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Correspondent

23 August 2024 at 4:29:04 pm

Cheap Politics

Democracy does not merely test a politician’s ability to win elections. It tests character when applause is easiest to earn through the cheapest of means. Udhayanidhi Stalin, son of former Chief Minister DMK chief M.K. Stalin, has repeatedly failed that test. His arrest over an allegedly vulgar, sexually suggestive remark aimed at Chief Minister C. Joseph Vijay and actor Trisha Krishnan is, in one sense, a legal matter that must be adjudicated by the courts. Whether his words meet the...

Cheap Politics

Democracy does not merely test a politician’s ability to win elections. It tests character when applause is easiest to earn through the cheapest of means. Udhayanidhi Stalin, son of former Chief Minister DMK chief M.K. Stalin, has repeatedly failed that test. His arrest over an allegedly vulgar, sexually suggestive remark aimed at Chief Minister C. Joseph Vijay and actor Trisha Krishnan is, in one sense, a legal matter that must be adjudicated by the courts. Whether his words meet the threshold for criminal liability under the Bharatiya Nyaya Sanhita, the Information Technology Act or Tamil Nadu’s law against harassment of women is for judges to decide. But legality is not the only standard by which public life should be measured. Political decency matters. And the DMK leader has once again demonstrated a startling absence of judgment. During a protest over the Cauvery water dispute, Udhayanidhi, the opposition’s most recognisable face allowed himself to descend into playground innuendo after sections of the crowd chanted an actor’s name. A rally meant to spotlight one of Tamil Nadu's most pressing water disputes was instantly reduced to gossip and insinuation. That may have amused partisan supporters, but it did nothing to advance the cause they had assembled to champion. The DMK predictably insists this is political vendetta by the ruling TVK government, a convenient diversion from administrative failures. This does not absolve Stalin of responsibility for his own conduct. Those who aspire to govern must also know where civility ends and crudity begins. His latest controversy is part of a troubling pattern. Udhayanidhi’s repeated pouring of vitriol over Sanatana Dharma – in 2023, he compared Sanatana Dharma to malaria, dengue and COVID-19 – has generated precisely the outrage it appeared designed to provoke. His subsequent reiteration in the Tamil Nadu Assembly that Sanatana Dharma “must certainly be abolished” suggested his penchant for manufacturing controversies and dominating headlines. This is especially disappointing because Tamil Nadu has long prided itself on an intellectually rigorous political culture. The state’s public discourse has produced formidable debaters, social reformers and administrators capable of combining ideological conviction with rhetorical sophistication. Now it seems that dynastic entitlement has become a substitute for political maturity. The burden on second-generation leaders is heavier precisely because inherited prominence invites heightened scrutiny. Every careless phrase reinforces the suspicion that public office has become less about public service than permanent performance. India’s politics already suffers from performative outrage and collapsing standards of public debate. It needs fewer provocateurs and more statesmen. Until politicians understand that distinction, the coarsening of democratic discourse will continue, regardless of which party occupies the treasury benches or the opposition front row.

‘Everything in Mumbai is beautiful’

Pic: Ashish Rane
Pic: Ashish Rane

Very few photojournalists have captured Mumbai on their lenses like Ashish Rane has done. With a work experience of more than 25 years Rane has witnessed the evolution of Mumbai, capturing its pulse with his camera. He spoke with Prithvi Asthana on the evolving world of photojournalism and Mumbai. Excerpts…


How did your career start as a photojournalist? What inspired you?

After graduating from J.J. (Jamsetji Jeejabhoy) School of Art, I initially worked in advertising agencies. I realised the 9-5 job was not for me, and I wanted to do something different in my life. Meanwhile, my father handed me a camera, and with that, I began shooting at the weddings side-by-side while doing my job. Gradually, I started to feel a sense of connection with the camera and considered a career in journalism. The efforts bore no fruit. Accidentally, a former BJP MP, Ramdas Nayak was shot dead, and I was the first one to reach there. I was a freelancer back then, so the question was, Who should I give these photos to? Then, my friend, Naresh Kharad, helped me connect with Organiser, a magazine affiliate with the RSS (Rashtriya Swayamsevak Sangh), and handed over to them the rolls and the photos. The next day, there was a public rally at Shivaji Park where leaders like Bal Thackeray and L.K. Advani were present. When I reached there to cover the event, a large supplement was being distributed. After getting a hand on one, surprisingly, I found the supplement contained my photos, with ‘All photos by Ashish Rane’ written on it. This kick-started my career and inspired me to keep working in this field.


What was your first assignment as a photojournalist?

My first official assignment dates back to 1994, when I was working for Samyantar and Abhiyan magazine. Aishwarya Rai had won the Miss World, and I had to cover her trip as soon as she landed at Mumbai airport.


What qualities should a photojournalist have?

While there are various qualities, one vital thing for this field is having a camera by your side for 24 hours. Secondly, one should be sharp and alert to capture the events happening in the surroundings. Essential moments don’t knock on your door and tell you to capture them; your sharpness and alertness help you capture those memorable moments. Furthermore, a photojournalist should never inform others about his or her whereabouts; in photojournalism, the left hand should never know what the right hand is doing. This quality keeps you ahead of the other photographers.

How has the field of photojournalism changed, according to you?

In earlier days, photojournalists used to get two to three rolls for the camera. The photos had to be taken meticulously because of the limited rolls. Next to that was the process of developing the film rolls to get the real picture. Nowadays, everything has become easier and convenient. Digital Cameras have replaced the old cameras; now, photojournalists click in burst mode and capture a series of photos. After that, the photographers choose the best out of them. So today, the work is quickly done in a smooth manner without any problems. Another change is, if there is a mega event happening, every photojournalist will only cover it, leaving the other events out of scope.


What is the most beautiful thing about Mumbai?

I have clicked so many photos and have discovered more than 100 locations to capture and carve out the spirit of Mumbai in different images. So, in my opinion, everything in Mumbai is beautiful.


How has the city of Mumbai transformed in the past decades in terms of infrastructure?

Infrastructure has gone through a major upgradation. Before these times, I wanted to show the bird’s-eye view of Mumbai to the audience. I started to take photos in 2014, from the top-most places and buildings. The photos were easier to take due to the absence of high-rise buildings and bridges. When the pictures were showcased in my exhibition, people thought that I had taken my pictures from a drone; I had to put up a board clarifying that none of the photos were taken from drones. The change in infrastructure does hinder photography, for instance, previously, Haji Ali was visible from Worli, but now, due to the coastal road, it is difficult to see it.


How did you feel after Raj Thackeray penned a letter for you?

It was very generous of him to send me a letter. It was an amusing feeling to receive that letter. I had invited him to inaugurate my exhibition. But, as he had an important foreign trip, he could not come. His secretary called me and was sorry as Raj sir wasn’t able to come. It was a detailed letter, and Raj sir wrote it as if he had seen the whole exhibition.

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