After a meeting of Indian Prime Minister Narendra Modi’s cabinet, Home Minister Amit Shah announced the abrogation of Article 370 of the Indian Constitution ending the special status and relative autonomy for Jammu and Kashmir and the division of the territory into two. While his friend and fellow traveller in movie stardom and in politics, Kamal Haasan has criticized this BJP policy as an assault on democracy, Rajinikanth has, sadly, approved. Taking the spiritual allegory of the Mahabharata, quite literal, to the contemporary battlefield, the fledgling politician is reported to have said that Modi and Amit Shah were like Krishna and Arjuna.
In my own view, this is an epic political fail for Thalaiva. I was, from some of his earlier pronouncements on religious and cast politics, envisioning a more humanistic and inclusive application of the traditional Hindu ethos in contemporary Indian Politics. Indeed Rajinikanth should be wary that he does not become a ‘wooden’ politician, particularly in the sense of becoming the Trojan horse that secrets BJP’s RSS/Arya Samaj saffron remix into the black atheist heart of the Dravida polity. Such an autocratic gesture from this second term Hindutva government bodes ill for the diversity that has characterized Indian politics since independence in 1947.
As far as Thalaiva’s entry into Tamil Nadu politics is concerned, I had hopes that Thalaiva would usher in a fresh spiritually motivated universalism to the tired atheist and ethnocentric Dravidianism that has shaped the modern state. I regret to note that, as his star glows with an increasingly saffron hue, my hope of Thalaiva becoming an exemplary post-traditional politician is fast reducing to just another fan-boy’s fantasy! Come on La … Thalaiva!!!
We completed the last street intervention of Koboi Project in Belem at the Monument to the Discoveries on Sunday 30th June at 9pm. It was a glorious evening as the sun went down on Prince Henry the Navigator and his discoverers, on SUPERSTAR Rajinikanth and on the Koboi Project! Special thanks to Jane Frankish and Pedro Silva.
In the 3rd and concluding performance for the Pavilion Without Pavilion, Bangkok Biennale 2018, I made an impromptu photographic action on the 3rd of September at Wat Arun. This action was premised on the conflation of two gargantuan Dravidian icons that have attained global currency, Demon King Thotsakan (Dasakantha or Ravana) and contemporary SUPERSTAR Rajinikanth. They are both unquestionably giants of global Indic culture, one from the historiographical past of Farther India and Suwannaphum, and the other from the more immediate realm of Kollywood.
The second Koboi Performance went well today (8th July) in Belem, Lisbon. Among the highlights is meeting Amir Kabani and his family at the site of the Discoveries Monument. Amir gracefully and effficiently facillated the paperwork involved in enabling me to participate as Faculty at the International Art Gallery of the Diamond Jubliee celebration of the global Ismaili community. Thank you Amir and the team at the International Art Gallery.
In, arguably, the most significant vignette of PA Ranjith’s Kaala (a film that is essentially a collection of rhetorical set pieces), a minor character named Shivaji Rao Gaikwad (Rajinikanth’s actual name), speaks up for the protesting slum-dwellers that he, as a policeman, is tasked with repressing. ‘Shivaji Rao’ who, one might reasonably assume, is a signifier for the ‘real’ Rajinikanth, concludes his revolutionary speech with the Ambedkarite cry – ‘Jai Bhim’. This conjunction of speech and speaker, of message and context, of the text and its tag, presents, in a nutshell, the conundrum of Rajinikanth’s political entry. Are we being given insight into Rajinikanth’s intended political direction and allegiance … or is this merely Ranjith’s cinematic fantasy – aligning the voice of an illusory SUPERSTAR with his own fervent Dalit cause, without any grounding in Rajinikanths’s actual politics … Indeed, as the upcoming Tamil Nadu elections unfold, it will be fun reading and re-reading this scene in the light of that moving political context! Indeed, the Gaikward vignette appears to be a most intricate double, perhaps triple, feint, made in the course of a momentous Kollywood engagement between rising director and risen SUPERSTAR – the highlight of an exchange between two powerful agendas in Tamil Cinema … Tamil politics even!
Mass is Kollywood jargon for massive or hit or popular or something like that! Whatever it actually means, the one thing that is clear is that Indian cinema is all about a sense of scale! This is also the mechanism or mechanics of democracy … the majority of the people … mass!!! Tamil Nadu has been governed by Mass since the days of Annadurai … MGR, Karunanidhi, Jayalalitha ……
The SUPERSTAR hoardings are back. Kaala, the ‘man in black’ is walking tall on cinema walls all over Chennai. It seems that PA Ranjith’s second collaboration with Thalaivar is doing fine at the box office regardless of controversies in Thoothukodi and in Karnataka. There were relatively poor advance bookings and even now there are mixed reports about the first days takings but at least one heralds an all-time record take across Chennai cinemas and cineplexes of 17,000,000 rupees which is over 250, 000 USD. Reviews suggest that Director has struck a better balance between the SUPERSTAR persona and the serious social and dramatic ambit of his work. Ranjith is an outspoken champion of the left in Tamil Nadu. By left I mean Periyar’sDravidian movement, whose colour is the black of Kaala, and Ambedkar’s Dalit movement, whose blue is equally prominent in the film. While the pairing of actor and director pairing holds up well in the fictions of Kabali and Kaala, there are signs however that this unity of actor and auteur is unraveling. How Rajinikanth will square this new politicized SUPERSTAR persona with his, apparently not so slightly saffron tinged (saffron being the colour of the Hindu right) real life ‘spiritual politics’ remains to be seen ….