Journeys

Journeys of a mind, travelling
                                 beyond space and time,
journeys of trudging
                    through mush and grime.........

For me journeys are not just about travelling around the world, looking at marvels of nature or mankind, but journeys of the mind. We don’t really know the destination; experience is the journey. It is about perceptions and feelings and emotions and revelations. It is about people and places that enrich and arouse the spirit. Rising above the mush and grime of daily living to infuse it with the spirit’s passion to live another day, breathing in its grace, leaving behind the grudges of yesterday. It’s about looking at the world around you and engaging with it to find yourself through its multitudinous illusions.... at least trying to!

A recent train journey that was delayed by about five hours made me realise just how much I would have missed had the train arrived in Delhi, on time. We were supposed to reach Nizamuddin Railway Station around eleven a.m. which meant that all the places we were to have passed in the dead of night were the ones I was awake to look at: the delicately billowing sarson, miles and miles of yellowed fields waking up to their golden hue, reflecting the sun’s passion as it sharpened its rays and more. I spent most of this extended time either searching platforms for a much needed cup of tea or looking out of the train through the lens of my camera. Very much a visitor in my own country, curious about everything that the locals took for granted. In doing this I was no less of a curiosity to them, especially the chai wallahs busy racing up and down the platforms serving tea, while I chased them with my camera.

Aditya Dhawan’s collection of photographs on the metro, - Metro-tales as he calls them, remind me of just such a curiosity. In the first image – [he hasn’t named them], a rather solid steel bar divides the frame, virtually in half, vertically slicing a man’s body such that, ironically, it exaggerates his belly. He isn’t fat, but not lean either. The photographer’s focus is on this central figure dressed in a green T-shirt, printed with black letters in English, tucked inside blue jeans, secured with a black belt. He, our Mr. X is carrying a paper bag in his left hand and two more lie on the right side, as if left there so that he could hold onto the hand-stirrups above [which we do not see]. His eyes look blankly ahead – face deadpan, as if in another world, with hopefully, enough attention to ensure he gets off at the right stop. Maybe the bags on the floor of the carriage don’t belong to Mr. X but to the faux-leather-covered arm that arches across the top of the frame. A rather sinister element in this photograph because all you see is the arm.  One assumes there is a body attached to it and that it isn’t someone’s severed limb. Almost all the other travellers are in a kind of dark shadow, not because of insufficient lens exposure but because they are mostly wearing dark blue or black. This creates an aura of darkness which, however, is interrupted with the hint of a smile, gingerly peeping through heads and arms - a fellow traveller enjoying a joke perhaps? It’s barely perceptible and though it does lighten the mood, the frame is rather sombre and reminiscent of the socio-political atmosphere of the country at this point in time.

I have to confess that, I have not yet been on the Delhi Metro. But having travelled on the underground in various part of the world, I am no stranger to such journeys where everyone, including myself, was just waiting to get off at our designated stations and hardly noticing what was going on, not thinking twice about such everyday scenes. However, Aditya draws my attention to them not because he has captured something apparently significant but precisely because he has not. That is what makes it significant because, in expecting some great revelation, I look and, when I look, I see things that I would otherwise miss.

 And this is the thing that I love about art: when you look you find yourself in it through the ramblings of the mind. I focus on things I see, and let them speak to me. What did you see in that image? It is, after all, a question of perception. A lot of assumptions come into play and while I saw that happening as I looked, I decided to question them because, in reality, when we assume we actually miss what else could also be going on. The sombre mood, the arm that could be a severed limb, the dark aura because of the clothes and the photographer’s choice of lighting options [did he or didn’t he use a flash and why not?] builds up the mood for something more than the physical dimensions of the scene conjure up. It makes life interesting.

 In another image we have a child that is clearly upset. Its facial expression – the elongated cheeks, flared nostril, strained muscle on the right side of the neck, the wide open mouth and that look of longing, calling out to someone or for something that has gone out of his/her grasp, the sense of separation –conveys more than just a child’s petulant cry for a toy or comforter.

The child appears to be clad in a snug quilt-like outfit, partially unzipped. It’s placed, most likely, on someone’s lap, but without making that assumption based upon experience, going just by what I can see, it could be abandoned and maybe that is why it is in so much anguish? A hand, much larger hand, more than ten times the size of its tiny, exquisitely crafted fingers, touches as if in support. And yet the touch is tentative, there is no clasping of fingers nor does this hand hold onto the arm of the child. A thumb merely touches the sleeve. Would that be the hand of an indulgent mother, letting her child cry its heart out, uncaring of the discomfort of co-passengers? Or, is it an exhausted mother who cannot care at this point, nor really do much in the present situation? Or maybe it is the hand of an indifferent passenger, whose compassion is being awakened upon seeing the distraught, abandoned child. Yes, I am trying not to assume but question. It’s possible that an unseen hand holds the child securely and this is just an innocuous gesture and I am deliberately trying to read meaning into it.

But wait, there’s more. We have a view of this child from above. All other bodies are faceless. What we see are shoes, slipper-clad feet, a light-bluish duffle bag resting on the floor and two steel pillars rising upwards from this floor. One pair of feet is shod in white and grey Nike sneakers with the Nike logo signed off in gold.  This hint of glitter, which is not gold but a sharp shade of yellow vinyl, is complimented by a sweater in close proximity. It is knitted in an elaborate, geometrically-floral pattern, in black, white and golden ochre. Under the light in the train’s carriage, it sparkled as if embroidered with metallic thread.

Bags on the floor, back-packs, rucksacks and a woman clad in a blue-flowered, mill-printed shalwar kameez sits beside the child. An ample figure, her hands are clasped in her lap, maroon plastic bangles on a dark-skinned arm holding a black cloth bag. I catch a glimpse of a metro route map on the door of the carriage, partially obscured by passengers hovering close, possibly so they can run out as soon as the door opens at the next station. These are the additional props and figures in this scene.

What interest me above all, in this frame, are the dust drawings on the floor. These are not carefully considered drawings executed by skilled draughtsman, but drawn by shoes and slippers as feet swivel the dust on their way through the carriage. I suppose it could be called a performance by travelling companion-strangers, each adding or subtracting from the last foot-print. Their eyes rarely have a role to play in this drawing for they are mostly eyeing available seats, a place to fit their bodies or seeking proximity to the door when their stop is near. I mean, who really looks at the floor? But my attention is brought to this again and again because Aditya’s photographs appear to be not just images of motley of strangers inadvertently travelling together; they’re evocative of the very nature of life and its idiosyncrasies, most especially ways of seeing and the crafting of our perceptions. And besides, his obsession with feet and how they are shod draw my attention to the floor of the train’s carriage.

Stilled in time, in that moment, he captures not just an essence but many facets of life that lead from the physical to the metaphysical and back to the physical, quite simply because, he deliberately presents severed limbs, half bodies and two pairs of shoes that belong to three different bodies in a surreal presentation of identity or loss of it, in a crowded metro. The slice of life he presents is abstracted from the physical reality that he sees which makes these Metro-tales evocative of states of the mind - its imaginable and unimaginable capacities.

But what intrigues me is that when I try and cut out what I know and just look based on what is in front of me, it really is such an impossible task because then I cannot really define anything. I cannot really tell you what it is that I see. And yet in trying to do this as an exercise, a world of possibilities is uncovered. Krishnamurti says that to know what ‘is’ requires awareness, a very alert, swift mind..... to observe and study but not judge, to be alert yet passive.

The next image is priceless from this point of view and I am really grappling for words. The photographer shows us nothing but lower limbs of the human body and a lot of toes. In fact at one point the big toe of two feet that belong to different bodies, come so close that I can imagine them having a conversation – toe speak!

In the foreground of this: painted toe-nails, black vinyl slippers decorated with white floral embellishment and toe rings [bichoos] on two adjoining toes emerging from under bright yellow voluminous folds of what has to be a shalwar, defines the gender as female, a married woman. This lower extremity is poised in the air as if the legs have been crossed, knee over knee in a convent-style advocated lady-like fashion, a must for the genteel. The dark skin, well worn slippers, peeling nail polish implies that this woman is not used to indulgent pedicures of the genteel but the convention of crossing legs seems to have percolated through social strata and is standard social behaviour today.

In a photographically engineered footsie scenario, another foot stands at an interesting angle to this slippered matron’s foot. An expansive curve forms between the legs. This other limb, grasps between its big toe and adjoining toes, a bright cobalt blue, albeit dusty, Hawai [rubber] chappal and the leg is clad in grey denim which has visible creases of wear. I assume by the stance of the leg and the shape of toes that the wearer is male. The floor in the foreground is also grey and so is the side of the blue chappal. As the eye moves up the leg, the contrast diminishes and the leg almost merges with the grey colour of the floor which has now receded into the background. In between these two legs of opposite sexes, placed together on this journey, that form a veeish curve, there lies something that looks like a black bag. It could be dark grey but actually looks like a lump of something solid and weighty. It is identified as a bag through its metallic accessories of zip and a ring that probably holds the strap. Other details are fuzzy, at least on the computer they appear so.

What can such an image and the others before it  tell us? Aside from the esoteric idea of looking at the world around us with a sense of wonder but without judgement, at another level what are these Metro-tales really narrating? It’s actually hard to describe the images in words because Aditya has chosen very obscure ways of depicting signs of social change and behaviour patterns where so much westernisation has percolated through the various strata of society, noted through dress-codes and more.

An almost obese Buddhist monk, eyes closed, one hand placed on each knee, is wearing sleeveless saffron and maroon robes. The white head phones inside his ears could belong to an i-pod or i-phone, but is he listening to music or meditating on this crowded train? Another man sleeps, and there are tired-looking travellers who choose not to take a nap, someone fiddling with his cell phone, someone talking on one. And, a lone man, in what seems like an empty compartment, who looks as if he has lost his way in life.  The prize shot is one taken between colourful bandwallahs, en route to a wedding or on their way back, one of them asleep and another anxiously posing. Is that a selfie? 

 

Tell-tales of everyday life depicting the angst of a chaotic society undergoing change both social and economic, peppered with photographic humour of quirky shots featuring of only shoes and various patterns, in stripes and checks on shirts and trousers of male attire, on the metro. Not to forget blue-jean clad legs in rubber slippers, feet propped up on the steel pillar in front of the seat they occupied, bringing forth the question: would one not see this lack of civic sense, on public transport, anywhere else in the world?

It’s a subtle commentary, but that is what is so special about these images. They reveal, in a way, that it is your perception, drawn from your experience and understanding of the world that determines what you see. The photographer takes you on a journey of self-exploration, through the curiosity of your own questioning mind, beyond the obvious, to form an insightful picture of that moment frozen in time. The images capture within their ambit a slice of life where, paraphrasing William Blake, we can see a whole world in the unusual perspective of Aditya Dhawan’s lens. 

Whose Land is it Anyway...

Truckers @Bijwasan

At the outset, tea was the focus; my window to the world.  I was looking at people on the streets who made and sold tea; at truck drivers sipping tea at the chaiwallah[i] stalls or dhabas[ii] as I passed by the Hindustan Petroleum depot at Bijwasan en route to Delhi, and more. This street life interested me but gradually I saw that drinking and making tea was integral to everyone’s daily life. Whether it was going to an exhibition opening or interviewing an artist, dropping by to see a friend, reading a book or reflecting over the previous day’s events over a morning cuppa, everything seemed to be linked to tea, including the dramas with my domestic help. However, the flavour that one found in the street settings was in many ways a contrast to this. And these people with their different life-styles and culture added that extra dash of colour to the canvas of my ‘garam masala chai’.   

Govind

When I started consciously looking around me, my first encounter was with Govind from Bihar who had a moveable cart as a tea-stall, just outside Celebrity Suites in Palam Vihar. I had barely left home when Bhupinder, who was driving my car, pointed him out to me. I was surprised not to have noticed this stall in all the years I have taken this route to Delhi, so ventured enthusiastically to take photographs but Govind was hostile. I was not about to be derailed on my first stop so explained what I was doing. He was neither impressed nor interested and barely seemed to listen. It was not a great start for me but I persisted and it took a good half hour or so before he eased up. He made some tea; I’d just had some before leaving home, so Bhupinder had a cup. Govind kept his utensils clean and neatly arranged. He served biscuits and gutka[iii], supari[iv] and crisps along with tea. People came and went, but not many. He was rather self-conscious and did not respond affably to questions about his life. Physically, he made quite a picture: well built with a growing pot-belly, bulging out from beneath his pale blue T-shirt, under a khakhi-coloured jacket whose buttons were left open and, his odd, sort of pointy, knitted cap.

Bhupinder drinking tea at Govind's tea-stall

 He was not to be seen in that space for a long time, after that. The cart lay abandoned for months and then, one day, he was serving tea again. I went up to say hello and asked where he had been and was told that he’d gone home to tend the fasal[v]. Sometime later, I found someone else at the stall. His younger brother had come to take care of this business while Govind handled farming duties back home.

On my exploration, I was to discover that numerous tea stalls, in and around Delhi, were run by people who had migrated from other parts of the country. I was also intrigued by the idea that tea, which was not really a native drink, but ‘imported’ into the country by the British, had somehow become the mainstay of the man on the street, both as a beverage and a business.

Naina Devi's customer

Historically, this expansion of tea consumption, brought about through the development of ‘chai’, occurred only after 1947. The evolution of this kind of tea, made by boiling tea leaves in a mixture of milk, water and sugar, with optional spices such as cardamom, cinnamon, clove, ginger and black pepper, came about with changes in the technology of tea processing. The full-leaf black teas were replaced by CTC ("crushed, torn, and curled") leaf which not only enabled tea estates to double their production but consumers could brew stronger infusions from smaller quantities of the more potent, tightly-rolled leaf granules. This lowered the cost of producing tea, making it accessible to the common man on the street, such that sixty-five years later, it has acquired a strong ‘Indian’ identity. 

Coming from Gurgaon on the outer Ring Road, just near Vasant Vihar, an old woman sits near tyres and tubes catering to a steady custom from the neighbouring petrol pump. White haired and petite, she squats comfortably on the pavement, making tea and omelettes. I love these omelettes rustled up on the street, with plenty of green chillies and stuffed between two slices of white bread. She also serves mathris[vi] favoured by workers from the petrol pump. 

Ramvati at work

There was a tremendous amount of curiosity from helpers at the gas station and passersby as I took photos of this diminutive, forlorn looking woman busy at work. But she was too busy serving her customers to even notice or care who came and did what, as long as you drank and ate something from her stall. It was winter and she was clad in a pink saree with a russet, almost dirty brown coloured shawl, carelessly wrapped around her shoulders with cheap nylon socks covering feet that were awkwardly shod in black plastic chappals[vii]. Sitting against a discoloured, greyish wall, surrounded by bright white eggs, dull aluminium pots, black tyres and tubes, she made an interesting study.

Every time since whenever I passed by, I saw her dressed in the same printed, pink polyester saree I’d photographed her in, when I first stopped by for tea and an omelette. Then, I noticed she was missing from her spot by the petrol pump. I thought that the MCD[viii] must be doing some sort of clean-up and she had been asked to move. Some months went by, I kept looking out for her and then one day her pink saree caught my eye. 

Ramvati on my second visit

 I was curious as to why she had been missing for so many months so stopped by to talk to her. It turned out that her son had cirrhosis of the liver.  He’d been admitted into hospital, so she’d shut shop to take care of him. She complained that he drank too much and as a ‘baccho ka baap[ix]’ his behaviour was irresponsible. Ramvati and her husband Hangal had come to Delhi from Burari in Uttar Pradesh, as she recounted: “When India fought the 1965 war with Pakistan and Lal Bahadur Shastri was the Prime Minister of India.”  Ramvati was, by her estimate, over sixty years old, had been married at the age of fourteen. She and her husband lived in a jhuggi[x] near a private school in Vasant Vihar.

I came across another migrant tea-stall lady in Palam Vihar, right at the Delhi-Gurgaon border post. The ample bodied Naina Devi was dressed in a printed salwar kameez[xi], wearing a pale olive-ish green sweater embroidered with red and white flowers over this, and a peacock-ish blue dupatta covering her head. She sat crossed-legged on her cart, inside it, making tea. Her young daughter Poonam played nearby while Naina served a steady stream of customers. Residents of posh Palam Vihar, labour working on construction sites, local policemen, drivers from neighbouring houses to passersby who came on foot or riding motor-cycles, all patronized her stall.  Naina Devi hails from Ajmer, Rajasthan. Naina was the only one left here with her stall because at the time of the CWG[xii] clean-up, the authorities had moved everyone else away. She now had her cart positioned at the periphery of some private farm land and paid to park it there. 



Naina Devi with her daughter Poonam[top left],

 the security guard[top right and bottom left] 

serving some customers[bottom row centre] 

Her husband worked in Delhi for a ‘company’ while she sold tea. Naina was friendly and asked why I wanted to take photos of her and her cart. She posed obligingly and so did her customers. Her clientele was mostly labourers who took the tea in plastic bags because it dispensed with the tedium of buying, carrying and storing an aluminium kettle. To others, she served tea in plastic cups. Unlike most chaiwallahs she did not make tea in the ubiquitous aluminium kettle. She used a cup-like ladle to pour milk into a dekchi[xiii] where she ‘cooked’ the tea. This was also used to pour tea into cups. For those who took tea in the plastic bags, a small, ridged, thickened, greenish glass, often seen in a chai ki dukan[xiv], was used as a measure.

Serving tea in plastic bags

A pile of debris lay beside her cart. I assumed it was either left there or swept into a corner at the end of the day and wondered why a dustbin could not be used instead. Some labourers drank the tea sitting on their haunches on the pavement, crouching on a large stone or on the ground itself, comfortable almost anywhere it seemed. But when it came to disposing of the cup, they just chucked the plastic cup in the air, letting it land wherever it did, uncaring of cleanliness. 

Dhabas outside Bijwasan Oil depots

Most of these people seemed to come from rural areas and small towns. They come as labour to build other people’s homes or as businessmen, selling tea in between harvesting the crop in their village lands.  Did this create lack of a sense of belonging? Was it their reason for not keeping the place clean? I also noticed that the dhabas patronized by truckers in Bijwasan just threw their garbage onto the street.  The trucker drivers didn’t seem to notice or care. They kept their vehicles in tip-top condition but did not care the same way for the streets they roamed. Mongrel dogs sat at their feet and fed off the garbage whilst they sipped tea and chatted. This apathy reminded me of countless occasions when I’ve seen even relatively affluent households sweep garbage away from their doorstep onto the street, as if the responsibility for cleanliness and hygiene ended there. It has always irked me to see people deface the walls, throw refuse onto the streets from moving cars, spit and urinate on the road. They do not think the streets belong to them, which really baffles me because, if they do not belong to citizens of the country, then to whom do they belong? 

Post independence, advertisements promoting tea encouraged the idea of an energy-enhancing drink which was good for individual and national health. Some even suggested that tea had the ability to create “alert, energized citizens”, free of the "lassitude" that the British commonly attributed to their native subjects”, towards building the ‘New India’.  Sixty- five years on, a lot has changed: we have been advertised as ‘India Shining’, ‘Incredible India’ and more. Tea, once the elite Colonizers’ drink has become a national beverage but has it made us the “alert, energized citizens” of the envisioned New India? [xv] 

Glasses and mugs being brought around for sale to dhaba
owners at Bijwasan

Realistically speaking, neither tea nor any beverage for that matter, can possibly take on such an onerous task; however we can, but do we? The larger question that troubles me is why is it always someone else’s problem, fault or garbage?  When will we start taking responsibility for little things in our daily lives and feel a sense of belonging? Delhi is made up of a large migrant population. My own father’s family came here after partition and there are many of us who have thus become Delhi-ites or residents of Gurgaon. These migrant tea-wallahs made me question the idea of belonging: what does it take to claim ownership in little the things that make up a nation?

 

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[i] Tea sellers

[ii] Roadside eatery

[iii] Tobacco mix

[iv] Beetel nut

[v] Harvest/crop

[vi] Savoury biscuit

[vii] chappals

[viii] Municipal Corporation of Delhi

[ix] Father of children/parent

[x] Slum dwelling

[xi] Loose,pleated pants and tunic

[xii]Commonwealth Games

[xiii] Saucepan/cooking pot

[xiv] Tea shop

[xv] Quotes from Tasveer Ghar

Voting Right

 Election time is when the circus comes to town. Auto rickshaws with banners and loudspeakers start blaring unintelligible gobbledy-gook, drowning the Koel’s lilting ‘cuhoo’, ‘cuhoo’ with unnecessary noise. The phone beeps incessantly with sms’s asking me to vote for the glass, spectacles, cycle, radio and other such symbols, Most, I didn’t even bother to read. The ex-sarpanch[i] of a nearby village, whose symbol was the glass, even though he professed to represent the Congress party [whose official symbol is the hand], announced his candidature for the Municipal Elections in Gurgaon with drumbeats that deafened. And his supporters seemed to do little more than litter the street in front of the building that I live in.  When I pointed out the mess to him, he said “Oh, don’t worry, we clean up everyday!” “Wouldn’t it have been better to provide dustbins for them to throw their litter, in the first place? “ I asked.

I take pride in exercising my franchise and always talk to my domestic help about fulfilling their civic obligations and this time was no exception. Taking cue from the drumbeats, which made it impossible for me to do any work, I walked into the kitchen. Isha, Mahipal and Priti had just made themselves a steel tumbler of tea each. It seemed like a good time to chat, so I asked what they thought about the upcoming elections. I expected to be greeted with the usual glum silence and downward, evasive glances and after persisting, hear the usual, “what’s the point, we don’t count” along with a host of complaints and excuses which I am no stranger to, or be told that they had not been able to register as voters. However, to my surprise, I found them not only looking forward to the election, but that they had devised a rather ingenuous system in their respective colonies to ensure their right was not subverted by the financial might of various candidates, unashamedly tempting them in return for their votes.
 

The day after elections when they came to work, I asked who they had voted for. Both Isha’s and Mahipal’s ‘teams’ had voted for the same candidate. Religion and caste had not been considered but what the candidate had done to better their locality. He had won, so excited at their victory, they opened up to reveal how they had been wooed by the various candidates.

They divide the area by ‘Jaati’[ii] which is not necessarily healthy, but it’s clearly a system that works. So Isha said that their ‘team’ had all the Muslims from the area and his wife was the ‘agent’ of the candidate they had decided to support. Mahipal added that his ‘team’ had been meeting for the last three Sundays, to debate who to vote for. And when campaigning started in earnest, they had to ensure that no member of their ‘team’ succumbed to temptation. Something had really changed. I had never heard any of this before. Maybe it was the municipal elections where they felt they had greater clarity, but I also considered that the propaganda via television had contributed to this changed attitude and maybe the recent spate of scams from telecom to the commonwealth games had made them want to take greater responsibility in governance. I was impressed.

Isha is a decent, honest guy. Mahipal is too, but he’s more complex. He likes to be the leader and often bullies me as well as the rest of the staff. Isha and his family didn’t take any of the gifts offered, but Mahipal did. He had told me a few days before that they were being feted in all sorts of ways and ‘sharaab’[iii] was being freely distributed. He likes to have a peg or two over the week-end, so I said, “one doesn’t know what kind of booze it is, so please don’t take chances”. With palpable excitement in his voice, he replied: “Madamji, English sharab hai, ‘Bagpiper’ baant rahe hai![iv] I shut up because did I really know of what went on at that level. No-one ever came to give us such stuff. The only candidate, who did campaign visibly, came a year ago to assist in the processing of our voter identity cards. The initial attempt failed, but he persisted and finally it’s thanks to his effort that I was able to vote this year.

 

There is clearly a distinction in the mind of the politicians with regard to what passes muster where. In addition to the whiskey, they were also offered unlimited Pepsi’s and money. And for about six to eight weeks prior to Election Day, some of the settlements were distributed free drinking water. Given that water in Gurgaon is virtually undrinkable unless you process it and for most, water is a scarcity, drinkable or not, it was a wonderful idea that dried up the day after elections because the said candidate lost.

I had listened to Isha and Mahipal regale me with stories that seemed so unreal but Priti my maid, corroborated. She and her husband are registered voters in U.P. and therefore were not offered or took any gifts, but witnessed many receiving them.

Mahipal got four bottles of Bagpiper whiskey. I was quite appalled to hear all of this, but I wanted to know more, so I asked Mahipal how much money he had received. He replied saying that he did not take any. I asked why not, if he could take the whiskey he could take the money too. He had been considering investing in a second-hand air-conditioner, [which he’d estimated would cost about two thousand rupees] so I said that the ten thousand rupees offered would have taken care of that and the running costs for a while too. Mahipal is what I would call a very strange mix. He likes the good things of life, owns a cooler, a TV, family-sized fridge, DVD player, a mobile phone that has two sim cards and also a TV. He drives a ‘Scooty’ wearing sun glasses, not the prescribed helmet and dresses in the latest fashion, albeit from the local bazaar. He must possess at least 6 pairs of jeans, with their back pockets all embroidered in different ways. He does not like hand-me-downs and has a lot of pride in accepting help even when needed. However, he is not so keen on education and although has studied till class 8 himself, has been diffident about adding to this or his son joining school, even though I’ve offered to pay.  

                                                                                         

I reiterated my question. Both Isha and Mahipal chorused in unison. “Money is another matter altogether and those who give money employ thugs to ensure that you cast your vote for them”. I said “How can they? No-one can know who you’ve voted for.” Mahipal replied, “Yes, but if you take money, you are bound, but booze and other stuff does not make you beholden”. I asked “How, what’s the difference?” He replied very quietly but firmly, “Paisa paisa hota hai, Madamji.  Imaan bhi toh koi cheej hoti hai![v]

He’s worked with me for almost twenty years and neither he nor Isha is more than 35 years old. They live in rented rooms, which often don’t have a proper roof but what they call a kacchi chath,[vi] problematic in the rains, the blistering summer heat or bitterly cold winters. They both earn about eight thousand rupees per month, accrued through moon-lighting in addition to their regular day-time jobs. Both work 12-14 hours a day, seven days of the week. I give them Sundays off to rest but they prefer to work  elsewhere instead.  
                             

 

They enjoyed being feted. With great pride, they outlined the system whereby they keep vigil on members of their designated ‘team’ to see that no-one defects from the plan and votes only for the candidate they have all decided upon. The man they voted for this year had worked to get the street lights and roads in order. They defined their priorities; often had heated discussions and worked hard to ensure no-one was bought over.  If someone had been thus inclined, they all worked to convince him or her of the larger interest.


We live in a country that is developing haphazardly. Technology and a growing consumer oriented culture have challenged traditional values and modes of communication. There is aspiration in everyone’s heart, including people like Mahipal and Isha. They may own mobile phones and that ilk, but they still can’t afford better housing. They are not well educated, barely literate at that, but they seem to have moral values that could put many to shame. They know that election time is the only time politicians pay any attention to them, but they voted for what benefited the larger interests of the community and not what enhanced their personal wealth by being bribed to vote with notes. They may not be rich but neither are their votes for sale to the highest bidder.
 

These were the people I probably interacted with the most, for I depended upon their daily presence and effort to cook, clean and take care of my plants and home but I had not been able to stand back and see them for who they were. Times had changed and they no longer needed me to educate them. They had a strong sense of what they considered right and wrong and were willing to take part in something that earlier didn’t interest them. Development may be disorganized; the technological revolution may be crowding our minds with information we cannot process adequately, but these factors, however chaotic, had empowered them in small, but definitive ways. They had found a voice. They were, it seems, standing up for themselves.

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[i]Village elder

[ii] Caste [in this case religion]

[iii] alcohol

[iv] distributing

[v] Money is money, madamji, self-respect also counts for something

[vi] Temporary structure/roof