Showing posts with label Poverty. Show all posts
Showing posts with label Poverty. Show all posts

Wednesday, February 11, 2009

The real picture

Slumdog Millionaire, has provoked some unusually strong criticism from the average Mumbaikar. They feel that the portrayal of India(n's) in the film is downright degrading and the storyline projects an India whose cup is half empty. Sadanand Dhume on OutlookIndia.com has a different perspective.
Notwithstanding the giant strides made over the past 18 years, Indian criticism of Slumdog also reveals the chasm between the country’s self-perception and projection and any reasonable measure of its achievements. India may boast homegrown programs in space exploration and nuclear power, but -- as a first time visitor to India immediately notices and as the film mercilessly reveals -- it also struggles to provide its people with electricity, sanitation and drinking water. About half of Indian women are illiterate, a higher percentage than in Laos, Cambodia or Myanmar. It is at number 122 -- between Nepal and Lesotho -- on the World Bank index that measures ease of doing business, and 85 on the global corruption index maintained by the anti-graft NGO Transparency International. To put it bluntly, the squalor of the slums depicted in Slumdog is closer to reality than an elaborately choreographed Bollywood dance sequence shot on location in Switzerland.

An individual seems to be taking a leisurly open air leak at one of the numerous communally sanctioned open air garbage dumping spots around the city of Bangalore. I took this picture during a recent visit to India.

Saturday, December 13, 2008

Saturday miscellany...

Aisha in Zimbabwe - a poem

Aisha is mother to her sister, Khadija,
their mother died of AIDS last year.
Aisha has a soft, round face,
lucky for her, she is H.I.V. negative.
She struggles to get drugs for Khadija,
who at 11 years is H.I.V. positive.

Last year, Aisha took her little sister,
(Khadija appears half her actual age)
to Parirenyatwa Hospital,
the nation's largest.
They waited in the vast courtyard,
amidst the hungry and the festering,
a hospital official finally notices them,
he calls them in and with a gravelly voice
tells them that some crucial test results
needed to qualify the little one for
medications were strangely misplaced.
They will need to come back later
and redo the tests once again.

On a later visit, Aisha is told
the machine used for the tests was broken.
A couple of weeks later, the hospital finally
closed. Of course, they were referred to
private doctors. Doctors who had demanded
payment in S.A. rand or U.S. dollars.
The girls could not do this,
they had no money.

Aisha used to escape the sadness
by going to school, two months ago
the teachers at her high school
stopped going to school.
Of her math teacher, Aisha wistfully says
"She didn't bid us farewell, she just left"

Aisha now barters her labor for food,
Khadija is too weak to work.
Last week, Aisha was overjoyed
She was starting a four-day job,
It did not matter that she was
bent over in a field, all day,
readying it for planting corn.
In exchange, she would get two pounds
of flour, a bottle of cooking oil
and clothes. She plans to keep a shirt
and blouse for Khadija. She prays that
Khadija will fit into the standard sizes.
Aisha needs to get her job done soon,
before the rains lash down on the red earth.
The same rains that will drip into
their little room during the
unannounced late monsoon bursts.

The girls pray together every night
they sleep in a tiny, windowless room.
A small room in a small house that
belongs to their mothers father.
A grandfather whose takes his share
of the little food that Aisha brings home.
Aisha also has an uncle living with them.
He is 45 years old. He is too lazy to work
and sometimes steals her cornmeal.

Like other girls, these two have dreams,
Aisha wants to be a doctor,
Khadija, a bank teller.
Aisha wants to be a doctor to help people
like her little sister, shriveling before her.
In her sleep, Khadija dreams… of growing up,
she dreams of having children, she also
dreams of becoming a bank teller and
repaying the unpayabe debts owed to
her older sister, asleep next to her
hugging her little, emaciated frame.

Note: I wrote this poem using lines adapted from a story about the cholera raging in Zimbabwe printed in yesterday's Times. I had attempted a similar 'poem adaption' exercise earlier here.

Photo by Uwe Ommer, a commercial photographer based in Paris.

Sunday, May 13, 2007

Painting post: Stomach Clock

I finished this one up over the weekend...
Title: 'Stomach Clock'

Size: 36" X 48"

Medium: Oil on canvas

The painting was a result of studying the photograph of a boy snapped by a Bulgarian photographer Dechobek.

Friday, May 11, 2007

Musings on the 'other 90%'


It was with glee that I initially read about an exhibition that opened this month at the Cooper-Hewitt National Design Museum in New York. The exhibition titled "Design for the other 90%" highlights the trend among enterprising designers to create affordable and socially responsible objects for 90% of the world’s population that may not have the creature comforts that the rest of us are used to... This is certainly commendable that these entrepreneurs are out there thinking about the 'other 90%'. On reflecting a little more on the term 'other 90%' it struck me as being excessively paternalistic and smacked of a little bit of condescension by the smug 10%.

My nascent thoughts were further solidified when I ran into the following story by Binyavanga Wainaina (editor of Kwani? - an African literary magazine...) this morning when his essay in the June issue of Harpers caught my eye. I have reproduced a part of the essay here. Read it till the very end... It makes you think.

"I once won a windup radio. I was living in South Africa, and had entered a radio competition coming up with some witty slogan. I received the radio gratefully. I was happy to discover that my radio was perfect. The winding up did not require much muscle power. The radio lasted for ages. It looked retro and retro was starting to look rather good to me. This was the early 90s. I was very broke at the time. My new possession offered me a way to imagine myself: a suffering saint, a frugal writer with his frugal radio. Frugal, not impoverished. Certainly not a failure. My radio lent nobility to being broke.

It also lent nobility to ingenuity. It was invented by Trevor Baylis, a kindly English swimming pool salesman who had seen a program about AIDS in Africa on the TV. Radio was the best way to educate people about the disease, he learned, but electricity was unreliable and batteries were expensive. "There was a need for an educational tool that did not rely on electricity... [and] Trevor picked up on the word 'need.'" His windup radio was the perfect invention for its stated purpose, and it received several awards from the BBC, including Best Product Design. It also won Baylis an Order of the British Empire. He was all over South African television and radio.

I don't know what became of it. I lost track of the thing about the time I moved. I had made a small killing in some dodgy marketing deal, so I bought new clothes, packed up, and moved to Cape Town. You didn't hear anything about the windup radio after a while, and I didn't know anyone else who had one.

But Baylis's Freeplay Radios still exist. You will find them among new age fisher folk in Oregon; neo blue-collar sculptors working out of lofts in postindustrial cities; back to earthers in Alberta; Social Forum activists and neo Grizzly Adams types everywhere. Angst ridden victims, all. But the enthusiasts of the windup radio suffer not from poverty or lack of information but from wealth, vague guilt, and too much information.
They are the only people who can find nobility in a product that communicates to its intended owner: you are fucked."

Picture above: Ceramic Water Filter, Cambodia Designers: Dr. Fernando Mazariegos, Ron Rivera (Potters for Peace), and International Development Enterprises (IDE) Cambodia Manufacturer: Local private factory set up by IDE Cambodia, 2006 Ceramic clay, plastic container, colloidal silver paint Dimensions: 3.5’ h x 2’ w x 2’ d. Image ripped from the museum website.