This has got to be the most unintentionally hilarious one ever :)) utter innocence on three counts:
a) whether a stable form of Bali iconography exists (it doesn't)
b) how a "Christian saint like Jesus" (!) is depicted
c) most cripplingly, what native Indians really look like!
Here's a small sample of Bali iconography picked from Wikipedia. This is from Badami, Karnataka, 7th c AD, with the Bali figure highlighted on the right. Doesn't look very much like a member of the "choti and thread" club :)))
Here's another. Choti-thread? Why on earth (or sky or pataal) would they at all want to turn a Daitya king into that?
One more. Calcutta Art Studio. Which would make it 19th c Bengal (the same aesthetic zone that gave birth to the first visualised Bharat Mata, so don't diss it in a hurry).
As for the risibly sorry misidentification of a generalised Dravidian physiognomy, it can only come from an amazing bit of innocence. Here's two images of the prototype, from colonial-era ethnography. It's something all of us all over India know as part of the deepest part of us.
Mea culpa: important corrigendum. @TIinExile points out that the figure on the right is the celestial Rahu, not Bali. Have no problem accepting if there was error. The sum and substance remains utterly unaffected, as I will elaborate there in time.
For me, he reinvented speech itself for Indian cinema. Taking it away from the distant theatrical orations of the likes of Sohrab Modi. Down to ordinary human speech, intimate whispers, mumbles, bringing a sense of nearness and interiority.
The classic clash of styles came in Mughal-e-Azam, where his soft, sensitive Salim faced off against the thunderous Prithviraj Kapoor with...yes, words...but also silences, and speaking eyes.
The scene that framed this the best is his very entry....
All the grandiose pageantry of the Mughal court comes to us first, nobles, palace maids and eunuchs running about, orchestras heralding his arrival....
All that magniloquence comes to a halt in anticipation of his first words.
Free #StanSwamy before it becomes judicial homicide.
// Before his arrest nine months ago, he was physically independent and could eat, walk and take a bath on his own, but since his judicial custody, “all that is disappearing one after the other". //
"Why must a veteran tribal rights activist with multiple ailments be compelled to suffer in this manner at his age on CHARGES THAT ARE YET TO STAND SCRUTINY IN COURT?"
He is 84, has Parkinson's and lumbar sponsylosis...and has been brought by the "system" to ventilator stage.
If we wish to keep calling ourselves a democracy, we simply must take a good look at UAPA.
A bouquet of powerful essays by #Dalit women writers. All of them wrote from the trenches, from an embattled zone. A whole experiential domain opening up, always enlightening, disturbing the received opinion, challenging the old discourse, enriching, humbling.
That striking cover art, deeply personal, contemporary, yet adorned by the old nature motifs, is by Dalit artist Malvika Raj. She works with, breaks and extends the Madhubani idiom, giving us powerful art. Some iconic images -- Savitribai, Ambedkar, Buddha -- partner the essays.
Malvika's art offers a perfect visual realisation of the world the essays weave: bustling with moral urgency, coping with trauma with a deeply introspective wisdom, and most off all a desire and commitment to write an as-yet unwritten history. @caselchris1 writes the lead essay.