A thread on the Savarnisation of Twitter and Insgram.

For the past 3 months or so, I have been trying to use Twitter and Instagram a little more frequently than I generally do.
Particularly because Twitter connects you to a variety of fiction writers and Instagram to film technicians and actors. And I was hoping that it could come handy for work purposes.
But I must confess that even though both these apps are pretty cool in terms of their interface and functions, the discussions that happen in these spaces are dull as fuck.
On the other hand, Facebook in spite of its clunky app and a terrible web interface, seems so much better for having engaging conversations.

I suppose the primary reason for this difference lies in how most Bahujans are populated in Facebook than any other platform.
Which makes it a great place for Bahujans to converse with each other. On the other hand, Twitter, Instagram or the new Clubhouse are all primarily filled with Savarnas.
In fact, even the Savarnas who were once in Facebook have quietly moved to these platforms over the past few years. And I must say, they have made these places unimaginably tedious.
Am sorry to say this, but if there is something that can dull your mind worse than a brain fog, then it must be having regular conversations with Savarnas. When you are in Twitter, Instagram or Clubhouse, it almost seems impossible to escape these Savarnas or their narratives.
So before you realize, you are busy defending reservations, explaining what they could do to become a good ally, 'unpacking' how reverse casteism doesn't exist and similar such 16th century circus stunts.
These specific performances are repeatedly extracted out of Bahujans and are actively acknowledged and encouraged too. But at no point, the conversations are allowed to go beyond these 'safe Savarna boundaries'.
On the other hand, conversing with Bahujans on Facebook has been so much more enriching and rewarding. To cite an example, I remember this time when RTI Kannada was launched. Some of us were conversing and if I remember it right, ಶ್ರೀಧರ ಅಘಲಯ quoted a poem of Kuvempu.
And I was struck by how similar it was to the popular poem of Kanniyan Poogundranar. And another friend added by quoting similar poems of Sarvajna. It was such an exhilarating and pleasurable moment.
To realize how poetry and philosophy have been so similar at different points in Kannada and Tamil literature. And the underlying anti-caste politics in both of them. Of course, a conversation like this can only happen among Bahujans.
In the Savarna populated platforms, there is no space for such discussions. There, one would have to go on and on about how a well-meaning Savarna can become an Academy Award winning ally. Or just volunteer to 'unpack' some suitcase or the other for them.😕
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More from @rajamanirajesh

26 May
In light of the social media discussions around Brahmin/Savarna stand-up comics' casteist 'jokes' and the sexual harassment cases at PSBB, several enthusiastic Brahmins seem to be busy calling out other Brahmins. (1/4)
Probably hoping that it would automatically give them some spontaneous clean chit.

Here is a polite reminder to all such well-meaning maama-s and maami-s. (2/4)
Irrespective of your upside down posturing and convincing performances, we are sorry to say that there is no overnight remedial process available. Don't forget that you have accumulated the same set of privileges as those you are calling out. (3/4)
Read 4 tweets
25 May
A thread on the myth of 'safe spaces' in a caste society.

In a caste society, what people consider as a 'safe space' is primarily a caste endogamous space. Individuals feel safer in spaces that are populated by those belonging to their own caste or similar castes.
Which is exactly how most institutions are built in this country - on the basis of caste. And that includes these popular Chennai schools like PSBB.

The school positions itself as a Brahminical school meant for Brahmins.
By doing this, it deliberately keeps non-Brahmins out of its premises. But at the same time, Brahmins families feel safe and proud to send their kids to the school. The students too eventually grow up to become agents of Brahmanism.
Read 10 tweets
22 May
One thread on sir-ing and anna-ing people.

There is this strange and amusing phenomenon I have noticed in the Tamil film industry networks. And in fact, this is true for the Tamil political circles as well.
Whenever you meet someone who is even slightly younger to you (or sometimes even older than you), they always begin addressing you profusely as 'anna' or 'sir'.
But because I have been uncomfortable with both these terms, I often tell them that they could just call me by my first name. They initially hesitate to do that. But after repeated nudging, they agree to address you by your first name.
Read 11 tweets
20 May
A thread on Savarna standup comics and their supposed 'jokes'.

The debate around the casteist 'jokes' or tweets of Savarna standup comics has deliberately been reduced to arguing if one should 'forgive' them for something they did long ago or not.
I just want to say a few things in this regard.

The English standup comic scene in India is an elite space that is entirely monopolized by the Brahmin-Savarnas. That includes both the comics and the audience.
Which is why when Neville Shah made those casteist 'jokes', he wasn't rebuked by the audience. Instead, they lovingly lapped it up. So it is not true that Neville Shah cracked those 'jokes' because his mom died or something.
Read 21 tweets
22 Apr
A thread on 'Geeli Pucchi'!

One thing that struck me about Neeraj Ghaywan's short 'Geeli Pucchi' from the Netflix anthology 'Ajeeb Daastaan' is that it is probably one of those rare films that problematizes the role of the Brahmin woman in the caste structure.
The last decade might have seen several films that engage with the subject of caste from an anti-caste perspective. But most of these films locate their central conflict between an OBC and SC caste.
And whenever some Brahmin-Savarna filmmaker is involved, a Brahmin savior character is also thrown into the mix.
Read 22 tweets
20 Apr
One thing I realized during my three weeks long covid quarantine is that Hollywood popular cinema can make for a great watch during this period. When the quarantine started, I was being a little too ambitious and started with Krzysztof Kieslowski's 'Deklog'.
But very soon, I realized that even if one's symptoms are only mild, watching serious cinema can be very exhausting and draining.

So I quickly abandoned all sorts of serious films that demanded a lot of emotional or mental investment and went with simple Hollywood classics.
And I must say they made my quarantine quite enjoyable.

I started with Steven Spielberg's 'Catch Me If You Can' (2002). The film had the right amount of thrills and also felt like a fuzzy Christmas movie at the same time.
Read 14 tweets

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