ लागलयान महिलााकिनिी तया माधयमााचा वापर वाढला. तयामळच वतिपतर व माशसकाामधय महिलााबाबिच वविष सदर,रडिओवर महिलाासाठी वविष कायाकरम यामळ महिलााचया इचछा आकााकषाामधय पररविान झालयाच हदसन यि. सशिकषकषि महिलाामधय रडिओ अधधक पसािीच माधयम आि. अहिासक पदिीच कायाकरम आणण माहििी दणार कायाकरम दणयाि यि असलयान महिला रडिओकि अधधक आकवषाि िोिाि.

दरदशशन :

ििरी, गरामीण, आहदवासी महिला, इिकच नवि िर अलपशिकषकषि आणण ववववध सासकिी व भाषाामधील महिलाानािी या माधयमान परभाववि कल आि. गलया पाच दिकाि टशलविीजनचा दिािील परतयक सिरापयाि परचार आणण परसार झाला आि. तयाि दरदिान ि परथम करमााकाच चनल असन समार २८ कोटी लोकाापयाि ि पोचल आि. वविषि: दिािील दगाम भागाि दखील दरदिान उपलबध आि.

‘वपपलस मीडिया इतनशिएटीवि’न (पीएमआय) सन २००० पासन मानवी सावदनाावर आधाररि कायाकरम ियार करणयास पराधानय हदल आि. तयाि मानवाधधकारााच उललाघन, मानवी िोषण, कामगारााचया समसया, बाल कामगार, पयाावरण आणण वाढतया लोकसाखयच पररणाम, शल ाग समानिच मदद, तयाबाबि असणारी धोरण, ववसथापन आणण पोशलसााकिन िोणार अतयाचार, झोपिपटटीवर िोणारी कारवाई, पोशलस कोठिीि िोणार मतय, धमातनरपकषिा, िााििा, सामाजजक नयाय यासारखया ववषयाावर तयाि पराधानय दणयाि आल आि. पीएमआयन ‘िारा’ या मराठी वाहिनीवर ‘िााििा कोटा चाल आि’ िा बारामिी, पण यथील आहदवासीाचया बोगस एनकाउाटरवर आधाररि कायाकरम परसाररि कला िोिा. याशिवाय मफिलाल शमलस यथील कामगाराानी कललया आतमितया, कामगारााना नाकारलल विन, निनल पाका मधील झोपडयााचा परशन आणण पोशलसाानी दशलिाावर कललया अतयाचारााबाबििी कायाकरम ियार कल िोि.

पीएमआयन वाधचिााचया समसया माािणयाबाबि सर कलल अशभयान सरच रिाव अपकषा वयकि कली आि. कारण तया कायाकरमााचया माधयमान समाजािील िोवषि व उतपीिीि वयकिीाचया


समसया टशलविीजनचया माधयमान लाखो लोकाापयाि पोचलया िोतया. एमपीआय आिािी मानवाधधकार, धमातनरपकषिा आणण महिला िककााबाबि ववववध कायाकरम इिर कोणतयािी सासथचया सिकायाान ियार करणयास उतसक आि.

िततपतर: बििााि वतिपतराामधय महिला पतरकार असन तया ववववध कषतरािील वािााकनाच काम करीि असिाि. तयामळिी महिलााबाबिचया बािमया परकाशिि िोणयास परोतसािनच शमळाल आि. याशिवाय रातरकालीन वळि आणण अतयाि कठीण अिा परसागीिी महिला पतरकार काम करिाना हदसन यिाि. याशिवाय वररषठ महिला पतरकार या वतिपतरााचया तनणाय परफकरयििी सिभागी िोि असलयाच आढळि. तयामळ महिला सकषमीकरणासाठी माधयमाामधयिी पोषक वािारण तनमााण झालल आि.

माशसक: खली आधथाक धोरण आणण जागतिकीकरणाचया परफकरयमळ माशसकाानी तयााच धोरण आिा बदलल आि. महिलाासाठी सौदया सपधाा, अतिशरीमाि आणण बिपरशसद महिलााबाबिच गॉशसप, मानवी िरीर आणण साभोगाबाबिच साहितय, फिन परि, ककरी यासारखया उतपादनााकि वाचक महिलााच लकष वधणयाच परयतन माशसकाामधन अधधक परमाणाि िोि असलयाच हदसन यि. महिलााबाबि खऱया अथाान वािन घिलली फार कमी माशसक आिा परकाशिि िोि आिि.

इाटरनट: महिलाामधय इाटरनट अतििय जलद गिीन परशसद िोि आि. माहििी आणण जञानाच नव दालन तयामळ उपलबध झाल आि. िकषणणक सासथा, अिासकीय सासथा, िासकीय कायाालय, उदयोग, ववतिीय सासथा यथ सागणक व इाटरनटच जञान असणाऱया महिलााना नोकरी दणयास पराधानय दि आिि. यवा महिलाासाठी टली नटवकीग ि रोजगाराच नव माधयम उपलबध झाल आि.

आनयमाधयम: अनक ििकाापासन पयाायी माधयम आपलया सभोविाल उपलबध असलयाच हदसन यि. २० वया ििकापयाि या माधयमान जनसावादाच सवरप धारण कलल नविि. जगािील कािी दिाामधय धमा, जीवनिली, राजकारण, जाि , यासारखया मदयाावरन सामाजजक असािोष वाढीस लागला िविा सामाजजक सासथाानी तयााचया सिरावर लघसवरपाि परकािन सर कलीि. तयाि माहििी पसिक, वतिपतर , माशसक यासारखया माधयमााचा वापर करणयाि आला.


समार १९६० चया दिकाि अिापरकारचया लघ परकािकाानी तयााचया चौकटीचया बािर पिि कमी बजटच धचतरपट,सविातर रडिओ वाहिनी आणण टशलविीजन परसारण यासारख माधयम ववकशसि कलीि. या पयाायी माधयमाानी अलप आधथाक मदिीवर अतयाि परभावी छापील साहितय परसाररि कल. पररणामी अलपावधीिच अिापरकारचया पयाायी माधयमााचा खास असा वाचक वगा तनमााण झाला. तयादवार अिापरकारचया माधयमााचा दजाा आणण ववसिारिी वाढला. िर इिर परकािकाानी तयााचया कविीपरमाण परकािन काया सर ठवल.

सवािातरयपवा काळािील वतिपतर आणण पतरकाररिा िी जनसमसयााना अधोरखीि करणारी िोिी. एका ववशिषट उददिपिीकररिा पतरकाररिा िोि िोिी. पराि २१ वया ििकाि पतरकाररिा व वतिपतरााचया सवरपाि आणण उददिाामधय अमलागर बदल झाला. तयाि आिा पि नयज, पीि पतरकाररिा, एकमकाावर धचखलफक एखादयाचाच परचार आणण परसार करणयाच परकार सर झालल आिि. मखय परवािािील माधयमाामधय महिलााची परतिमा िी कमकवि आणण िलनन कमी असलयाची दणयाि यि. िसच पाजशचमातय मानशसकिा असलयाचिी दाखवणयाच परयतन िोि आिि. तयामळ मलि: महिलााच समाजाि असणार सथान आणण परतिमा याकि दलाकष िोि आि. तयामळच पयाायी माधयम अदयापिी या परभावाखाली आलली नसलयान तयाि गरीब, दलाकषकषि, समाजाि आवाज नसलली आणण समाजान एकाकी टाकललया महिलाापरिी समवपाि असलयाच हदसन यि.

मखय परवािािील माधयमााचया या उणीवाामळच पयाायी माधयम अधधक परभावीपण समोर आली आिि. एकपरकारान जनसावादाच नव सवरप तयामळ समोर यि आि. पयाायी माधयमाामधय वतिपतर, रडिओ, टीविी, माशसक, इाटरनट यासारखया माधयमााचा समावि िोिो. िी माधयम वयावसातयक व सरकारी तनयातरणाखाली असललया मखय परवािािील माधयमााना पयाायी माहििी उपलबध करन दिाि. याशिवाय पयाायी माधयमाामधय आिा वबसाइट, ई पसिक, ई माशसक, धचतरतरि कलला जवििीओ अथवा रकॉिा कलली धवनीफीि यासारख माधयमााच परकार ऑनलाइन मीडियाि हदसन यिाि. मोठ वयावसातयक अथवा सरकारचया तनयातरणाखाली असणारी माधयम यााचयापकषा कािीिरी शभनन व सतय अस लोकाापयाि नणयाच काम पयाायी माधयम करीि आिि.

गराथाली: मिाराषरािील धमातनरपकष कायाकतयाानी एकतरतरि यउन गराथाली िी वाचक चळवळ उभारली. या चळवळीला १९ वया ििकािील समाज सधारणााच अधधषठान िोि. मराठी पसिकााच परकािन, इागरजी अनवादीि साहितय भारिीय भाषाामधय परकाशिि कल. तया


पसिकााच परकािन िकषणणक पदिीन करन तयाच परदिान, ववकरी आणण मानयवर ववदवानााकिन चचाा दखील घिवन आणली. समाजािील ववदवान ि कवळ उचचसथानी बसन रािि नािीि, िर समाजािील समसया सोिवणाऱया चळवळीि ि सिभागी िोिाि ि हदसन आल. गराथालीन ियार कलली िकषणणक पसिक शिकषकााचया फार उपयोगी पिली, िसच सामाजजक ववषयाावर शिकषकााचया परबोधानासाठीिी िी उपयकि ठरली.

नारी समता माच: महिलााचया नागरी िककााबाबि पणयाि सथापन झाललया नारी समिा माचान ववववध माधयमाादवार जनजागिी कली. या माचान सलाइि िो, पोसटसा यादवार साववधानािील महिलााचया हदवाणी, फौजदारी आणण कामगार कायदयाबाबि असणाऱया िककाासादभााि जनजागिी कली. माचान ियार कललया महिलााचया कायदिीर िककााबाबिचया पोसटसाला नािर राजयभर परदशिाि करणयाि आल. तयानािर सामाजजक ववकास ववभागान माचान ियार कललया पोसटसाला छापन सापणा राजयाि परचार कला. याशिवाय राजय सरकारन दखील १९९४ चया मिाराषर महिला धोरणाचया माधयमािन महिलााचया कायदिीर िककााचा परचार आणण परसार कला. याशिवाय अनक दरधचतरवाहिनयाानी महिलााचया कायदिीर िककाावर माशलका, गटचचाा, यासारख उपकरम आयोजजि कलीि. तयाि गजरािी, हि ादी,मराठी आणण इागरजी माधयमााचा वापर करणयाि आला. याशिवाय अनक वतिपतर आणण कमयतनटी रिीओानी महिलााचया कायदिीर िककााबाबि जनजागिी कली. महिलााची परशन व समसया माािणयाि सथातनक भावषक माधयम अधधक परभावीपण माािली.

महहला सकषमीकरणासाठी माधयमााचा िापर

1. ववववध जनमाधयमाानी समाजािील अगदी खालचया सिरावर जाणयासाठी परचार उपकरम राबवावि. तयाकररिा कठपिली, कथाकथान, लोककला, लोकसागीि आणण इिर सथातनक भावषक माधयमााचा वापर करावा

2. महिलााचया समसया जाणन घणयासाठी समाजाि पोषक अस वािावरण ियार कराव.

3. महिलााच जमीन िककासारखया मलभि परशनााना वाचा फोिन महिलााना आधथाक सवावलाबन दणयाबाबि परचार आणण परसार करावा,तयाकररिा पयाायी माधयमााचा परभावीपण वापर करिा यईल.

4. महिलााबाबि अधधक सािोधन िोणयासाठी महिलाानीच तनयातरतरि कलल पयाायी माधयम तनमााण करणयाि यावि.


5. शरीमाि आणण गरीब यााचयािील साघषाावर आधाररि सर असललया चळवळीला पयाायी माधयमाानी परोतसािीि करन तयााचा आवाज सकषम करायला िवा.

6. महिला कमयतनटी रिीओसारखा पयाायी माधयमाादवार महिलााचया समानिा, ववववधिा, कौटातरबक सासकार यासारखया ववषयााना परोतसािीि करिा यईल.

7. पयाायी मधयमााचया ववकासािन आणण सियोगािन समाजाि खालचया सिरावर काम करणाऱया महिला नितवाला ववकशसि िोणयाची साधी परापि करन दईल.

8. पयाायी माधयमााचया चळवळीदवार समाजाला जागि करणयावर लकषक दरीि करिा यईल. लोकाानी, लोकासाठी आणण लोकााकरीिा या तरतरसतरीवर आधाररि ववकास आणण सामाजजक रचना तनमााण करणयासाठी अिापरकारच पयाायी माधयम परभावीपण वापरिा यऊ िकिाि.

9. गरामीण भागाि ववकास ववषयक असणार सादि लोकमाधयमााचया आधार अतििय परभावीपण दिा यिील.

अिापरकारचया पारापाररक माधयमााचया वापरान सामाजजक व राजकीय रचनि कािी नवीन साकलपना दखील आणिा यिील.

मिाराषर सरकारन दिाि पहिलयाादा १९९३ मधय महिला व बाल ववकास ववभागाची सथापना कली िोिी. िर मिाराषर सरकारन १९९४ मधय पहिलयाादा महिला धोरण घोवषि कल. तयानािर साितयान पाच वषा तया धोरणाची परभावी अामलबजावणी करणयाि आली. तयाि

१) महिलााववरदचया अतयाचाराच समळ तनमालन २) महिलााचया आधथाक जसथिीि सधारणा

३) महिलााववषयक धोरणााचा परचार व परसार ४) महिला सकषमीकरणासाठी जनमाधयमााचा परभावी वापर ५) सथातनक सवराजय सासथाामधय महिलााचा सिभाग वाढवण सादरश सची – 1) का भार नागोराव (1997) ववचार िराग, परबोधन परकािन, लािर 2) चपळगावकर नरनदर, ( ), कायदा आणण माणस, परतिमा परकािन, पण 3) पवार जयोतिराम (2014) अथाायन, राज परकािन, कोलिापर 4) पाईकराव ववजयकमार, यिवाणी वबरडिओ वरील वयाखयान.


fgUnh flusek ds insZ ij vkSjr

lquhy Hkkjrh @ g"kZo/kZu 'kks/k Nk= dqekÅ¡ fo'ofo|ky;

lkS cjl igys eqEcbZ dk vksyafi;k fFk;sVj ,d vlk/kkj.k ?kVuk dk lkkh cuk Fkk A 1913 ds ml lky esa 'kk;n nknk lkgsc QkYds dks bl ckr dk bYe ugha jgk gksxk og vius fQYe ^jktk gfj'pUæ* ds vkljs u dsoy lqugjk bfrgkl jpus tk jgs gSa cfYd Hkkjrh; lekt dks ,d 'kkunkj rksgQk nsus tk jgs gSa A fganh flusek lkS cjl lqugjs ia[kks dh mM+ku fy, Hkkjrh; lekt ij xgjs çHkko dks NksM+ x;k A fganh flusek ;k dgsa iwjk Hkkjrh; flusek uk;d ç/kku jgk gSA og ges'kk ,sls uk;d dh ryk'k esa jgk gS tks lcdh ckr djs] lcds fy, yM+s ysfdu le; ds lkFk&lkFk flusek ds çfreku Hkh cnys gSa A cnyrs le; ds lkFk efgyk,a Hkh mruh gh çeq[k gksrh pyh xbZaA fganh flusek vius çkjaHk ls gh lekt esa L=h dh fLFkfr vkSj le; ds lkFk mldh cnyrh Hkwfedk] mldh pqukSfr;ksa dks ldkjkRed :i esa çLrqr djrk jgk gSA ek;kuxjh dk lQj iq#"kksa dh viskk efgykvksa ds fy, bruk ljy ugha Fkk A mUgsa ;gk¡ iSB cukus gsrq ,M+h&pksVh dk tksj yxkuk iM+kA bl ekxZ esa lcls cM+k ck/kd ml le; dk lekt Fkk tks mUgsa lnk ls gh ?kj dh pgkjnhokjh ds e/; ns[kus dk ikikrh jgkA mudk jaxeap] fQj fQYeksa esa vkxeu ml le; ds lekt esa mudk otwn LFkkfir djus ds lek ç'u fpà :i esa lkeus vk;kA Hkkjr esa vkjafHkd nkSj dh fQYeksa ij utj Mkys rks ge ;g ikrs gSa fd bl nkSj dh vf/kdrj fQYesa /kfeZd vkSj ikSjkf.kd dFkkudksa ij vk/kfjr jghA bu dFkkudksa esa ftl L=h Nfo dks x<+us esa enn dh oks cgqr dqN vkn'kZ ç/kku jgk ftls ge ^jkek;.k dh lhrk*] eanksnjh] vuqlw;k vkfn ik=ksa esa ikrs gSaA ;g L=h Nfo cgqr dqN ml rjg dh gS ftls gekjk lekt lnk ls ns[kuk pkgrk jgk gSA 1937 dh ^nqfu;k u ekus* dh 'kkark vkIVs dks NksM+dj] 'kksHkuk leFkZ ls ^rnchj* dh ujfxl vkSj ^rkulsu* dh [kq'khZn blds l'kä mnkgj.k gSaA blds vfrfjä 1939 dh egcwc [kku dh ^vkSjr* ls ysdj 1995 dh ^dj.k vtqZu* rd dh fQYeksa esa ;=&r=&loZ= ek¡ ds pfj= dk gh foLrkj ns[kus dks feyrk gSA

dkxt ds Qwy] vuqiek] vuqjk/kk] xqìh] [kwclwjr tSlh fQYeksa us tgk¡ efgykvksa ds fdjnkj dks ?kj dh pgkjnhokjh rd fleVk fn;k ogh¡ igyh ckj nsonkl] canuh ] lqtkrk ]ij[k ljh[kh fQYesa vkt Hkh vius fdjnkjksa ds pyrs ;kn dh tkrh gSa tgk¡ ;FkkFkZijd efgyk dykdkjksa us vius thoar vfHku; ls lHkh dks dk;y fd;k vkSj ogh¡ ckn ds n'kd esa enj bafM;k ] tkxrs jgks ] ikFksj ikapkyh ] eqxysvkte ljh[kh fQYeksa


ds vkljs efgykvksa us flusek esa ,d ubZ ydhj [khapus dk dke fd;k A foey jk;] xq: nÙk] egcwc [kku vkSj jktdiwj tSls fQYedkjksa us ukjh ds dbZ :i iRuh] eka] çsfedk ds :i esa çLrqr fd;k A ipkl] lkB rFkk lÙkj ds n'kdksa esa rks tgk¡ ukf;dk,¡ çsfedk] ek¡] cgu dh l'kä Hkwfedkvksa esa fn[kkbZ nsrha gSa ogh¡ ^vFkZ*] ^vfLrRo*]^D;k dguk*] ^nkfeuh*] ^fiatj ^yTtk* tSlh dbZ fQYesa ,slh gSa tks ukf;dkvksa ds vfLerk cks/k dh ifjpk;d jgh gSa ogh¡ Fkzh bfM;V' 'dgkuh' ^bafXy'k&foaxfy'k* ^Dohu* ruq osM~l euq ljh[kh vusd fQYeksa ds mnkgj.k çLrqr fd, tk ldrs gSa tgk¡ ukf;dk,¡ viuh Hkwfedkvksa ds kjk lekt dks psrkus dk ç;kl djrh gSa vkSj lekt esa yhd ls gVdj ubZ igpku dk;e j[kus esa lQy jgrh gSa A

fgUnh flusek dk ewd nkSj L=h Nfo dk fuekZrk gSA bl nkSj esa dbZ fQYeksa dk fuekZ.k gqvk tks vf/kdk'kr: Hkkjrh; feFkdksa dh fo"k;&oLrq dks lekfgr djrh gSaA Jh—".k tUe ]dkfyek enZu ] yadk ngu ] lqdU;k lkfo=h] HkLeklqj eksfgu ] lR;oku lkfo=h ]fo'okfe= esudk tSlh ewd fQYeksa esa L=h dh flusekbZ Nfo lcds lkeus mHkjrh gSA ;g Nfo cgqr dqN oSlh gh Hkh ftls Hkkjrh; feFkd ijaijk us lqjfkr j[kk FkkA 1931 ls Hkkjrh; lekt esa ukjh thou dks dsaæ esa j[kdj dbZ fQYesa cukbZ xbZ ftuesa bafnjk ,e-,-*] nsonkl*] ^vNwr dU;k*] ^cky ;ksfxuh*] ^nqfu;k uk ekusa*] çeq[k :i ls lfEefyr gS A bu fQYeksa us ^cky fookg*] ^vuesy fookg*] înkZ çFkk*] ^vf'kkk* tSlh leL;k dks mBk;k A fganh flusek esa Lora=rk çkfIr ds ckn ifjorZu ns[kk x;k D;qfd blh nkSj esa flusek ,d lkeftd Qksje ls cnydj ,d O;olkf;d m|ksx cu x;k tgk¡ euksjatu dks ç/kkurk nh tkus yxh A fQYeksa esa O;kolkf;drk o<+h vkSj tks fo"k; lkekftd gksus pkfg, og xkS.k gks x, vkSj blls tqM+s yksxksa dk /;s; flQZ equkQk jg x;k A ,sls esa ukjh thou ds gj ik dk 'kks"k.k fd;k x;k mls ,slh oLrq esa cny fn;k ftldh fo'ks"krkvksa vkSj detksfj;ksa nksuksa dk O;kolkf;d bLrseky fd;k tk lds A ml nkSj dh ukjh esa 'kqfprk] ifrozrk] vkn'kZ ukjh ds xq.k fn[kkbZ nsrh gSa A tgk¡ og vius llqjky okyksa ds vR;kpkj dks /kS;Z ds lkFk lgrh gS ogh¡ vius ifr dks ijes'oj le> iwtk djrh gS A 50 ds n'kd esa flusek esa efgykvksa ds fp=.k esa dqN laosnu'khyrk ckdh jgh A fcey jk; dh cafnuh* vkSj lqtkrk* ds etcwr efgyk fdjnkjksa us lekt ds lkeus ubZ felky dk;e dh A budh fQYeksa dh efgyk pfj= Hkys gh lh/kh&lknh] vui<+ vkSj ?kj dh pgkjnhokjh rd lhfer Fkh ijarq mudk O;fäRo etcwr gqvk djrk FkkA 1960 esa vk;h êqxys vkte* Hkys gh ,sfrgkfld dFkkud ij cuh dkyt;h fQYe jgh] ysfdu e/kqckyk ] vukjdyh ds pfj= ds ek/;e ls –<+ bPNk'kfä okyh ukf;dk dk fdjnkj n'kZdksa dks ns[kus dks feyk tgk¡ ukf;dk çse ekxZ esa vkus okyh ijaijkxr ewY;ksa dks udkjrh gqbZ lekt ds lek pqukSrh :i esa lkeus vkbZA uwru] lk;jkckuks] oSt;arh ekyk] e/kqckyk] ehuk dqekjh] lqfp=k lsu tSlh vfHkusf=;ksa us bl nkSj esa vius vfHku; dh vfeV Nki n'kZdksa ij NksM+hA ^fepZ elkyk*]^vFkZ*] êaMh*] ^vadqj*


tSlh fQYesa bl nkSj esa vfoLej.kh; jgha ijarq eq[;/kjk ds flusek esa L=h laca/kh joS;s esa dksbZ fo'ks"k ifjorZu ns[kus dks ugha feykA ipkl] lkB rFkk lÙkj ds n'kdksa esa ukf;dk,¡ çsfedk] ek¡] cgu dh l'kä Hkwfedkvksa esa fn[kkbZ nsrha gSaA jktdiwj dh fQYeksa dh ukf;dk,¡ ,d u, vorkj esa utj vkrh gSaA og [kwcljr] cksYM rFkk foæksgh ukf;dk,¡ gSaA ^çse jksx* dh ukf;dk fo/kok gksus ij leLr Hkkjrh; tM+okn ds f[kykQ foæksg djrh gSA çse djrh gS vkSj var esa mldk mlds çseh ds lkFk fookg fn[kk;k x;k gSA ;g cnyrs gq, lekt vkSj mlds ifjos'k dk lek/kku Fkk ftls fQYe fuekZrkvksa us c[kwch le>k vkSj mls viuh fQYeksa esa fn[kk;k A

70 ds n'kd esa uk;dRo vius ijoku p<+k vkSj ,d ckj fQj ukf;dk dh Hkwfedk lhfer gks x;hA vferkHk cPpu ds bl nkSj esa ekj/kM+ esa ukf;dk fQj gkf'k, ij /kdsy nh xbZA ^tathj*] ^M‚u*] ^nhokj* tSlh fQYesa uk;dRo ds pfj= dks efgek eafMr djrh utj vkbZA gkykafd bl n'kd esa vHkh ^vfHkeku* vkSj ^feyh* tSlh fQYesa viokn Lo:i jghA ^'kksys* uk;d ç/kku fQYe Fkh ijarq mldh clarh ubZ Hkk"kk] u, vankt] vius rkaxk pykus ds dkj.k vkt Hkh vyx igpku j[krh gS nwljh vksj fQYedkjksa us çse ds f=dks.kkRed vk/kkj dks Hkqukus dk tksjnkj ç;kl ^btktr*] ^lkSru*] ^lkSru dh csVh*] ^ekax Hkjks ltuk*] ^m/kkj dk flanwj* tSlh fQYesa djrh gS A fganh flusek esa çoh.k ckoh] gsyu] fMEiy dikfM;k vkSj thur veku tSlh ckykvksa us ukjh Lora=rk dksa viuh fQYeksa esa mHkkjk A fL=;ksa ds pfj=ksa dks n'kkZ;k Hkh x;k rks mldk Dyc esa tkuk ] 'kjkc ihuk] flxjsV ihuk vkfn dks fn[kk;k x;k A Hkkjrh; flusek esa ukjh nks :iksa esa dkQh fpf=r gqbZ ,d rks ^lkSUn;Z lk/ku* ds :i esa] ogh nwljh vksj ^nsoh* ds :i esa blds vykok L=h dh ikfjokfjd lkekftd leL;k dks ysdj cgqr de fQYedkjksa us fQYesa cukbaZ gS A 70 vkSj 80 ds n'kd ds nkSjku ^nks ch?kk tehu*] ^cwV ikfy'k*] ^tkx`fr*] ^>ud&>ud ik;y cktsa*] ^lqtkrk*] ^xkbM*] ^midkj*] ^vkuan* blds vykok _f"kds'k eq[kthZ dh ^vfHkeku* vkSj ^feyh* fQYeksa usa lkekftd varjan vkSj fdl rjg ukjh thou thrh gS mldk fp=.k fd;k A mlh fQYe us ubZ lksp dksa mtkxj fd;k tgk L=h&pfj= dks viuk dSfj;j Hkh I;kjk gS A ^vkf[kj D;ksa* ljh[kh fQYe Hkh gekjs lekt ds feFk dks rksM+rh gSA bl fQYe dh ukf;dk vius vkRelEeku dh jkk gsrq viuh xfjek dks cuk, j[kus ds fy, ,sls ifr dk R;kx dj nsrh gS vkSj çdkjkarj ls ,d laosnu'khy ysf[kdk ds :i esa mHkjrh gSA og lekt esa vius ys[ku ds ek/;e ls viuh igpku cukrh gS tgk¡ mls fdlh iq#"k ds voyEc dh vko';drk ugha gSA fQYe esa vo'; jkts'k [kUuk ds :i esa mldk iq#"k fe= gS ijarq mudh fe=rk fookg esa ifj.kr ugha gksrhA fQYe rekpk gS ,sls iq#"k ç/kku lekt ij tgk¡ iq#"k gh ukjh dk HkrkZ ekuk tkrk gS] tgk¡ ukjh dh igpku gh iq#"k ds ek/;e ls gksrh gSA 80 ds n'kd esa lekt ds utfj, esa ifjorZu dh ,d ygj ns[kus dks feyh vkSj uk;dRo dh vo/kj.kk dqN BaMh iM+hA fp=iV ij fQj efgyk,¡ eq[; Hkwfedk esa utj vkus


yxhA bl nkSj esa iq#"k lÙkk us ukjh dh 'kfä dks dgha&u&dgha egRo nsuk 'kq: fd;kA 1985 esa vk;h ,d egRoiw.kZ fQYe vkf[kj D;ksa*] lekt esa L=h vfLrRo ij dsafær ,d vkSj egRoiw.kZ fQYe jgh ftldh ukf;dk iq#"k ç/kku lekt esa viuh igpku cukrh gqbZ fn[kh A tSls&tSls lekt esa efgykvksa dh 'kfä dks vk¡dk x;k oSls&oSls fQYeksa esa u dsoy efgyk pfj= cfYd muls tqM+s dbZ egRoiw.kZ eqís Hkh fQYeksa ds dsaæ esa jgus yxsA ^Qwy cus vaxkjs*] ^va/kk dkuwu*] ^t[eh vkSjr*] ^balkQ dk rjktw*] ^nkfeuh*] l'kä fQYesa jghA nkSj cnyk flusek us jktuhfrd] lkekftd ]vkfFkZd çHkkoksa dks /kM+Yys ls xzg.k djuk çkjaHk fd;kA ifj.kke ;g gqvk fd 1990 rd vkrs&vkrs L=h dks /kkjkokfgdksa foKkiuksa esa czkaM vkSj fQYeksa esa vkbVe dk i;kZ; le>k tkus yxk blfy, 'khyk dh tokuh esa dSVjhuk] eqUuh dh cnukeh esa eyk;dk] cqEckV xyZ ds :i esa fo|k ckyu vkfn xhrksa kjk L=h dgha euksjatu rks dgha miHkksx dh oLrq ds :i esa is'k gksus yxh ysfdu fQj Hkh L=h dh tq>k: vkSj la?k"kZ'khy Nfo esa deh ugha vkbZ og gj ks= esa bl iq#"koknh lekt dks pqukSrh nsrh jgh A

90 ds n'kd esa Hkkjr esa cktkj ds mnkjhdj.k dh 'kq#okr gksrh gS ftlls Hkkjrh; fganh flusek esa fons'kh daifu;ksa dh ck<+ vkrh gS vkSj fons'kh iwath dk çHkko lkQ fn[kkbZ nsrk gS A g‚yhoqM dh ubZ rduhdsa Hkkjr vkrh gS vkSj Hkkjrh; lekt dh fL=;ksa ij çHkko fganh flusek es lkQ fn[kkbZ nsus yxrk gS | lu 1992 esa :nkuh vkSj jkstk tSlh fQYeksa us fQj lekt esa L=h ds pfj=ksa vkSj detksfj;ksa dks mHkkjk nksuksa fQYeksa dh L=h ik= yM+rh gS ij lekt vkSj ifjfLFkfr;ksa ds vkxsa >qd tkrh gS A lu 1993 esa ^nkfeuh* fQYe tc insZ ij vkbZ ogk¡ ukjh ,d l'kä pfj= ds :i esa mHkj dj vkrh gS tgk og vius ifr ls vyx jgdj Hkh vius lEeku dh yM+kbZ yM+rh gS A lekt esa gks jgsa vR;kpkj ds fo:) [kM+h gksrh gS] csckd gksdj gkFk esa QkoM+k ysdj xqUMksa dk lkeuk djrh gS A lu 1995 esa ^ckEcs* fQYe esa ,d eqfLye L=h dk fganw yM+ds ds lkFk 'kknh vkSj mlls mith fnDdrksa dks n'kkZ;k x;k A lu 1997 esa ^fojklr* vkSj îjns'k* tSlh fQYeksa esa fojklr esa xko vkSj 'kgj ds e/; vkarfjd laosnuk dk fp=.k fd;k x;k ogh ijns'k ds LoPNan okrkoj.k esa [kqn dks ?kqVrh] eglwl djrh ,d ukf;dk dk fp=.k fd;k x;k A lu 1998 vkSj lu 1999 ds ^x‚Menj* ] ^ge fny ns pqds lue*] ^rky*] ^gtkj pkSjklh dh eka*] ^fny ls* vkfn tSlh fQYeksa us ukjh ds vufxur pfj= is'k fd, ftUgksaus lkekftd c/kuksa dks dgha u dgha rksM+k A blds lkFk fQYeksa esa miHkksäkoknh laL—fr dk fodkl gqvk ftldk dk;Z flQZ vkSj flQZ equkQk Fkk A L=h thou ij dsafær dqN ,slh fQYesa –^lwjt dk lkrok ?kksM+k* ¼1992½ ] ^nkfeuh* ¼1993½] ^csafMV Dohu* ¼1994½] êEeks* ¼1994½] ^Qk;j* ¼1998½] ^ljnkjh csxe* ¼1998½] ê`R;qnaM* ¼1998½] ^x‚M enj* ¼1999½] ^gjh&Hkjh* ¼1999½] ^xtxkfeuh* ¼1999½] ^vfLrRo* ¼2000½] ^tqcSnk* ¼2000½] ^D;k dguk* ¼2000½] ^yTtk* ¼2001½] ^pkanuh ckj* ¼2001½] vkfn ds uke fy, tk ldrs gS A buds vykok ûlhe*


¼1995½] ^t[e* ¼1999½] ^gekjk fny vkids ikl gS* ¼2000½] ^fQtk* ¼2000½ vkfn esa Hkh L=h thou dks egRoiw.kZ <ax ls vfHkO;ä fd;k x;k gS A fQYe yTtk* ¼2001½ dh tkudh ¼ek/kqjh nhfkr½ viuh vfXu ijhkk nsus ls iwoZ vius jke ls ifo=rk dk çek.k ekaxrh gSA ogha nwljh vksj ^bf'd;k*] ^Ms<+ bf'd;k* tSlh fQYeksa ds euksjatuijd <kaps dks rksM+ efgyk vf/kdkjksa ds ç'u dks ysdj ek/kqjh dh ^xqykc xSax* vk;hA jkuh eq[kthZ Hkh bl nkSj esa enkZuh ds ek/;e ls ijaijk ls pyh vk jgh fQYeksa esa iq#"k dh nacx Nfo dks rksM+ L=h nacxbZ esa fn[kkbZ nsrh gS A 21oha 'krkCnh ds çkjaHk esa gh ^D;k dguk*] ^fe- ,.M felsl v¸;j*] êkulwu osfMax*] yTtk*] pkanuh ckj* tSlh fQYesa vkbZ] cs'kd bu fQYeksa us Hkkjrh; lekt dh iksy [kksy dj j[k nh ftlesa ukjh Lora=rk dgha u dgha ckf/kr gks jgh Fkh A ^D;k dguk* fQYe esa ukf;dk ,d yM+ds ls çse djrh gSA mldh ifj.kfr xHkZ/kkj.k ds :i esa gksrh gS ukf;dk ml yM+ds ls 'kknh djuk pkgrh gS ij og ml xHkZ dksa fxjkus dh lykg nsrk gS A ijUrq og QSlyk cPps dks tUe nsus dk djrh gS A blh ijaijk esa îk* ljkguh; gS tgk ukf;d fdlh ij nks"k ugha e<+rh gS vkSj vdsys cPps dks tUe nsdj ikyrh gS A ^lyke ueLrsa* esa ukf;dk ^fyo bu fjys'ku* esa jguk ilan djrh gS | og iq:"k dh gha Hkkafr Lora=rk pkgrh gS og çse lw= esa ca/kuk rks pkgrh gS ijUrq vfHkO;fä dks Lora= :i esa çdV Hkh djrh gS A blh rjg ^yo vktdy*] ^bf'd;k*] ûks ou fdl tsfldk*] ^cSaM cktk ckjkr*] ^vatkuk&vatkuh* us ubZ ukjh ds pfj=ksa dks u;k vk;ke vkSj ubZ ifjHkk"kk nh gS A tgk og viuk thou [kqydj thrh gS A mls bl ckr dh dksbZ ijokg ugha gS mls yksx D;k dgsaxs A og rks fcUnkl gksdj thrh gS A flusek ds çHkko ls vkt 'kgjksa esa yM+dh] vius eu ilanhnk yM+ds ls 'kknh djus] mlls ç'u djus vkSj thou dks vius <ax esa O;rhr djrh gSaA ogha vkt Hkh nsgkr dh yM+dh vius ilan ds yM+dsa ls 'kknh ugha dj ldrh vkSj vxj dksbZ ,slk djrk Hkh gS rksa mls v‚uj ¼lEeku½ ds uke ij ekSr ds ?kkV mrkj fn;k tkrk gS A ;g flusek gh gS ftlus mls >wBh vkn'kZokn ds pkS[kV ls ckgj fudkyk gS ftlls og vius LokHkkfod :i esa Lohdkjk tkuk pkgrh gS A ^pd ns bafM;k*] ^'ksj*] êsagnh*] ^fny cksys gfMIik*] ^dgkuh* tSlh fQYeksa usa flusek esa L=h pfj=ksa dks etcwr cuk;k gS A fganh flusek esa L=h pfj=ksa dks ysdj dbZ fQYe cukbZ xbZ vkSj vkt Hkh curh tk jgh gS A ^nso&Mh*] ^Lojkt*] ^CySd*] ^gkV n cktkj*] ôkVj* vkfn ftlesa ukjh thou dh dgkuh lkQ vkbus lh >ydrh gS A Dohu* dh ukf;dk vius eaxsrj kjk 'kknh ls badkj fd, tkus ij rfud Hkh ijs'kku ugha fn[krh gS | vc og lnes ls tYnh gh mcjus yxrh gS vkSj vdsys gh vius guhewu ds fy, isfjl ds fy, fudyus ls fdlh rjg dk ijgst djrh ugha fn[kkbZ nsrh | isfjl esa og vdsyh ,d gksVy esa rhu vU; ns'kh; ;qodksa ds lkFk jgrh gS A vdsyh ?kwerh gS] ,d QwM QsfLVoy esa Hkkx ysrh gS vkSj thrrh gSA dgus dk eryc gS flusek us ukjh pfj=ksa dks lekt ifjorZu esa u;k :i fn;k ysfdu nwljh rjQ vkSjr dks ,d mRikndrk ds :i esa Hkh is'k fd;k tgk¡ og flQZ cktkj ds ,d çkseksVj ds :i esa e‚My cu dj jg xbZ A dEiuh viuk çksMDV


fQYe esa LiksUlMZ djokrh gS] og Hkh ukjh ik=ksa ls D;ksafd og HkkoukRed Lrj ij nwljh ukjh ls tqM+h gksrh gS A 21oha lnh dh fQYeksa esa ^fQtk*] ^pkanuh ckj*] ^yTtk*] ^tqcSnk*] ^pesyh*] ^fiatj*] ^Mksj*] ^QS'ku*] ^lkr [kwu ekQ*] ^n MVhZ fiDpj*] ^ghjksbZu*] ^cSafMV Dohu*] ^eSjhdke*] ^c‚ch tklwl*] ^gsV LVksjh*] ^fjokYoj jkuh*] ^[kwclwjr* Dohu tSlh fQYeksa dh ,d yach QsgfjLr fn[kkbZ nsrh gSaA ysfdu fQj Hkh ;g dgk tk ldrk gS fd fiNys n'kdksa ls ysdj vc rd fQYeksa esa L=h Nfo dks ysdj dgha ldkjkRed rks dgha udkjkRed :i esa ,d larks"ktud rLohj mifLFkr jgh gSA

vkt cktkjokn ds gksM+ us flusek dks Hkh ugha cD'kk gS D;ksafd ftruk cM+k cktkj gksxk equkQk mruk T;knk gksxk vkSj fQYe dksa Hkh cM+k&cukuk gS rks vPNh ifCyflVh djuh gksxh ftlds fy, iSlk vf/kd ek=k esa pkfg, vkSj ;g rHkh laHko gksa ldrk gS tc fQYe vkSj fQYe fuekZrk cktkj ls tqM+ dj jgsa A cktkj viuh mRikndrk dks c<+kus ds fy, vius mRikn dk çpkj fQYe ds ek/;e ls djokrk gS Aefgyk 'kjhj dks mHkkjuk fQYedkjksa dh 'kq# ls gh ;w,lih jgh gS ysfdu lwpuk Økafr us cktkjh ykHk ikus ds fy, fQYedkjksa dks vkbVe lkax dh gksM+ esa Mky fn;k gSA baVjusV] Qslcqd] ;wVîwc] fV~oVj ds tfj;s T;knk ls T;knk n'kZdksa ds chp igqap cukbZ tk jgh gSA 'khyk] eqUuh] 'kkyw] pesyh dh vikj lQyrk dks ns[krs gq, dbZ ubZ ;qofr;ksa esa fQYeh insZ esa vkus dh tcnZLr gksM+ yxh gSA vke ;qofr;ksa esa blds pyrs ,d feF;kpsruk dk tUe gqvk gS] ftles os 'kkjhfjd mHkkj dks vlyh VSaysV le> dj okLrfod dyk dks fdukjs dj cSBh gSA bu gkykrksa ds pyrs ukjhoknh fQYedkjksa ls [kkls ukjkt Hkh yxrs gS A mudk rdZ gS fd fQYedkj efgyk 'kjhj ds brj vxj efgyk f'kkk vkSj fyax vlekurk tSls fo"k;ksa ij /;ku yxk, rks efgykvksa ds gkykrksa esa O;kid cnyko yk, tk ldrs gSa A [kwu [kjkcs] xksyh] dês] canwdksa dk efgek eaMu] xkfy;ksa dks yksd dgkorksa ds rkSj ij ç;ksx dj fQYeksa dh tfj, budh lkekftd Lohdk;Zrk dks c<+k;k tk jgk gSA ;g lp gS fd fganh flusek esa L=h dk cM+k ;ksxnku jgk gS ftlls lekt esa dbZ ifjorZu gq,] L=h dh ftanxh u, rjhds ls rS;kj gksus yxh A og flQZ HkksX; ugha jgh ijUrq vxj cktkjokn dk çHkko jgk vkSj mldksa fganh flusek esa c<+kok feyrk jgk rc L=h flQZ HkksX; ;k miHkksx dh oLrq esa gh utj vkus yxsxh A Hkkjrh; flusek rhu ebZ 2013 dks vius lkS lky iwjs dj pqdk gSA bu lkS lkyksa esa flusek us viuh ftEesnkjh iwjh rjg fuHkkbZ gSA mlus dHkh Hkh L=h vkSj mlds ljksdkjksa ls viuk iYyk ugha >kM+k vfirq og L=h ds lkFk ltx jgdj [kM+k jgk gS A HkweaMyhdj.k ds nkSj esa efgykvksa dks çksMDV cuk fn, tkus ds pyrs L=h dh vyx Nfo is'k djus dh dksf'k'ks 'kq: gqbZ gSa A

cs'kd bl lkS cjl dh ;k=k ds vufxur iMkoksa vkSj mles efgykvksa ds vfHku; dks dqN iUuksa esa ugha lesVk tk ldrk gS ysfdu ,d ckr rks lkQ gS reke lq/kkj vkanksyuksa ls ysdj efgykvksa dh dfBukbZ;ksa ls tqM+s elyksa dks fQYedkjksa us u dsoy


lekt ds lkeus ykus dk dke fd;k cfYd vius fQYekadu ls efgykvksa dks fQYe ds esuLVªhe fdjnkj ds :i esa ykus dh dksf'k'k Hkh dh vkSj igyh ckj vfHkusrk ls brj ,d ubZ ydhj Hkh [khaph ysfdu cktkjokn ds bl nkSj esa flusek esa cgqr gn rd fxjkoV vkbZ gS A O;kolkf;drk dh gksM+ vkSj equkQk dekus ds pDdj esa lkeftd çfreku dgha ihNs NwV x, gSa A gesa ;g /;ku j[kuk gksxk flusek dk mí~;s'; egt euksjatu ugha cfYd lekt dk ;FkkFkZ dk fp=.k Hkh gS ftlds tfj;s liuksa vkSj ;FkkFkZ ds chp leUo; LFkkfir gks lds vkSj lkeftd thou ewY; cps jg ldsa A

lUnHkZ xzUFk lwph y ikjs[k] tojheYy] tulapkj ek/;eksa dk lkekftd pfj= ] 2006 ] vukfedkifCy'klZ y ikjs[k] tojheYy] fgUnh flusek dk lekt'kkL= ] xzUFkf'kYih ]ubZ fnYyh y ikjs[k] tojheYy] HkweaMyhdj.k ds nkSj esa ] le;karj ] Qjojh 2011 y vxzoky fot;] flusek vkSj lekt y VSxksj] 'kehZyk ]flusek dh L=h vkSj lekt dk ;FkkFkZ ] le;karj] tuojh ] 2014 y M‚ dkyjk ],l ]L=h ljksdkjksa ls tqMk fganh flusek sahityakunj-net y pkS/kjh ] fofiu fQYeksa esa [kqn dks ryk'krs L=h fdjnkj ] l`tuxkFkk MkV d‚e y www-hindinest -com y dj.k ] f'kçk ] tulÙkk ]fganh flusek dk cnyrk fetkt ] ubZ fnYyh ] 30 vxLr 2015

y vgk ftanxh ] fQYe fo'ks"kkad 2013& 2014 y www-hindimedia-blogspot- com y www-kirtibaid-blogspot-in

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