Friday, 29 May 2015

Essay | social Media

Essay
Social Media and Democracy
Dr. Mrinal Chatterjee
Professor, Indian Institute of Mass Communication (IIMC), Dhenkanal
What is Social Media?
There are several definitions of Social Media. Here are two:
Forms of electronic communication (as Web sites for social networking and microblogging) through which users create online communities to share information, ideas, personal messages, and other content (as videos)[1]
Websites and applications that enable users to create and share content or to participate in social networking.[2]
The word ‘social media’ was first used in 2004; but it has changed the way we consume (and disseminate/share) information. Perhaps no topic in technology attracted more attention in recent times than the rise of social media and its potential impact on news. Communication scholar Michael Slokar said, “People are more likely to find their news on Social Media sites because it makes people feel more connected to one another. This is because they are passing along direct experience, which is why Social Media is so popular in today’s culture”.
However, people are taking to Social Media not only to get news, but to engage with the events and issues and also to discuss and disseminate/share among and across. By early 2015, its use in business, marketing, trade and commerce has already outpaced the traditional media.
What is Democracy?
Democracy has several definitions. Here are some[3]:
  1. government by the people; a form of government in which the supreme power is vested in the people and exercised directly by them or by their elected agents under a free electoral system.
  2. a state of society characterized by formal equality of rights and privileges.
  3. political or social equality; democratic spirit.
  4. the common people of a community as distinguished from any privileged class; the common people with respect to their political power.
According to American political scientist Larry Diamond, it consists of four key elements:
1.      A political system for choosing and replacing the government through free and fair elections.
2.      The active participation of the people, as citizens, in politics and civic life.
3.      Protection of the human rights of all citizens.
4.      A rule of law, in which the laws and procedures apply equally to all citizens".

Democracy and Social Media: Where are the ‘connect’ points?
Many communication Gurus view Social Media as a boon to democracy[4]. Their thinking is based on the assumption that Social Media accords ‘liberty’; 3 kinds of liberty to be precise.
1. Space-time Liberty: The freedom that mobile technologies offered for people to communicate increasingly between any parts of the world and at any time, or what might be called space-time liberty.
2. Sharing Liberty: A change in the balance of distributional power, away from the ‘topdown’ dissemination of information by media corporations that were often state owned, to the co-creation of information, and more recently the widespread sharing of ideas, ‘news’ and information between ‘peers’, what might be called a sharing liberty.
3. Access Liberty: A dramatic reduction in the cost of information creation and communication, making it much more accessible to poorer people, witnessed through the dramatic explosion and take up of miniaturized digital technologies such as mobile phones and cameras – what might be termed access liberty.
Indeed, these ‘liberties’ have had dramatic impacts on political processes, both enabling governments and politicians to spread their messages directly to individuals, as with texts sent to mobile phones to encourage people to vote in particular ways, and also individuals to share graphic images and accounts of things happening to others anywhere in the world, thus raising global awareness of political actions by regimes with which they disagree. There are several examples of social media driven socio-political changes like Arab Spring, Greater Number of Voter Participation in 2014 General Elections, AAP winning Delhi Elections, people increasingly engaging with governance process, etc.
These examples might make us believe that social media is strengthening democracy.
So much so, some tend to believe that thanks to social media democracy as a political system can henceforth only thrive.
I have some reservations.
There are several issues with Social Media because of its intrinsic characteristics.
a.      Social Media lacks the rigour and check and balance mechanism of mainstream media. It is easy to spread disinformation through social media. (Remember the exodus of North Eastern People from South Indian cities.)
b.      It enhances phatic[5]* communication, which can easily go/turn into activism mode.
c.       It enhances homophilly[6]* between like minded individuals, which can infringe on the objectivity and distance required for writing news.
d.      It is not intrinsically democratic. In fact it reduces the scope and space of debate, as the stake holders often harden their stand.
e.      News can more easily be ‘manufactured’ and ‘made big’ in social media than in any other media; and increasingly people are becoming aware of this. This is considerably reducing the credibility of social media.

There are three more points from a completely different angle.
1.      Technology is not an autonomous power. It is necessary to emphasise that technology is not an autonomous power (at least, not yet) that can inherently be used for ‘good’ or ‘bad’.  The notion that social media have the capacity to provide greater ‘liberty’ is that it is based on a fundamentally instrumentalist assumption* – that technologies by themselves have the power to make changes.
Technologies are not independent of the people who make them, and they are made for particular social, economic, political and indeed ideological reasons.
2.      Who can use it the most? Governments and global corporations have very often been able to use these technologies to gain considerable additional knowledge about, and power over, individual people.
Where governments are benign, and really do have the interests of all of their people at heart, such knowledge can indeed be put to good purpose. But not all governments, or for that matter politicians, do necessarily have such motivations.
3.      Access to Social Media is highly differentiated. Social media are not ubiquitous, and till date access to them is highly differentiated. Although mobile telephony and the Internet have indeed spread rapidly across the world, there are still places and groups of people who do not have access, and as a result they are becoming increasingly marginalized.

Social Media have undoubtedly changed the political map.  But this may not necessarily have been in the interests of the poorest and most marginalised – or even of democracy. There has been change, but whether it is for the better depends very largely on the perspectives of the observer.  Just because smart phones are becoming very common does not mean that vastly greater numbers of people are actually using social media on their mobiles to enhance democracy. Just like, development in technology does not mean people are becoming more scientifically tempered. It could be just the opposite. Technology could be used as a tool to subvert scientific temper, like the way astrology business is conducted through call centres[7].
So, what next?
In March 2012, the CTO together with several other organisations working in the field of ICT4D, convened a discussion at the ICTD2012 conference in Atlanta (USA) on these issues, concluding with a review of the most important policy implications thereof.
Four broad sets of significant issues were raised[8].
1.      The need for digital access. For social media to contribute to democracy, broadband for all is essential. Public spaces such as libraries and schools should provide access as a way of communication. Appropriate content is necessary, and the digital systems should be affordable and sustainable.
2.      Lessons from the historical sociology of technology and democracy. There are different kinds of democracy, and it is important that our technologies are used to support systems that do indeed serve the interests of all people. How to include people in the political process remains a real issue. Technology and connectivity by themselves will not necessarily lead to the introduction or enhancement of democratic processes.
There was also a strong view that the increasing tendency for the Internet to be controlled by a small number of organisations, governments and individuals, and that this ran counter to the aspirations of those seeking more democratic processes.
3.      The “dark side” – how ICTs can be used against democracy. It is important to reflect on the ways that ICTs are actually being used to counter democratic processes.
It can help develop understandings of the policies that need to be in place to resist such actions. There was widespread recognition that it is not just companies and governments that can use social media for negative purposes, and that individuals and small groups intent on using it for bullying, digital ‘monstering’, or violent actions, are equally problematic.
4.      Privacy and security. There are different views as to what is and should be private both within and between different cultures.
Four important principles for governments were advocated by many of those present: don’t censor, don’t spy on your own people, educate people on safe social media usage, and require companies to be transparent about privacy and security.

To Conclude…
Social Media has great power to impact and influence. Therefore, it needs to be used judiciously and carefully. The consumer/disseminator of information need to be more aware and careful about the content than ever before.
As Social Media could be used (and abused) by almost anybody from almost anywhere without great effort, expense or technical knowhow- it could be the greatest asset to democracy or its worst enemy.
It is unto us, what we make it.
Never before in the history of mankind, were we collectively burdened with such onerous responsibility.
How do we shoulder our responsibility will determine the future shape of democracy.
Now, WE decide.
This probably is the greatest opportunity (or threat) for democracy as a political system to survive and thrive (or otherwise).
***
13.3.2015
About the author: Journalist turned media academician Dr. Mrinal Chatterjee presently heads the Eastern India campus of Indian Institute of Mass Communication (IIMC) located at Dhenkanal, Odisha. He has published four books on Media and Mass Communications, besides over twenty five papers and articles in national and International Media Journals.
He can be contacted at Sanchar Marg, Dhenkanal 759 001, Odisha. mrinalchatterjeeiimc@gmail.com




[1] http://www.merriam-webster.com/dictionary/social%20media
[2] http://www.oxforddictionaries.com/definition/english/social-media
[3] http://dictionary.reference.com/browse/democracy

[4] “the widespread use of the Internet for social networking, blogging, video-sharing and tweeting has an elective affinity with participatory democracy”- Loader and Mercea (2012)

[5] A type of communication that is neither information nor dialogic, which reinforces social bonds by the sharing of feelings and establishing a mood of sociability.
[6] The tendency for friendships and many other interpersonal relationships to occur between similar people.

[7] Sanjay Tiwari, who works with the Centre for Environment Education, Ahmadabad has written about this in his article Proliferation of Astrological Services and Rising Superstitions, EPW, Feb 21, 2015 Vol L, No 8.
[8] Unwinn, T (2012) Google and Facebook: Privacy and security, 5 February 2012 

Wednesday, 27 May 2015

Column | Jagate Thiba Jetedina 30 May-5 June 2015




Essay | Indian Theatre


 Finding their own voice:
Women Writers and Directors of Indian Theatre
Dr. Mrinal Chatterjee

Indian theatre tradition goes back to the 1st century B.C. However there were hardly any women dramatists to speak of before the 19th century. Because of socio-cultural milieu, women did not, or could not contribute much in theatre in ancient India as writer or director or even as actor. The few contributions they have had, has not been properly documented. Almost the same situation existed in other genres of literature.
Things began to change from 19 Century.


During 19th century many female authors carved out an important place for themselves in the genre of fiction and poetry: the stage remained largely closed to them. Women started contributing (or their contribution began to be recorded) in the genre of theatre only from late 19 Century. It gained in significance with time. And, interestingly it was more pronounced in regional theatre.



The numbers increased appreciatively after Independence. The issues raised amaze by their range with regard to women's experiences. Important women dramatists include Mahasweta Devi, Nabaneeta Dev Sen, and Saonli Mitra (Bengali); Dhiruben Patel and Varsha Adalja (Gujarati); Mannu Bhandari, Kusum Kumar, Mridula Garg, Shanti Mehrotra, and Mrinal Pande (Hindi); Malatibai Bedekar, Mukta Dikshit, Tara Vanrase, Jyoti Mhapsekar, Sushma Deshpande, and Prema Kantak (Marathi); Manjit Pal Kaur (Punjabi); Ambai and Mangai (Tamil); Volga and Vinodini (Telugu); Jameela Nishat (Urdu). Sanghamitra Mishra and Nibedita Jena (Odia). Dina Mehta is among the best known of those writing in English, addressing various themes on Mythmakers; Tiger, Tiger; Sister Like You; When One plus One Makes Nine; and the most celebrated, Brides Are Not for Burning and Getting Away with Murder. In 1989, Bilkiz Alladin dramatized the historical romance of the British Resident in Hyderabad, James Kirkpatrick, with the beautiful Khairunnissa as For the Love of a Begum, which focussed on the interface of the Raj and harem politics and the interplay of the characters. 
The new millennium opened with great promise. Manjula Padmanabhan shot to fame with her award-winning Harvest, followed by Lights Out, Hidden Fires, and Mating Season. Poile Sengupta wrote some fascinating plays, like Mangalam and Keats Was a Tuber. Younger talents like Robijita Gogoi, Shailaja J., Jayati Bose, Rourkela based Nibedita Jena, Bhubaneswar based Bhaswati Basu and Balasore based Sasmita Rana to name a few, are forging new idioms.
Happily, the emergence of women directors as individual cultural producers with gendered perception, innovative semiotics, and sensitive treatment of social issues, has opened up the field to accommodate women's experiences and viewpoints as well as re-present, with gender- sensitive treatment, texts by male playwrights. This is of utmost importance as far as the impact and consolidation of women-centred theatre in India is concerned because theatre as a patriarchal hegemony is quite capable of absorbing female texts, nullifying their cutting edge, and even turning "feminine concerns" into new commodities for male consumption.
In early twentieth century Balamani Ammal, a former devadasi led her own troupe consisting only of women who needed shelter, which travelled all over Tamil Nadu. The director and male impersonator - R. Nagarathnamma followed suit, forming an all-female Kannada company in 1958.[1]

Talking about the writing of plays, the earliest plays by women were composed in Bengali, Urdu and Marathi language. Swarnakumari Devi (1855-1932) and Rasheed Jahan (1905-52) highlighted social evils through their Urdu and Bengali plays respectively. The pioneer lawyer, Cornelia Sorabji (1866- 1954), wrote the first drama in English by an Indian woman, Gold Mohur Time (1930), a parable play that she succeeded in publishing from London. Bharati Sarabhai's socialistic The Well of the People (in verse, 1943) and Two Women (prose, 1952) followed. 

In fact from the 1980s onwards, we find the emergence of a host of women playwrights and directors populating the list of practitioners in Indian theatre, which has traditionally been a male preserve. Their plays strive to present, amid the varied women experiences which is not devoid of struggles against domination, Indian women’s hopes and aspirations, their fulfilments or frustrations, subject to the conditions they live in. These can be further correlated with the lived experiences of the women playwrights and directors themselves. In order to dramatize these issues effectively, they make use of history, mythology or ancient accounts of life and society, by way of reinterpreting them from women’s point of view. They have consistently used folk themes to their own advantage, and used drama as an effective medium to analyze socio-cultural differences and issues associated with gender discrimination.
Hardly a domain of life is left untouched by these playwrights, who offer a variety of analyses of the position of women, exploration of female subjectivity, and different strategies that need adoption to negotiate social change. Their work and voice ask for reformulation of conventional paradigms and meaningful social intervention, the reconsideration of historical knowledge and the re-examination of the basic premises of traditionally organized systems of knowledge about social and literary dynamics. In doing so, they shape a new dramaturgy-a feminist theory of theatre that finds unacceptable the notions of Aristotelian catharsis and Bharata's rasa as the feelings aroused in viewers. The plays upset the equilibrium, provoke, and demand response from an audience that will not expect entertainment but will participate in the dialectics since the issues concerning women and children are of the kind that have invariably been and continue to be sidestepped and neglected by society. 

As Pinaki Ranjan Das observed, things somewhat changed with women playwright and director’s entry into the field of theatre in India, and then took several turns along the way. The first phase was one of the imitations of male dramaturgy – modes of representation and theatre practice, which earned the women theatre practitioners some recognition from male theatre critics, practitioners and the audience. The second phase can be described as women practitioners‟ critical sensitivity towards the male theatre traditions and the third phase has begun with the articulation of the women-centric concerns, where the women playwrights and directors are not just exploring the nuances and ramifications of women experiences and desires but also celebrating their differences. The ‘womanist’ dramaturgy, thus evolved, is neither the outright rejection of traditional theatre forms because they also can be used to present the nuanced locations of women in the complex Indian contexts, nor is it the merely experimental theatre forms and non-linear plays as exemplary of women’s theatre. It is as, Helene Keyssar says, projecting the ‘consciousness’ of women as women and what it means to be in the position of the ‘subject’, while being also aware of the otherness. Hence, the ‘womanist’ dramaturgy emerges as the shift in stance, where it is not dependent on the patriarchal recognition or identity.[2]

I strongly feel women playwrights and directors in India have come full circle. Women theatre is not only focusing on traditionally women-centric subjects. This, I believe is good. Women directors and playwrights are transcending their gender-related fixation and looking at issues and events from a more open, and should I say humanistic perspective.
***

Journalist turned media academician Dr. Chatterjee also writes fiction and plays. He presently heads the Eastern India campus of Indian Institute of Mass Communication (IIMC) located at Dhenkanal, Odisha.



10 April 2015


[1] Role of Women in Indian Theatre, (http://www.indianetzone.com/59/role_women_indian_theatre.htm) 


[2] A Theatre of their Own: Indian Women Playwrights and Directors in Perspective Pinaki Ranjan Das State/University Junior Research Fellow Department of English, University of North Bengal, on adaptations of the plays written by the male playwrights.
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 19, Issue 11, Ver. VII (Nov. 2014), PP 57-60 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org
Dhiru Ben Patel
Rasheed Jahan
Mahasweta Devi

Jyoti M


Malatibai Bedekar
Saonli Mitra
Swatilekha
Tripuraru Sharma
Nadira Babbar
Bhaswati Bose
Nibedita Jena
Rasi Bunny
Abani Chakravarty
Swarna Kumari Devi




























Tuesday, 26 May 2015

MEDIA LOOK | Front Pages of Odia Dailies

Heat wave has hogged the front page of almost all major Odia dailies today, 26 May 2015. It has pushed all other news off the front page.  Almost same thing is happening in many other language newspapers, that are reeling under the intense heat wave, which has already killed over 500 people across the country.
It calls for a detailed content analysis exploring the nature and format of the content. How are the newspapers engaging with the phenomena? Are they only reporting what is happening or are they taking steps to educate people how to deal with the situation? Are there editorial pieces on the situation?








Cartoonists of Odisha | Chudamani Das

Multi talented Chudamani

Bhadrak based Chudamani Das (born May 16, 1974) has drawn cartoons regularly for several newspapers and periodicals from 1998. His cartoons have appeared in several publications including daily Prajatantra (from 1998), weekly Durmukha (from 2000), monthly Byanga Darwar (from 2012), monthly Bindass (from 2012), etc.
A trained artist (he did his Masters in Visual Arts from Utkal University of Culture, Orissa), Das worked as an Art teacher for two years at the Sunday Arts School, Saraswati Sisu Mandir, Bhadrak(1997-98). He worked as an artist for six years at the Prajatantra Prachar Samiti and drew cartoons and illustrations for several publications of the Samiti- Prajatantra, weekly Magazine “Prajatantra Saptahiki”, Monthly literary magazine “Jhankar”, monthly children’s magazine “Minabazar”, Cuttack from (2001 to2006). From 2007 he is working as an Instructor (Applied Art) in the Bhadrak College of Art & Crafts.
Das has held Art and Cartoon exhibitions in many places including Balasore (1994 and 1998), Baripada (1997), Deoghar, Jharkhand, (2010.), Keonjhar, (2011) and Baragarh (2012).
Besides drawing cartoons and illustrations he is fond of photography. He also designs film posters and letterings. He has designed posters of several Odia films including Arjun, Thank you Bhagaban, Topae Sindura di topa Luha, Krishna, Maudamani, Pagala Premi, Sata Sure Bandha a Jibana, Aalo mora Kandhei, Omm Sai Ram. He has also designed Opera (open air theatre) posters for Bhagha Jatin Lokanatya, Kalinga Gananatya, Konarka Gananatya,Tulashi and Gouri Gananatya.
He has published a compilation of his cartoons titled Chudamani Cartoon Vichitra.