Pornography in the Indian Context

The motive of this paper is to examine the feasibility of the pornographic industry as a legal entity in the Indian context by taking into consideration a proportionate mix of morality and existing state of affairs. In doing so, I intend to analyze the moral position taken by the government on pornography with special reference to The Savita Bhabhi case.

Pornography as a product

The pornographic industry has settled down in most countries where internet based porn services are no more illegal. They have taken steps to ensure that the system is made use by those who are eligible to do so. They have set up separate servers for adult content, have special libraries which issue porn content to the eligible masses, licenses are issued – in short, a system is in place. The problem lies in the Indian context.

The apprehensions that I will deal with in this paper do not arise out of the idea of the so called “Indian culture”. The conservative argument terming pornography as something that is not in alignment with Indian ethos arises out of a discomfort with the physical language of love. We must understand that sexuality is not something to be ashamed or afraid of, discovering sexuality is a part of discovering oneself. Hence, this will not be any further debated in this paper.

As a part of the literary community the liberal argument is paramount to me – a well informed choice made by an eligible adult to consume pornography as a commodity must be respected. As it is, porn is readily available on the internet so it would be better if a system be set up in India too that will render recognition to pornography in India. In doing so we will save a number of youngsters who are many a times exposed to explicit material at a tender age.

In the opinion of Psychiatrist Dr. Harish Shetty, “Pornography does affect children because they get influenced and indulge in things that they are not supposed to at a tender age. They often tend to get false information and ideas, and at times they might get addicted to these sites.”

The problem in the Indian Context

The core problem with legalization of pornography in India is the generation of human resource for the industry. Before the consumption of the good – porn in this case, one has to make sure that the mode of production is safeguarded. As has been seen the pornography industry has long standing roots into human trafficking, child abuse and harassment.

Case Study: “Savita Bhabhi - The sexual adventures of a Hot Indian Bhabhi”

Savita Bhabhi - The sexual adventures of a Hot Indian Bhabhi is India's first cartoon porn website, featuring explicit depictions of the sexual adventures of a housewife named Savita. The porn site has become a face of freedom and a face of India's liberals.

In India, right to pornography is not recognized and pornography is illegal. The site and its developer came under fierce criticism recently. The Hindustan Times said in one of its headlines – “Savita Bhabhi tests India’s patience for porn”.

The site was being again and again censored by the Indian government until June 2009 when it was finally banned. Initially the creator of the site had chosen to remain anonymous, going under the assumed collective name Indian Porn Empire. However in July 2009, Puneet Agarwal, the creator of the site revealed his identity after a collective movement was launched to lift the ban.

Morally, the site has found favour with India’s liberals because of two reasons:

They believe that Sexuality need not be a matter of fear or taboo in our society. It is to be accepted and accepting healthy porn is a step in that direction. They believe that the ban shows the government’s bowing down to conservatives who have drawn this consciousness of the so called “Indian tradition”. The Indian tradition however (the liberal stand) has always had a special place for sexuality - Kamasutra and the Khajurao Temples are evidences of that.

Savita Bhabhi specifically has been looked upon as being representative of the sexual emancipation of women. Since long women’s sexuality and desires have been looked upon as evil. Men have on the other hand found overt sexuality a necessary advantage. A certain James Bond goes around having sex with numerous ladies and is glorified by the world. The secrecy with which female sexuality is dealt with has promoted myths such as terming woman with overt sexuality as witches.

c) In being a cartoon porn site, this itself eradicates the link with all human resources. No human investment.

These moral stands are further confirmed by other practical aspects.

The site is ranked 85th most visited in India. It received more traffic in a day than the Bombay Stock Exchange. This certainly proves that the site serves an audience and there are takers for it.

As it is there are many sites that contain pornographic material. This pornographic material unlike Savita is objectionable and gender insensitive. The government’s act of banning the site seems is hypocrisy.

Relevant Problems in the Savita Issue

It would be unfair to say that all is right about pornography or the Savita Bhabhi website. It has found critics and rightly so in many ways.

The conservatives especially have a problem with the use of the terminology “Bhabhi” or Sister in law in the material. Its use is debatable. On looking at it in the way the conservatives do – the reference can indicate a mistreatment of the female gender and especially to woman as a homemaker.

On the other hand creator Puneet Aggarwal believes that the term was essential. Savita Bhabhi is not porn made up by illogical nudity. It is an idea and has a plot. Savita is representative of the liberated Indian woman in quest for happiness and sexual satisfaction. As a result of a failed sexual relationship with her husband she turns to her brother in law. Hence the term becomes essential to give meaning to the whole idea.

The solution for this specific issue

Savita after all is not just another porn website, it has in many ways a moral fibre to it. The Indian Government can censor this site with discretion but to ban it when every other site on the internet is much more explicit and objectionable is unfair. The cyber laws must be strengthened and appropriate amendments made to block or separate all these sites.

My Solution based on a proportionate mix of Morality and Observation

In words unadulterated, the two hurdles that need to be crossed before legalization of pornography in India are:

There needs to be a cleansing of the system. A total dismantling of the network that exists and creates human resource for the industry. This network include the sixty thousand beggars of Delhi and numerous thousand children kept in corrupt orphanages.

A definition needs to be arrived for morally correct pornography. A censorship be constituted that will keep a check on the content of these sites. Separate servers for adult content be formed. If need be, porn be rather made available in public libraries and licenses issued.

- Arpit Kumar

B.A. (Hons.) English; I Yr.

Bright Days

The bright days that we had

Are past us, a new world awaits

I have no expectations, I ask no more

But then how glorious it would be

To have a few more

I want to see more of you

There are times when I miss

And then times when I desire

Sometimes feels like fire

I have things to share

For which chocolates do not suffice

I am scared and scarred

Of these games of cat and mice

The new world calls me

To break the ice

I find solace in the sky

Feels like your gaze

I find discomfort even

Disappointment in my own place

Dreams fulfilled aren't a substitute

When desires subside

Even though i have

I fall short and miserably so

I need those few more

The moments we had are now past us

A do ask for more - let's call it a show

And have a few more

-Arpit Kumar

B.A. (Hons.) English; I Year

(written on - June 7 , 2009)

Panel Discussion on the Future of Theatre in India

The Literary Society organised an interactive panel discussion on the future of theatre in India on the 19th of November, 2009. The panel included Mr. Arvind Gaur, Founder, ASMITA; Ms. Misha Singh, Director, Black Cow Company and Ms. Kaustubhi Shukla, Member, Lakshya, Kamla Nehru College.

The discussion began with Ms. Shukla, who shared the motif of theatre in the university. She expressed her concern over the stereotypical approach towards theatre; theatre motivated by clichéd social causes like child labour and dowry. Theatre working with these issues is best suited to the form of street theatre – which, she believed, has become too monotonous. At the same time, she did not downplay these issues at all but stressed on the need to present them in a more entertaining manner. Being a final year student, she also shared her fears and doubts regarding working outside the support system of college life as a theatre professional.

Ms. Singh carried the discussion forward by delving into the problems faced by new-age theatre houses. She gave examples from her own experience, of how it was difficult to first get sponsors and then audiences for a production as hilarious as the Black Cow Company’s ‘Complete Works of William Shakespeare’. Lack of adequate sponsorship forces many a theatre house to transfer the burden on entry tickets, which then discourages people from buying them. A way out of this, she suggested, would be for people themselves to come forward and proactively demand their school/college/municipal authority to provide better infrastructure for theatres on a local level.

Finally, Mr. Gaur changed the flow of the discussion by making a passionate case for not just the survival but the growth of theatre in the twenty-first century. Critiquing the repressive cultural policies of the State, he argued that it was because of the confinement of theatre within elitist academic institutions that theatre is perceived as a dying art form. He drew attention to long-standing theatre groups like his own, ASMITA, which function completely outside the ambit of government or corporate sponsorship. Mass appeal and support, he said, should be the focus of any theatre group for it is through these alone that theatre can bring about changes in society. In this context, he opined, campus theatre has an important role in nurturing holistic individuals better equipped to engage with society.

The seminar concluded with a question-answer session after which each of the panelists summed up their opinions on the topic. The unanimous verdict: in spite of setbacks, theatre is still very much alive and full of transformative potential.

Music in Context

Music is an integral part of social life and social interaction. Having this idea in mind, the Literary Society, Ramjas College decided to hold a two day seminar, Music in Context on the 22nd and 23rd of October, 2009. Incorporating various genres of music, some members of the society made presentations on the type of music that appealed to them and its larger social connotations.

On the first day, proceedings began with Anubhav Pradhan and Rhea Srivastava making a presentation on the Bollywood music of the 1950’s and 60’s. Their presentation made the Natya Shastra’s theory of the ‘Navarasa’ the basis of exploring emotion in this genre of music. They supplemented the evolution and transition of music during this era by showing clips of the songs they had chosen for investigation. The next presentation of the day was made by Mihir Kumar Jha on contemporary Bollywood music. Picking up recent songs such as ‘Jiggy Wiggy’, ‘Tinka Tinka’, ‘Haddipa’ etc, Mihir tried to explore why these songs have such a huge following.

The second day started with a presentation by Ammu Sanyal on western folk music, ranging from the 1960's to the 80's, with special reference to Bob Dylan, Neil Young and Leonard Cohen. She focussed upon the story-like quality of this music, which is embedded with various social reflections and messages, and the centrality of lyrics in it. Abhimanyu Pandey introduced the audience to the music of the Tibetan flutist Nawang Khechog, while also explaining this musician’s contribution to the contemporary Tibetan society and to world music at large. The third presentation of the day was by Isha Banerjee, who spoke on the development of Goth Music in the 1980s. She gave a multimedia Power-Point presentation to demonstrate the 'gloomy, melancholic nature of the genre' and its focus on the darker side of the human psyche. The final presentation of the day and for the seminar was made by Kriti Sharma and Arpit Kumar on the Rock Music of the 1980's and its various sub-genres. The two elaborated upon the evolution of Rock with a sociological analysis of representative songs from its various sub-genres.

The seminar ended with a vote of thanks by the society’s president, Anubhav Pradhan, to all the participants, volunteers and the audience.

There's no point of reference

(Written, 18th August, 2009: inspired by a dream on the night before)

*

There's no point of reference

no sense of presence

only absolute darkness;

I am ruptured, floating

without any structure,

the darkness is cold and soothing

it reminds of the sweet winters

and then there's the white snow

trickling down so slow;

falling into a heap

as if making a snowman by itself,

after the motion was arrested

i don't know for how long

there was no time to know;

a slice of snow withered

off the heap ,as if unvealing a statue

so white and magnifique,

This withered snow undid the darkness

painting this canvas - white with one stroke

and so the statue broke

broke its silence

defying stone by delicate wings

like a butterfly out of cocoon

wings white , white o my fairy white

she whirled and tempted me

ruptured , floating , i followed

She brought with her dense white clouds

she sat on them sensuously

her white gown barely covering her chest

and one leg hanging down

and the other fixed under her thighs

the cloud flew over a path

structured like a rainbow

just no colors , white again

the only other colour

of her skin

her clinched fist opened

like a bud , does on a sleepy morning

her fingers delicate , inviting;

like she hid secrets

of nature in her bosom

ruptured , floating , i followed

The dense cloud , i couldn't touch

i had to climb

no sense of what;

she was no goddess

she was willing to bless

i was ruptured , she healed

her voice of the calm ocean

her eyes its blue essence

no darkness now

only white with snow

I went for the forbidden

sure i couldn't touch

she wasn't there anymore

only the white clouds

which weren't white anymore

poof ! went one and the other

and another, one by one

i fell into the black

spiralling spiralling

back to the darkness

where there's no point of reference

no sense of presence

only absolute darkness

-Arpit Kumar

B.A. (Hons.) English; I Year