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Hans India
20 minutes ago
- Hans India
A Poignant tale of identity and justice
Anandajit Goswami is one of the topmost Indian authors writing in English and Bengali. He has been hailed by world-class academic and literary organisations for rendering his commendable services to the realms of literature and academics. His book 'Pink Gender: The Extended' is a deeply engaging novella that sheds light on the subtle intricacies of human experience, reflecting on the most sensitive themes of gender identity, societal pressures, and the quest for acceptance. The story masterfully intertwines the lives of three individuals—Ravi, Indu, and Shapno—as they navigate a complex web of emotions, pain, and prejudice, which makes it deeply emotive and profoundly poignant in nature. The author has earned great acclaim for his gripping narratives, which always remarkably spellbind the readers. In quite a similar fashion, this book too contains an intensely packed narrative that has been deftly structured like a play. The story unfolds in a police station, which serves as a backdrop for the subtle layers of the narration to unravel. The fact cannot be refuted that Goswami is an ultrasensitive writer. Like Geoffrey Chaucer, he too has a strong conviction that the community of real writers should not merely stay confined to their ivory towers, wallowing in personal grief. A true writer, as Goswami believes, has a greater social responsibility. Fulfilling this very responsibility, the author in this book chooses to dwell upon intensely sensitive issues such as feminism, the rights of the LGBTQ community, and the misuse of power—while weaving in the influence of the movie Pink to reinforce the themes of gender justice. All these issues indeed clamour for immediate attention. When it comes to the art of characterisation, there is a complete volte-face. Here, the author seems more influenced by Henry James, who in his book The Art of Fiction disagrees with Walter Besant's assertions that plot is more important than characterisation, that fiction must have a 'conscious moral purpose,' and that experience and observation outweigh imagination as creative tools. James argues against such restrictive rules for writing fiction, responding that 'no good work of fiction will ever proceed from a superficial mind.' With his fecund imagination and wild flow of thought, Goswami scintillatingly delineates a coterie of lifelike characters pulsating with complex emotions. The characters are well-developed, with their struggles reflecting real-world issues of gender-based discrimination and societal acceptance. Shapno's story, in particular, stands out for its vivid portrayal of the transgender experience. This riveting narrative has all the elements—an engaging plot, well-delineated flesh-and-blood characters, fluidity of thought, and lucidity of expression—that go into the creation of a quality book. G. B. Shaw, a great dramatist of the modern era, echoes the sentiment that it is every author's bounden duty to highlight the sordid and seamy side of life and raise his voice against the foils and foibles prevalent in society. Much to our elation, the author of this book does not even flinch in raising his staccato voice about the social issues that annihilate the fabric of society. The novelist vehemently and vociferously casts his aspersions on rampant gender discrimination and the maltreatment meted out to the LGBTQ community. Exhibiting remarkable lucidity of language, 'Pink Gender: The Extended' is a commendable effort to address pressing social issues through an innovative lens. It is a worthwhile read for those interested in social justice and gender studies, offering a fresh perspective on gender dynamics prevalent in our society. Indeed, the author deserves a salute for bringing out this masterpiece. (Prof Dr Shiv Sethi is an acclaimed literary critic and columnist.)
Hans India
20 minutes ago
- Hans India
Cultural appropriation in Bharat: The Gen Z reality check and Gen Alpha warning
In the globalised and hyper-connected world, we live in, culture travels at the speed of Wi-Fi. What once took centuries to exchange through migration, trade, or conquest now takes a viral video and a trending hashtag. Bharat, with its millennia-old traditions, diverse ethnic identities, and vibrant art forms, stands at the crossroads of a cultural renaissance and a cultural crisis. The crisis? Cultural appropriation. It's not just about foreign brands copying Indian designs for profit, or Bollywood 'borrowing' from regional folk traditions without credit. It's also about how our own younger generations especially Gen Z and the emerging Gen Alpha are engaging with, reshaping, and sometimes distorting what culture even means. What Exactly is Cultural Appropriation? In simple terms, cultural appropriation is when elements of a culture often a minority or indigenous one are taken out of context by someone from outside that culture, often without permission or respect, and used for personal gain, entertainment, or fashion. In Bharat's case, it might look like: • A luxury fashion label selling 'Bindis' as exotic forehead jewellery with no mention of their religious or social symbolism. • A viral TikTok dance set to a devotional song, stripped of its sacred meaning. • International brands mass-producing 'yoga pants' without acknowledging yoga's deep philosophical roots. • Festivals like Holi being reduced to 'colour parties' with zero connection to their origin in the victory of good over evil. Why This Hits Bharat Hard Bharat has a civilisational space where traditions are woven into daily life. From the way we greet each other (Namaste) to the way we tie our turbans, every practice has layers of history, philosophy, and identity. When these elements are lifted out of context and placed into a Western or commercial framework, they risk becoming aesthetic without essence. For communities whose cultural expressions are part of their dignity and economy, this isn't just disrespect; it's economic erasure. Gen Z: The Double-Edged Sword Gen Z in Bharat is uniquely positioned with their digital natives, globally connected, politically vocal, and often the first to call out injustice. Many have championed causes like #VocalForLocal, revived handloom movements, and embraced indie music rooted in folk traditions. They can spot a fake 'Indian' aesthetic on an influencer's feed in seconds and call it out. But here's the twist: the same Gen Z also consumes culture in bite-sized, algorithm-driven formats. In the race for relevance, even they sometimes reduce centuries-old traditions into 'Instagrammable' moments. • Wearing a kurta only for 'ethnic day' at the office, not understanding the textile story behind it. • Posting rangoli pictures without knowing its symbolism in welcoming prosperity. • Using Sanskrit shlokas as captions for aesthetic appeal without understanding the meaning. They might not be intentionally disrespectful but intent doesn't erase impact. If Gen Z doesn't dig deeper, their well-meaning sharing still risks turning culture into a surface-level commodity. Gen Alpha: The Distortion Generation? If Gen Z lives online, Gen Alpha will be online. Born after 2010, they are growing up in a world where AI can remix a Bharatanatyam performance into a Fortnite dance, where ChatGPT-like tools can rewrite a Ramayana story into a sci-fi fanfic in seconds, and where the first exposure to 'culture' might come from an influencer's content instead of grandparents' stories. For them, cultural memory will be mediated through technology first and that's where distortion becomes dangerous. Imagine: • An AI-generated 'fusion garba' video that goes viral but erases the dance's devotional roots. • Kids learning about Holi through a YouTube ad that markets it as 'India's Summer Paint Festival.' • Regional folk songs turned into meme templates, stripped of language and meaning. The risk isn't just appropriation by outsiders it's self-appropriation, where we distort our own culture for clicks, without realising what's being lost. Cultural Appropriation vs Cultural Exchange Some may argue: isn't sharing culture a good thing? Isn't the global popularity of yoga or Bollywood proof of Bharat's soft power? Yes, but sharing and stealing are not the same. • Cultural Exchange:Mutual respect, collaboration, and credit. Example: a Japanese musician learning sitar from an Bharatiya guru and acknowledging the tradition. • Cultural Appropriation:One-way extraction without context or credit. Example: a pop star using sitar sounds in a hit song and calling it 'oriental vibes.' For Bharat, the line is crossed when the communities that created and sustained these traditions are excluded from the recognition, profit, and representation. The Economics of Appropriation Appropriation is about livelihoods, Bharat's handicrafts, handlooms, performing arts, and festivals employ millions. When a multinational copies a Warli painting for a t-shirt line without credit, it's not only disrespecting the tribeit's undercutting their income. Gen Z's purchasing power can change this. Choosing original creators over knock-offs, supporting local artisans through platforms like India Handmade, and making 'authenticity' a personal style statement can hit cultural theft where it hurts — the bottom line. Gen Z as Cultural Gatekeepers If Gen Z steps up, they can become the firewall that protects Bharat's cultural integrity before Gen Alpha inherits a distorted version. Here's how: 1. Credit the Source –Whether it's a dance move, a recipe, or a design, always acknowledge its origin. 2. Educate Through Content –Pair the aesthetic with the authentic; make cultural knowledge go as viral as the look. 3. Call Out Misuse –Use the same social media activism energy to challenge brands or influencers who misappropriate. 4. Support the Custodians –Buy from artisans, attend local performances, and amplify voices from the source communities. 5. Document, Don't Just Display –Record elders' stories, regional dialects, and rituals; make the record as valuable as the reel. Bharat's culture has survived invasions, colonisation, and globalisation. The threat of self-inflicted erasure through careless appropriation is one it has never faced at this scale. If we are to ensure that the next generations inherit not just the image of Bharat but the essence of Bharat, the work must begin today with a hashtag included. (The writer is a Creative Economy Expert)
Time of India
2 hours ago
- Time of India
Dewald Brevis: The AB de Villiers copycat, who has found his own wind
South Africa's Dewald Brevis with Deon Botes, who has also coached AB de Villiers and Faf Du Plessis. (Image: Special Arrangement) New Delhi: Growing up in Mohali, in a 2BHK flat, Shubman Gill 's favourite pastime was copying his childhood hero -- Virat Kohli . He would try to imitate his walk, his cover drive, his celebration, and even played most of his early career with a red handkerchief tucked in his trousers. Around 8,782 kilometers from Mohali, in Pretoria, in the Brevis' backyard, Dewald and his elder brother Reinardt, wearing Virat Kohli and AB de Villiers' Royal Challengers Bengaluru (RCB) jerseys, used to mimic both the legends with match simulations -- imagining themselves pulling off a heist for RCB. Go Beyond The Boundary with our YouTube channel. SUBSCRIBE NOW! Brevis has had a similar trajectory to Gill. Like Gill, he was portrayed as the next 'prince.' Both of them hit a wall. Form deserted them, critics came out with swords, but their heroes stood like rocks and kept backing them. Back in 2019, when Gill first entered the Indian dressing room in New Zealand, Kohli famously said: 'I saw him bat in the nets and I was like 'wow -- I was not even 10 percent of that when I was 19.'' Similarly, De Villiers also helped Brevis in his early days. 'I have been his mentor for about two years now and helped him with his batting and his attitude towards cricket,' De Villiers had told Netwerk24 in 2022, when the youngster burst onto the scene in the U19 World Cup. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Use an AI Writing Tool That Actually Understands Your Voice Grammarly Install Now Undo In the last couple of months, Gill, the anointed prince, found his feet in Test cricket, smashing 754 runs in his first Test series as captain. It was Kohli again who wrote a special message for his successor at No. 4: 'Well played star boy. Rewriting history. Onwards and upwards from here. You deserve all this,' Kohli wrote after Gill scored a sublime 269 and 161 at Edgbaston. Likewise, earlier this week, when Brevis smoked a 41-ball hundred against Australia, De Villiers went gung-ho over his countryman's knock and took a shot at the IPL teams, saying: 'The boy can play.' What changed for Gill and Brevis? Before Shubman Gill was appointed Team India's Test captain, he wanted to prove himself in England. He practiced with the red Dukes, worked on his trigger movement, and sought help from his cricket-tragic father Lakhwinder Singh Gill. Gill Sr. reminded the youngster why he was such a prolific run-scorer at the age-group level and in the Ranji Trophy, and asked him to 'go back to the basics.' A confident Shubman even predicted that he wanted to be the best batter in the Anderson-Tendulkar Trophy, and boy, did he walk the talk. Dewald Brevis with his childhood coach Deon Botes. (Special Arrangement) For Dewald Brevis, it was his childhood coach Deon Botes -- who has played a massive role in the development of several South African cricketers, including AB de Villiers and Faf du Plessis. Botes, an Economics professor and former Director of Sport at Afrikaans Hoër Seunskool, more popularly known as Affies, shared how the child prodigy battled his dark phase and turned it around. 'He went back to his basics. So, I think with the T20 game, he might have gone a bit loose technically,' Botes told . Poll Who do you think has a brighter future in cricket, Shubman Gill or Dewald Brevis? Shubman Gill Dewald Brevis Both have equal potential Neither will make a significant impact 'In T20 cricket, obviously power hitting plays a big role. And I think he got a bit stuck with that. Playing a bit more red-ball cricket in the domestic league, I think, helped him just to fine-tune his technique a bit. So, it just looks like the old Dewald Brevis that we knew. I think he's basically gone back to what he knows works, and it's been successful for him.' Brevis' redemption Last year, after Christmas, Brevis called Botes asking for help. 'So, last year, on the 28th of December, he came back to me and we worked for three days on his game again. Just going back to the basics, to what he was used to,' shared Botes. 'He just wanted to get back to basics, which we did. And we basically gave him a clearer mind of what he wanted to do. A lot of people talk to you and there's a lot of noise about you, and at times, you kind of lose track of what you actually want to do and what works for you. Dewald Brevis with coach Deon Botes at the Afrikaans Hoër Seunskool. (Special Arrangement) 'So, he came back to me at the end of last year to just get back to his roots, back to the basics, and to find the right way for him to score. It was tough, but we had lots of conversations and lots of sessions to work through it.' When asked whether playing too much T20 cricket had corrupted Brevis' technique, Botes said: 'He really wanted to play cricket at the highest level and to show his skills and abilities. So, I think it was never about that for him. 'He just wanted to play and score runs and be good. That's basically all. Somewhere in this process, he might have got a bit confused about what he wanted to do. Like I said, there's a lot of noise around playing like that, with people talking to him as a youngster. It's probably difficult for him to work out who to listen to and who not. But he can't listen to everybody. So when he came back to me, it was just about having one voice and going back to what works for him. ' Dewald Brevis of South Africa bats during the T20 international cricket match between Australia and South Africa in Darwin, Australia, Tuesday, Aug. 12, 2025. (Jono Searle/AAPImage via AP) Botes feels his ward is ready to take all three formats by storm. 'I think he can definitely play in all three formats for South Africa. He's already played in two of them. So it's just the 50-over game he hasn't debuted in yet, but I think that will come now. 'Yes, I think he'll be successful in all three. I think Dewald would actually appreciate the long format, red-ball cricket. And I think he's good enough to make it in all three formats,' he said. Make way for the Next Gen Every cricket lover has lived that moment, standing before a mirror, trying to mimic a hero's batting stance or a bowler's graceful run-up and release. Most imitations end in awkward copies, but a rare few manage to carry those borrowed styles all the way to the international stage. It's the perfect embodiment of the saying: fake it till you make it. CAIRNS, AUSTRALIA - AUGUST 16: Dewald Brevis of South Africa bats during game three of the Men's T20 International series between Australia and South Africa at Cazaly's Stadium on August 16, 2025 in Cairns, Australia. (Photo by) Experts often insist that a player's trademark shot or bowling action is inimitable, something born of instinct and impossible to reproduce. Yet, some youngsters tune that noise out and keep practicing what inspires them. Take Virat Kohli and AB de Villiers, for instance. They have long been the blueprint for aspiring cricketers. And Shubman Gill and Dewald Brevis, their biggest admirers, seem to have unlocked that template. From cover drives to the lap shot, from the scoop to the front-foot punch, to the reverse sweep -- Gill and Brevis mirror the range of their idols with astonishing ease. Catch Rani Rampal's inspiring story on Game On, Episode 4. Watch Here!
