On Monday, September 5, Amitabh Bachchan uploaded a video of himself to his Facebook page reading aloud a letter he wrote for his granddaughters, Navya Naveli and Aaradhya. The letter is supposed to be an important message to young girls about not letting society pressure them into doing things they don’t want to do—the typical message about equality and freedom you wish your grandfather would’ve given you.
However, we run into a problem with the very opening statements of his letter.
The first thing he tells Navya and Aaradhya is:
You “carry a very valuable legacy on your tender shoulders.”
He says their great-grandfathers brought their current surnames “celebrated fame, dignity, and recognition.”
“Both of you may be a Nanda or a Bachchan but you are also girls… women… and because you are women, people will force their thinking on you.”
Bachchan begins his bogus letter on the wrong foot. There is nothing more overbearing for a little girl than knowing she carries an entire legacy alone. This reinforces the “ladkiyan ghar ki izzat hain” ideology (Girls are the honor of the family.)
Secondly, attributing all the family’s fame and respect to their grandfather’s ties the two girls down to their patriarchally inherited last names, while completely ignoring any contributions their maternal side have made to the family and to society.
And third, Bachchan himself is forcing his thinking on his granddaughters. By opening his letter about marrying whomever you want and being free women with the prologue about the girls’ great-grandfathers, he is slyly reminding them that they can do whatever they want—as long as they function within the framework of a patriarchal worldview.
Let’s not forget that Bachchan had his now-daughter-in-law Aishwarya Rai first perform kumbh vivaah, or wedding, with a tree before marrying his son Abhishek Bachchan. Rai was said to have a manglik dosh in her kundli, which means her horoscope points to the possibility of her having multiple marriages. And therefore, with a lack of trust in Rai and her commitment to her fiance, the family had her perform kumbh vivaah.
Bachchan’s pseudo-feminist rant comes exactly ten days before the release of his next big film “Pink.” The filmexplores moral issues and the double standard female victims encounter when they press sexual harassment and assault charges against men in Indian society. Bachchan plays the role of the victims’ lawyer.
I believe the poorly-written letter is a mere marketing strategy to get the general public’s attention on Bachchan and to make potential film viewers think he is dedicated to women’s rights and equality. His letter is misguided and lacks the true essence of empowerment for his young granddaughters. It does, however, have the potential to reel in fans who have a poor understanding of what true liberation means for Indian women. Perhaps, he did write them a more heartfelt and fierce letter that he hasn’t released to the public in order to retain his problematic sanskari image. I truly hope the latter is true.
Ravleen Kaur is a student at The Ohio State University studying public affairs and public health. Her hobbies include drinking over-sweetened coffee and performing bhangra in public spaces. She is currently planning to run away from her home state in the Deep South and eventually work in the public health field.
Weddings, huh? Talk about a stress fest. And for the bride, it’s like a 24/7 walk on eggshells. However, add in a paranoid and overprotective sister, and you’ve got a recipe for a completely different degree of drama. In “Polite Society,” Ria Khan (Priya Kansara) and her gang of clumsy pals take the phrase “till death do us part” to a whole new level as they plot to “steal” the bride — aka Ria’s own sister, Lena (Ritu Arya), during her shaadi reception. But with a wedding hall packed with guests, a mother-in-law from hell, and a groom with more shades of fraud than a rainbow, this heist is anything but smooth sailing.
It goes without saying but “Polite Society” comes with a cast of wacky characters, gut-busting one-liners, and an action-packed heist sequence, making it a must-watch for anyone who loves a good comedy. I mean who hasn’t dealt with some serious wedding drama, am I right?
Lead actress Kansara agrees wholeheartedly. “I definitely have!” she chuckles, as I catch up with her at Soho Hotel in London. Despite the rubbish weather outside, Kansara is a ray of sunshine with her infectious enthusiasm.
The minute I read the script, I thought to myself…wow, playing Ria is going to be one wild ride!
And wild is definitely the right word to describe her character. Ria is a British-Pakistani martial artist-in-training from London, determined to become a professional stuntwoman. Her sister, Lena, who dropped out of uni, often ends up being the guinea pig for filming Ria’s stunts for YouTube, including one lovingly dubbed “the fury.” She reveals
I’d never done martial arts before this film. The stunt training started from the day I got the role, and it was three to four times a week all the way until we finished filming. It was a seven-week period in total, and boy, was it physically demanding. Oh my God, I think I can add a whole new skills section to my CV! But on a serious note, it was so much fun and we had an amazing stunt team. They, including my stunt double, taught me so much. It was important to me to do my own stunts as much as possible, but also strike a healthy balance.
For South Asian women, who are often expected to be quiet and agreeable, all that punching and kicking on set must have been cathartic, right?
Honestly, it was like anger management at work! I got to kick and throw things around — it was the perfect balance.
What sets Kansara apart from other actors starting out in the industry is her ability to draw from her own life experiences to bring authenticity to her characters on screen. Her career began with a degree from UCL and a communications job at a pharmaceutical company. But today, her versatile range and unwavering commitment to her craft have propelled her to the forefront of British comedy, portraying defiant South Asian women we’d love to see in real life.
From my own experience as a South Asian woman, I’ve always been told to do what’s ‘proper’ and think twice before speaking up. Playing a character like Ria and putting myself in her shoes, I felt like I was doing and saying things that I wish I had done at her age. It was almost like living through her and speaking my mind about things I never did.
Without a doubt, every South Asian woman on this planet wishes she cared more about herself and less about what other people think.
Ria totally inspired me. If only I had her mindset when I was younger, my career path would have taken off way sooner instead of worrying about other people’s opinions.
The chemistry between the cast members on and off-screen is so apparent, especially the sisterhood between Ria and Lena. The wild adventures of a bride, and her paranoid maid of honour navigating through family drama, are bound to create some unforgettable moments on set.
We both confess our love and admiration for Nimra Bucha’s portrayal of Raheela, Lena’s evil mother-in-law and share a teenage fangirling moment:
I’m obsessed with that woman. There’s something terrifying yet ultra sexy about her character in “Polite Society” that’s mesmerising. I absolutely loved the dance sequence. As South Asians, we’ve all grown up watching Bollywood films and idolising Madhuri Dixit’s iconic dance moves. “Polite Society” gave me my Bollywood heroine moment, and it was a dream come true with the costumes and jewellery.
It’s definitely a unique experience for Kansara, considering her former career was worlds apart from entertainment. So, what advice does she have for aspiring actors who may secretly wish to pursue the same path, but are unsure of the next steps? Kansara advises, drawing from her character’s heist-planning skills.
I believe starting small and honing your craft is an underrated superpower. If you’re passionate about acting, make short-form videos, and build your portfolio. You never know who might be watching.
So, grab your popcorn and your sense of humour, and get ready for “Polite Society” — the film that proves that sometimes, the most polite thing to do is kick some butt and save the day. It released in cinemas on April 28th, and I highly recommend it.
In an age where algorithms dictate viewership, Nancy Jay uses her love of dance to propel herself onto TikTok’s “for you” pages. Jay is an Indo Guyanese, Bronx native who began dancing at the age of three. As an influencer and content creator, she amassed a social media following of more than 500,000. Versed in many styles of dancing including Caribbean, Bollywood, urban and Latin, Jay can be spotted in soca music videos such as Linky First’s “Rock and Come in” and “Jeune Femme,” Adrian Dutchin’s “Roll” and by soca king Machel Montano’s “Mami Lo Tiene.”
Many content creators are typecast into the niche but Jay has defied this norm and proclaims she is more than just a dancer.
“I dance, travel, post lifestyle and beauty content. I’m an Indo Caribbean woman who enjoys being myself and promoting my culture. I like showing viewers it is okay to be who they are and embrace what they look like, despite what they see on social media. I did not plan on being a TikToker. As I started posting videos, the love and support I received from viewers was amazing. I have never experienced anything like that before on Instagram, where I started my content journey,” Jay said.
In conversation with Jay, the following answers have been condensed for concision and clarity.
Why is it important for you to create content related to your Indo Caribbean roots?
Growing up, I never felt represented as an Indo Caribbean on television, in movies, social media or anywhere else. My goal as a content creator is to promote the Indo Caribbean culture through my content and be the representation the Indo Caribbean community needs.
Are there unspoken rules about being a content creator or an Indo Caribbean woman on the platform?
Being an Indo Caribbean woman on TikTok can be challenging when you are trying to find your identity and do not feel represented.
Jay explains her frustration with the lack of Caribbean representation and acknowledgment from platforms, as well as her goals as a content creator in this video.
Do you ever experience a block, similar to writer’s block, when it comes to creating content? How do you overcome that?
I have yet to experience a block. However, I do have days where I want to take a break and just relax instead of filming. As a content creator, it is important to take breaks and schedule days to just relax because being a full-time content creator is a 24/7 business. It can be draining and you may lose your sense of reality when you have the mindset that everything is content. I enjoy taking a day or half a day to cook, watch TV or go shopping with my partner without the worry of filming any of it.
How has your social media presence changed your daily life?
When I am in public, supporters approach me to express their love for my content and sometimes ask for a selfie. When I find people staring at me in public now, it’s most likely because they recognize me from social media and not because I look funny.
In May of 2021, I used my platform to reach out to brands and ask for their support in a project I named ‘Nancy Jay Gives Back.’ I put together care packages, using products donated by brands, and drove around the Bronx sharing them with people experiencing homelessness or those in need. Seeing the happiness on their faces upon receiving these bags was priceless. Additionally, I spread some extra joy through dance. I remember one lady telling me she’d never been to a club or party so I told her I’ve brought the party to her and we danced to her favorite genre of music right there on the street.
Jay plans on continuing this project as her social media presence has grown.
How has your family reacted to your social presence?
My family has always been supportive of my talents and the path I have chosen. My first public dance performance was at the age of 12. I performed a fusion of Bollywood and chutney music at middle school events. When I got to high school, I participated in our talent show to a fusion of Bollywood, chutney, soca and top 40. I won the talent show three or four times. I also performed for fundraisers organized by mandirs in Queens, the Bronx, weddings, sweet sixteens and other social events.
My family always came out to support me. They love seeing my content and always encourage me to film and create. My mom in particular tells everyone about my TikTok videos.
While enrolled at John Jay College, Jay founded the first West Indian student organization called “West Indies Massive.” She captained the dance team, taught dance classes and won the talent show multiple times while pursuing her Bachelor of Science degree in criminal justice with a minor in law and police studies.
Any advice for creators who may not have the support of family?
Do not let this discourage you. If content creation is something you truly want to do, stay consistent and eventually your family will support you for doing what you love. Social media is still new to some and the idea of it being someone’s career or business is new as well. I say be patient. Also, talk to them about your social media goals, as perhaps they do not understand the full picture.
What is your dream partnership and why?
My dream partnership would involve acting. I’ve always wanted to be an actress, preferably a Bollywood actress because I know I would kill those dance numbers (haha!). Also, I would love to partner with Sandals Resorts and bring that Caribbean flavor they should be promoting.
Jay has collaborated with major brands like Samsung Mobile, Norwegian Cruise Line, AC Hotels, Disney Music Group, and Dunkin which is paramount for the Indo Caribbean community.
“I am the first Indo Caribbean woman to work with Norwegian Cruise Line as a content creator. Cruise travel is a huge part of my content journey. I love cruising and creating unique experiences and content. While cruising, I connected with the crew while most people typically do not. I treat everyone with respect,” Jay said
“I started a fun series called ‘Cruise Dances with the Crew’ back in August of 2021. There’s a playlist on TikTok with all of the fun dances. Prior to my first video, I had not seen anyone dancing on cruise ships with the crew. I guess you could say I started that trend.”
Nancy intertwined this partnership with her content and further put herself on the map.
Another pivotal partnership for Jay occurred in March 2021 when Dunkin chose her as one of 10 from a nationwide competition to feature her signature drink on the local menu.
How has content creation changed in the past two years?
Within the past two years, my content and style has grown tremendously. My gear list has also grown tremendously. I’ve been a content creator full time for a little over a year now. I have had more time to focus on the presentation and editing of my content.
What else do you want your viewers to not know about you or your work?
I stay true to who I am. Supporters who I’ve met in person can attest that I am the same, in-person and online. I like to keep things relatable, fun and authentic. I am working with a lot of big brands. I try to incorporate dance in all my content to capture my passion, diversity and culture.
I started teaching Caribbean Dance Fitness classes and private dance lessons officially in 2016. Since Covid, I moved everything online. Not only have I helped many learn how to dance but I have also helped build their confidence through dance and expression.
Lastly, I love traveling and encouraging others to live their best life.
Jay is more than a dancer; she is unapologetically herself. She maximizes opportunities and is building a brand that highlights her Indo Caribbean roots – a culture often not highlighted in mainstream media.
November 2, 2023November 2, 2023 6min readBy Nida Hasan
It’s not every day that a film leaves you feeling completely overwhelmed with a flood of mixed emotions — from grief and hopelessness to fear and rage, all the while brimming with a sense of pride for the protagonist. This usually is a testament to the maker’s cinematic prowess; their ability to not just engage their audience but also invoke a response. In “To Kill A Tiger” however, this is a result of both the director’s unrestrained and incisive approach and the eye-opening reality that unfolds on screen. Emmy-nominated filmmaker Nisha Pahuja’s documentary, “To Kill A Tiger,” is not at all gritty or violent in its depiction; there is no blood and gore that compels you to feel the pain and empathize. It’s the trauma, collective suffering, and the almost sickening reactions that surround the struggle that makes it an eerie watch.
In essence, “To Kill A Tiger” is an unfiltered look into the aftermath of a horrific sexual assault in Bero, a tribal village in Jharkhand, India. The film starts off with Ranjit, a poor rice farmer and 13-year-old victim Kiran’s father, recalling the details of her brutal rape, at a family wedding, by three men including her cousin. After Ranjit files the case, the perpetrators are arrested immediately, but the road to justice is long and dreary, and the chances of getting it, woefully small.
In India, where a woman is raped every 20 minutes and where 90% of those rape crimes go unreported, Ranjit’s unwavering support for her daughter and her right to justice is a rare sight. He is joined by a host of activists including those from Srijan Foundation to further his cause, in the hopes that his unlikely win may bring some form of systemic and societal change. But in his almost 14-month-long, arduous journey, Ranjit and his family find themselves stuck in a destructive cycle of victim-blaming and the intense pressures of upholding the community’s so-called honor. Comments like “she should have known better,” or “she must’ve been a tease for boys will be boys,” and suggestions of marrying her off with one of her rapists so as to keep the village united and let peace prevail, are a harrowing reminder of how much of rural India is still so deeply entrenched in patriarchy and powered by toxic masculinity, which is what actually led Pahuja to this case in the first place.
“After the Delhi gang rape. I decided I wanted to make a film on Indian masculinity. I spent a fair bit of time researching and raising funds for the early development phase because it’s such an abstract concept; how do you tell a story about masculinity?” Pahuja shared, while chatting with Brown Girl Magazine.
“Over the course of my research, I came across the work of a Delhi-based organization, Center for Health and Social Justice. They, essentially, are pioneers in the space around masculinity. They understood very early on that if there were any substantial, effective strides to be made to end the discrimination that exists against women, one would actually have to tackle masculinity, and give men a new way to be male. The film that I initially set out to make was following their work. They were running a program in the state of Jharkhand and Ranjit was enrolled in that program. And that’s how I came across this story. It wasn’t like I was looking for a story about a sexual assault. The incident just happened around that time.”
But shifting the focus to a deeply personal story with an uncertain future, and one that was highly sensitive to its surrounding environment (significantly volatile in nature), posed a series of challenges for both the family involved and the crew. For one, it was crucial to ensure that the fact that there’s a camera present does not, in any way, influence Ranjit’s course of action; and that both Ranjit and Kiran have room and the freedom to make decisions as they see fit.
“We always made it very clear that they shouldn’t do what they were doing for the camera, or for the videos. We told them we will support whatever decision they want to make and that they shouldn’t feel a compulsion to keep pursuing this. We wanted to ensure that they were pursuing justice, in spite of all the things that were going on. Because we were all worried for them. We didn’t want them to be in any kind of danger or to be in a position where they were unsafe,” Pahuja stressed.
As is evident in the film, there are plenty of moments when it seems Ranjit would jump the ship. Apart from the mental and financial burden of keeping up with innumerable court dates, and a system that does little to help the marginalized get justice, the threats to his family’s wellbeing were insurmountable. In one instance, we see this growing hostility veer towards Pahuja’s crew — the villagers question the filmmaker’s continued interest in the incident, warning her to stop meddling in their community’s affairs. Pahuja recalls the instance:
“It was a scary situation. We were aware that this eruption might happen; it wasn’t unexpected but when it happened, it was a shock. You know what I mean? We had been in that village for several months filming, trying to get people on our side, trying to create relationships, even with the boys’ families. And Ranjit was fine with that; he understood why we needed to do that. We made a lot of effort to not be a bull in a china shop; we were very careful. We were certainly aware of the sensitivity and of the possibility that there could be conflict, but not to the degree that [it] happened. I was shocked, I was afraid but the primary emotion that I had was also one of guilt. I felt very ashamed of myself for disrupting something very complicated.”
In the face of such adversity, with the world shunning her and with every possible witness jeopardizing her shot at justice, it is Kiran’s unblemished view of the world, her relentless faith in good winning over evil, and her fierce determination to see her attackers pay for their crime, even at such a tender age, that’s truly admirable. As a viewer, you’ll find yourself at your wit’s end watching Kiran constantly relive her trauma, repeating meticulous details of the incident to one legal official after the other, but she perseveres, also lending her father the courage and the strength to continue her fight.
Is “To Kill A Tiger” a depressing exposition of the inherently patriarchal, and significantly problematic, mindset of the Indian population that is in turn breeding rape culture? Yes. Does it leave you incredibly frustrated and disappointed over the bare minimum impact that Ranjit and Kiran’s defiance and eventual victory has over prevalent attitudes? Yes. With a plethora of rape cases in India suffering a fate worse than Kiran’s, was it a story that needed to be told? Definitely yes. Though a world where women’s voices are not silenced may still very much feel like a utopian fantasy, “To Kill A Tiger” is effectively opening a dialogue by laying bare the roots of it all. Through this profoundly resonant story, Pahuja is helping us understand why whilst taking the first step towards the ‘how’ for her work, and the scope of impact, doesn’t end with the audiences.
“Right now, we’re working with Equality Now; they’ve come on board as our impact partners. And we’re devising a kind of global strategy in terms of what are the things that the film can achieve? And the change that we’re seeking is both at the legal level and at a systems level. And of course, at a cultural level as well. For change to happen, you have to change culture, and culture comprises many different layers. So you have to have an approach that looks at all of these different layers. We have some very specific things that we know we want to do such as creating a fund for survivors. We also want to create a coalition of survivors in India. And then, of course, we want to work on masculinity. We’re really hoping that with Ranjit being the role model, the film can travel with [the] organization to have an impact on men and boys.”
“To Kill A Tiger” is currently showing in cinemas across the US.