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Expressions in
Freedom - held in Delhi on
International Women's Day (March 8) 2005
- celebrated
documentary films by Asian women. The
festival seeks to open up a space for
debate on creative processes enriched by
women's quest for freedoms of
expression.
The festival features films from India, Sri Lanka,
Pakistan, Palestine & Nepal. The festival included
animation films, talks and special
presentations. |
VARIED VOICES, VARIOUS VIEWS
By Sharmini Boyle, March 2005
Film festivals have always been my favourite
form of rest and recreation – over the
years, I have come away from many feeling
inspired, full of impressions and ideas
about life and society.
I was not disappointed with Expressions
in
Freedom, a festival of films by South
Asian filmmakers – it turned out to be
three days of viewing an interesting and
diverse selection of documentary films,
that spanned a period of 20 years. |
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Coinciding with
International Women’s Day on the 8th of
March, 2005, the festival was presented by
the India International Centre’s Asia
Project and the International Association of
Women in Radio and Television.
Unlimited Girls by Paromita Vohra was
a wonderful way to get into the mood for
what was to follow. Her innovative approach
to issues of feminism was refreshing and
thoroughly entertaining, raising questions
of women’s identity from a contemporary
perspective.
As a media practitioner based in Sri Lanka,
it made me think, not just about the lack of
‘space’ in Colombo for such public
discussion but also about opportunities of
expression for documentary makers. Talking
to Paromita later on, I realized that in
fact, there are many subjects that are not
easy to talk about in South Asia, Unlimited
Girls has not been broadcast in India as yet
– and much to my surprise, a film that I
found eminently ‘watchable’ had been refused
screening at some film festivals. This
initiative by IAWRT was therefore both
timely and relevant, as it showcased many
documentaries that would otherwise not be
accessible to the public.
Expressions of Freedom brought together the
work of some twenty Indian directors, women
who have made a significant impression on
public perceptions of important social
realities. These documentaries deal with
‘difficult’ subjects, often overlooked or
ignored due to cultural beliefs and social
attitudes. They especially look at the way
gender and cuts across issues of sexuality,
violence and conflict, identity, culture and
human rights.
They bring to the public eye, images and
ideas of the diversity of life and
experience, moments of injustice as well as
the joyous. Expressions of Freedom also
featured a handful of other South Asian
films, from Pakistan, Nepal and Sri Lanka.
Some of the documentaries I enjoyed and
remember during the three days of the
festival include Ladies Special by Nidhi
Tuli – a delightful film giving an insight
of the sense of community and camaraderie
amongst a group of regular railway commuters
on a ladies only train; Guhya by Kirtana
Kumar with its arresting – sometimes
shocking – images, explores aspects of
female sexuality and religious rituals, as
well as recollections of Goddess worship as
it was practiced in the past;
In the Flesh by Bishakha Datta – an intimate
and sensitive portrayal of three people
involved in the sex trade in Calcutta;
Manjuben Truck Driver by Sherna Dastur
interacts unpretentiously and
non-judgmentally with her protagonist – a
woman truck driver in Northern India.
Produced with funding from a public trust,
it compelled me to once again draw a
comparison with the situation is Sri Lanka,
where no public funding of any kind is
available for documentary makers. This,
together with the absence of a film or
television school, contributes towards few
documentaries being made in that country.
There were a number of enlightening and
innovatively directed documentaries about
historically renowned and contemporary
artistes that I was not familiar with, but
found to be thought provoking – The
Broken Spine by Ein Lall, focusing on
the work and ideas of painter and
installation artist, Nalini Malani; A few
Things I know About Her by Anjali
Panjabi, about Mirabai, a sixteenth century
poetess and cultural icon; Born to Sing
by Shikha Jhingan, on the rich oral
tradition of the Mirasans and Girl Song
by Vasudha Joshi, featuring blues-singer and
poet, Anjum Katyal.
The screening of Rajeshwari and other
documentaries produced by Young Asia
Television that I had brought with me from
Sri Lanka led me to realise the extent of
interest in Sri Lankan life and matters
amongst an Indian audience. Ironically, the
information revolution of our globalised
times does not ensure that south Asians
regularly see and hear views and images of
their neighbouring countries (and I do not
include the coverage of such things as the
Tsunami!). Many in the audience had
questions about the lives of women from the
former conflict areas of Sri Lanka as well
as the experiences of the past three years,
since a ceasefire agreement brought to an
end 20 years of a devastating war.
I must mention two special presentations on
the 2nd and 3rd days of Expressions of
Freedom that highlighted another
dimension of documentary making. The women
of the Deccan Development Society Community
Media Trust use video to lobby the concerns
of farming communities. In this case, some
disturbing trends in the cotton industry
were articulated by farmers, in BT Cotton.
The Trust’s members unique perspective from
within the community, allows them to present
their stories in down-to–earth, but
compelling terms. A children’s collective
also presented their film Who Will Mend my
Future – using their own paintings to tell
the story, the children themselves developed
this film, to talk to their peers about sex
education.
The documentaries themselves were just one
aspect of the creative and personal
experience of participating in Expressions
of Freedom. It was made complete by the
opportunity to meet up once again with many
friends – members of IWART – and to get to
know other women who are a part of what
appears to be a vibrant documentary movement
in India. Their involvement and
participation in Expressions of Freedom
meant that this was more than just a
screening of films – but a forum for sharing
ideas and experiences in an open and
creative atmosphere. The buildings and
gardens of the India International Centre
lent themselves well for such interaction.
To Jai and her team, thank you and well
done! |
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COMMENTS
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No sense of tokenism
I really enjoyed being at the
Expressions in Freedom festival. It
was a well curated and well scheduled
festival, and all the films were well
made, thoughtful examples of their style.
In that sense one did not feel the sense
of tokenism that sometimes tinges
women’s film festivals. There was a
greater stress on the filmmaking and the
many approaches that have evolved in the
last couple decades of documentary
filmmaking by women working in different
contexts – making films on development
issues, for NGOs or broadcasters, with
independent funding. It’s also always
nice to be in the company of peers,
watch each other films and have the
chance to talk to each other about the
work – creating both a conversation and
a sense of community. it was wonderful
to see lots of young people there –
although disappointingly fewer men –
watching the films avidly and wanting to
talk to filmmakers who were present. One
could see that they are searching for an
alternative culture they can claim,
which isn’t merely didactically
presenting issues, but really seems to
be a language and cultural space that
they find expressive and enjoyable –and
to some extent watching these films
showed them the possibility of where to
find this.
-- Paromita Vohra,
Film maker
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Random Images of Festival
Just a bunch of random images that
stayed with me. A sort of Virginia
Woolfe luminous halo or
semi-transparent envelope. For I can’t
seem to assimilate anything with linear
or logical clarity, as I struggle
towards being a 40 year old documentary
film-maker with some idea of why I wake
up every morning still believing that
the sun shines for me.
Discrete moments …
Tea with Shohini Ghosh soon after her
mapping of documentary form. So happy
that she endorsed radical breaks from
the Films Division documentary booth. I
for one am bored to death of all the
thrash-me-over-the-head-with-righteousness
brand of documentary films that never
get critiqued for fear of upsetting some
archaic notion of political correctness.
I therefore felt most giggly and pleased
to see so many young film-makers turning
the model on its head. Summer in my
Veins … the title plump with romance. And
yet I couldn’t figure the schism between
the role of film-maker and role of son.
How to resolve the pain inflicted on
camera versus making a provocative
documentary film. The power of watching so many different
films one after the other; diverse
subjectivities, numerous themes, but
somehow finding that common ground.
Ein Lall’s work on Nalini Malani, so
affectionate and nuanced in her edit.
The personal voice that drove Anjali
Panjabi’s film on Meera.
The quiet, aching triumph in Daughters
of Everest.
And then the surprise of Tejal Shah’s I
Love my India. What a delicious
construction! I want to make a similar
balloon covered board and document
responses to I love the traffic in
Bangalore!
At tea break, enjoying the sight of the
women of Deccan Development Society
shooting other participants. Knowing how
completely digital video has
democratized the process of film-making.
Meeting Sharmini, Shikha, Sabeena,
Gargi, Ja ... so many!
--
Kirtana, film maker
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Unique festival of inspiration
International Women’s Day was a cause to
celebrate and explore the dimensions of
freedom through eyes and expressions of
women filmmakers. This unique festival,
Expressions in Freedom, looked
back at the path breaking documentaries
which inspired a generation of women
film makers.
Deepa Dhanraj’s film, Something Like
a War challenged the policies of
population control by presenting the
perspectives of women. Mira Nair’s early
film, India Cabaret -- widely
discussed in all film schools -- had a
new audience of young communications
students. Nilita Vachani’s new film
When Mother Comes Home for Christmas
journeyed into the lives of migrant
workers.
Powerful stories exploring forms,
expressive styles and genres covering
sexuality, violence, conflict, identity,
space and human rights. The Line of
Control, the inaugural film
delightfully encapsulated the status of
women’s thinking on real and imaginary
boundaries. The festival also showcased
the works of the young filmmakers which
explores form and content with verve,
humour and makes the personal political.
Paromita in her film Unlimited Girls
actively engages us to position
ourselves on feminist thought.
Kirtana, Ndhi, Tejal,Samina, Sabeena,
Ein Lal questions representation
bringing new insights at the way we have
been looking at ourselves. This again
is done through a wide variety of
approaches including satire to push the
boundaries of popular beliefs and views.
Until When focused on issues and
portraits lives in the refugee camp with
a rare sense of frustration and humour.
Daughters of Everest spirit of
reverence and triumph renews the power
of women.
The need for expression was poignantly
stated by the women from Pastapur. The
knowledge and arguments they brought on
issues on biodiversity, seed control,
public distribution systems provide a
perspective of farmers whose voices are
never considered in policy making but
now with their films they convincingly
argue their case worldwide.
The women from Deccan Development
Society sharply presented their case as
to why they have armed themselves with
video … it liberates them and they can
tell their stories in their own voices.
Today the camera and the mike is an
integral part of their bodies.
The adolescent film makers Hemlata and
Savita delighted the viewers with the
story behind the making of Who will
mend my future on menstruation. The
film has limited distribution as it has
an A certificate.
The festival had distinguished speakers
and presentations on the issues
concerning women, sexuality and gender,
the family in media and its influence on
us, and experiences of locating
alternative spaces for these
documentaries.
It was a great opportunity for the
filmmakers to present their work, share
and network with students of
communication.
The IIC Asia Project in partnership with
the International Association of Women
in Radio and Television (IAWRT)
networked professional media women to
explore the creative process and express
the magic and mystery in our lives.
-- Jai Chandiram,
President IAWRT |
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