I live in India, which means that I can comfortably spend my days without wasting any frowns on Lena Dunham. But I would be lying if I said that I have not been attracted to her displays of weirdly self-aware hubris. In 2016, as part of her usually problematic discourse on her podcast “Women of the Hour,” she blithely recalled saying, “Now I can say that I still haven’t had an abortion, but I wish I had” during a visit to a Planned Parenthood branch. It’s the kind of statement that becomes even more offensive when placed in the larger context of women she must have met there and claimed to understand.
That same year, she went to town dragging football player Odell Beckham Jr.for “ignoring” her at the Met Gala. She made it up in her head that his silent refusal to pay her any attention was because of the way she looked and was dressed, and that she didn’t match his “type.” Beckham Jr. had said nothing. All this incident did was reveal Dunham’s penchant for piling her own insecurities on unsuspecting men of colour and lamenting about not getting the attention she thinks she deserves from them. Previously, she also claimed that her attraction to singer Drake meant that she isn’t racist.
The more Dunham has spoken over the years, the more she has become the stock photo for “white feminism”—the highly suspect strand that cannot exist unless the white person in question is speaking about herself, no matter about what larger issue. Dunham, in effect, cannot talk about abortion or racism, unless she makes it about herself and annotates it with an example, no matter how inane, involving her. She was in the news again in December this year when, in a baffling editorial move, The Hollywood Reporter invited her to guest edit its “Women in Entertainment” issue and she wrote a letter apologising to actress Aurora Perrineau in it. Dunham had openly, and without any evidence, called Perrineau a liar when the latter had accused “Girls” writer Murray Miller of raping her. Dunham’s letter included this line addressing Perrineau:
You shouldn’t have been given that job in addition to your other burdens, but here we are, and here I am asking: How do we move forward? Not just you and I but all of us, living in the gray space between admission and vindication.
As infuriating as it is to read Dunham’s words and ruminate over the space she continues to get in popular (by that I mean “mainstream”) discussions, I see an opportunity here as well: to learn and revise what it means to be an intersectional feminist in today’s world.
1. Don’t protect someone accused of rape just because (especially because) they are a friend.
You know a person, you love them as a friend, you work with them, you socialise with them, you admire them. But you don’t get to use any of these facts to justify the blatant lies you tell to “protect” them when a woman lodges a case of sexual violence against them. Period.
2. An ‘apology’ is pointless if it’s self-absorbed.
Setting aside the fact that what Dunham offered to Perrineau was miles away from a real apology, any retraction, confessional or mea culpa must absolutely not be a woe-be-me exercise, but a genuine effort at reanalysing one’s biases/ignorance. It is worse if your offence is against WOC and you bring out a white woman as proof of your repentance! No one is perfect and there is no perfect feminist out there. Your commitment to constant unlearning and relearning is what makes the difference.
3. You are not (always) the victim in the scheme.
Playing the victim of circumstance is an old ploy of the one who doesn’t want to change. If your response to every instance of whitewashing, rape apology, racism, what-have-you is to throw more attention-seeking excuses, then you don’t deserve a public platform.
4. You will be called out, so stop acting surprised.
If you benefit from a public profile—a hit show, a book deal, etc.—then you risk being burned publicly as well. You won’t be granted special privileges when your feelings are hurt. Almost every backlash will have an underlying message that you will have to heed, especially if it is questioning your privilege, your deliberate ignorance of the experiences of persons of colour and your role in perpetuating rape culture.
5. What doesn’t happen to you, can still exist.
You may never have experienced a lot of things—sexual assault, rape, abortion—but that doesn’t mean it doesn’t happen to other persons, no matter what gender. You have no right to belittle it, to diminish it, to use it as a self-serving fiction plot or to claim a grander understanding of the issues just because you identify as a woman and have access to precious media spaces.
6. Get off your high horse.
This may seem churlish, but claiming limitless excuses for mistakes just because you grew up a certain way is the textbook definition of privilege. Beyond a certain age, none of these excuses carries weight, and it is especially unfair (to put it mildly) when POC are expected to bend over backward to get recognition while you get hailed as the next feminist heroine with your first “indie” project. The world is ridiculously unequal; you would do well to be aware of that all the time.
7. Pass the mic.
This is the cornerstone of intersectionality in an unequal world. If you have the platform and the megaphone, remember to share them. There are multitudes of experiences out there that deserve to be heard. Yours is just one of them.
Lena Dunham finds fodder for her feminism on social media, in its short fuse, when it comes to celebrities. For public figures like her, all furor is fantastic because their names remain in circulation. Her privilege is such that she can say all that she has said and still be picked by Steven Spielberg and J. J. Abrams, no less, to write a script based on the book about Doaa Al-Zamel, a Syrian refugee. For the people living outside of this ring light of privilege, however, the challenge is to see through all the blather and remember what feminism truly means and how the concept of intersectionality truly translates into our lives. It starts with all of us owning our stories and telling them ourselves—not with having to “show the way forward” after we have been the ones whose experiences have been rejected.
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January 18, 2023January 18, 2023 5min readBy Arun S.
From receiving his MBA from Harvard business school to being the CEO of Asia’s largest music festival brand Sunburn, Karan Singh combined his interests to push his passion for music! Singh received his bachelor’s degree in management from the London School of Economics and Political Science. He worked as an investment banker for three years at Ambit Corporate Finance before working at Sunburn which is a part of his family’s business. Sunburn started providing the music festival experience starting in the year 2007. The first festival was in Candolim, Goa. The music festival brand has put on over 5,000 events over the past 15 years. In 2022 The Sunburn Festival will be in it’s 16th year. Continue reading to learn more about Karan Singh’s journey with the Sunburn music festival!
What does the Sunburn brand offer and what made you have the festival in Goa as opposed to other parts of India?
We believe that Sunburn offers a really unique experience and is a melting pot of diverse people & cultures from not only across India but around the world. Goa is the ideal setting for this as there is something magical about Goa in the winter-time and truly enables us to tap into that global audience.
Safety at live events has always been a concern among concert goers. Considering recent, events more individuals have asked brands and artists to do more to ensure audience safety. What are you doing to ensure safety for live concerts?
Safety is a huge priority for us. We work with the best-in-class security agencies as well as closely with the police and requisite authorities. For anyone in the crowd a Sunburn safety officer will always be close by and easily visible. We also run an awareness drive on both social media and on ground.
What was the first Sunburn Festival like and what did you learn from this experience?
The first ever Sunburn Festival was in December 2007, and I had actually attended it as a fan, not part of the crew. However, it was absolutely eye-opening as the first proper music festival on Indian shores and opened up our minds to a world of possibilities.
As Sunburn houses so many electronic dance musicians who have been your favorites throughout the years?
It is difficult to pick from the list however the favorites for Sunburn, in no order and because of the amount of love they have shown Indian audiences, are Martin Garrix, DJ Snake, Dimitri Vegas & Like Mike, Hardwell and Armin van Buuren.
Do you plan to expand the festival to add other genres into the mix as well as more activities?
We have already expanded into different formats like Arena, Campus, Club, Reload and things like merchandize & academy. In terms of genres, we have been dabbling with genres like rap, hip-hop and pop, however our focus remains on electronic dance music.
What can someone expect from the festival as first-time goers?
Apart from a state-of-the-art production & line-up, one can expect a special experience, meeting interesting people from all over the world, and embarking on a creative journey of the theme for the year.
How does the festival help local musicians from Goa as well as the surrounding areas in India?
This year we had set up for the first time a special stage and village in the festival only for Goa which gave a platform to local Goan artists. But beyond that a huge focus for us has always been to showcase domestic home-grown talent and indeed 60-70% of the line-up each year is locally sourced.
What was the experience like this year in 2022 and how is it different from previous years?
The biggest difference was that this was the first time the festival was back to its full scale since the pandemic hit after 3 long years. It was a fantastic release for everyone there. Our theme was “the future is now” and this was reflected across the festival experience and particularly in the main stage design – termed “Cyberpunk City” which received rave reviews from all.
What was it like having the legends Black Coffee and Afrojack this year as well as the DJ duo Dimitri Vegas & Like Mike?
Afrojack and DVLM are both Sunburn & India veterans, it was amazing having them back crushing the main stage after very long. Black Coffee for us was something very new and exciting, to have a special artist and a unique sound like that close the main stage on day 2. However it was very well-received and took our experience to the next level.
As you have had the artist Avicii back in December 2011 how do you feel he revolutionized Electronic Dance Music?
Avicii is one of my all-time favorite artists and his show in December 2011 was actually my first one working on Sunburn so will always be extra special. There is no doubt that he revolutionized EDM by taking massive risks and introducing an entirely new sound which a lot of others then followed, but no one as well as he did.
How does it feel to be in charge of one of Asia’s biggest Electronic Dance Music Festivals?
It feels great, we have a very young but ambitious and hard-working team and our primary focus is to continue delivering the best possible experiences for our fans, artists and partners. India is such a vibrant and exciting market that I cannot help but be pumped about what the future holds.
Do you feel Electronic Dance Music is a misunderstood genre?
More so in a country like India possibly yes, where people who are not exposed to these experiences sometimes have preconceived notions about EDM festivals and the like. Oftentimes those people are also in a decision-making capacity and can directly affect the industry. However, things are certainly improving as the industry overall gets bigger and gets more acceptance.
What does music mean to you, Karan Singh?
Music provides a sound-track to life, it is something which is always there!
How do you choose to react when you receive negative comments about the Sunburn Festival?
Well, you have to be able to differentiate between those which are just trolling and those which are constructive or fair criticism. The latter is very important as it helps us to look at ourselves and continually improve, we are still a long way from where we eventually want to be.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
I hope it allows us at Sunburn to reach a wider audience of the desi community around the world and hopefully get some more people to fly down to Goa for Sunburn Festival 2023 which I can promise you all will be the best one yet!
Dimitri Vegas Like Mike
We have had a long connection with India. The first time we played here was more than a decade ago. Going from clubs to being a regular feature at one of Asia’s biggest electronic music festivals which is now an institution in itself. It’s been an exciting evolution to see how Sunburn has grown over the years. The fans at Sunburn are some of the most insane and every show is a special one. We’ve always had an incredible experience at Sunburn.
Honestly, the energy I feel when I am in India is one of the most amazing things. I would say the culture and energy is what keeps me coming back! India is like a second home to me, just like Sunburn. I feel so comfortable and welcomed here. I’m always excited about coming to India and playing at Sunburn, experiencing new cities, meeting more of the people, hearing more of the music, and seeing more of the country that has influenced me so much.
Sunburn has helped dance music artists world over to tour India and connect with their Indian fans and I’m always excited about performing at the festival.
I’ve a long history with the Sunburn team. They are a great team to work with and they also give the fans amazing experiences. As an artist, I want to be a part of providing fans with lifelong memories and so we all share the same vision.
Sunburn is one of the pioneers of the dance music festival scene in India and has been instrumental in creating a truly world class platform that supports the dance music industry and all of its stakeholders. I’m always excited about touring India with Sunburn.
For any of us who have siblings, the relationship with them can be one of the most fulfilling ones. And also one of the most bloody frustrating. No one can quite stroke the fire like someone who knows you extremely well, or sometimes not, but have a familial bond with that neither one of you chose. In “Polite Society,“directed by Nida Manzoor, sisters Ria Khan and Lena Khan’s loving, sweet, and sometimes tumultuous relationship takes center stage.
Played delightfully by Priya Kansara and Ritu Arya, respectively, the evolution of their relationship is one of the film’s greatest and simultaneously weakest points. It’s also pretty cool to see two South Asian actresses in an action-comedy movie — how refreshing it is to mention the art of choreography and praise it in regards to fight sequences vs. dance sequences for a film centered on two South Asian women — that itself shows progress.
Set in London, Ria is an aspiring stunt woman who already shows massive talent in martial arts. She looks up to her older sister Lena, who is enrolled in art school and, also holds remarkable potential in a somewhat less traditionally acceptable field. Their relationship starts off as supportive and sweet with no inclinations of jealousy or resentment that sometimes plagues sisterly bonds. But this also means that they are quite protective of one another, almost to the detriment of their well wishes for each other.
This all happens when Lena gets engaged after dropping out of art school. Ria feels betrayed. They were supposed to be on this journey together in fighting for their dreams. Ria decides that she knows what’s best for her sister and enlists the help of her friends to rescue the damsel in distress from her own wedding. Her deep animosity towards the prospect of Lena getting married is also fueled by Lena’s fiancé and his mother acting extremely suspiciously. The twist that ultimately brings the two sisters back together is both shocking and weirdly somewhat progressive in the motive behind the villain’s origin story. But the twist, unfortunately, is too ambitious for the movie as it tacks on another genre and theme earnestly, but still clunkily.
“Polite Society” tackles not only what it means to fight for one’s dreams but also what it means to have just one ardent supporter. As Lady Gaga famously said, “There can be 100 people in a room and 99 of them don’t believe in you but all it takes is one and it just changes your whole life.” Well, Ria’s Bradley Cooper was her very own sister who seemed to abandon her, and her faith in her, when she chose a different path. For Lena, the film opened up the question of marriage and the weight it bears in the life of a South Asian woman. Ria’s lack of understanding of the pressure it places on Lena is the start of the change in their relationship — the start of Ria’s coming of age and the start of Lena settling firmly into her adulthood.
Standouts from the cast include Ria’s best friends, played by Seraphina Beh and Ella Bruccoleri, who commit to the story and characters with such hilarity and conviction. They add the lightheartedness and playfulness the film needs, and it is refreshing that never once do they use Ria’s cultural background as a way to make fun of her or dismiss her.
It is also heartening to see Lena and Ria’s parents being some of the most supportive South Asian parents seen on screen. At the end of the day, it is not the external family pressure that impacts the decisions made by the sisters but rather their own satisfaction, or lack thereof, with their own lives that become the driving force of their actions.
“Polite Society” is written and directed by a South Asian woman for South Asian women, and is definitely worth a watch when it releases in theaters this April.
“Naatu Naatu” is one of the most memorable sequences from S.S. Rajamouli’s epic action-drama “RRR,” and has assisted the Telugu-language blockbuster in becoming one of the highest-grossing films at the worldwide box office. With music by M.M. Keeravani and lyrics by Chandrabose, “Naatu Naatu” is a celebration of regional music, dance, national identity, and male friendship.
But long before the song began collecting its accolades, its infectious tune and fast-step dance, performed vigorously by N.T. Rama Rao Jr. and Ram Charan, became a viral sensation outside of the film. It’s now the first song in a movie from India to be nominated for an Oscar and also to have won a Golden Globe.
When asked about the song’s ripple effect across the world, Keervani remarked,
For us — the musicians and artists — social media is very powerful, because of the internet and reachability. Nowadays, globally, anything that is different by nature, anything that is innovative, a little innovative, will catch instant attention.
It all started with a TikTok dance challenge where thousands of fans mimicked the dizzying hook step, choreographed by Prem Rakshith, garnering hundreds of millions of views, and making the song a bonafide global phenomenon. Today, the official YouTube video has well over 123 million views.
While the science behind why certain songs have a higher virality is widely debated, Keeravani attributes a large part to the song’s instant connection with the masses to its unusual 6/8 time signature, taken from carnatic music — which he believes is “inherently encoded in the human body.”
For non musicians, he vocally percusses the rhythm, “thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha.”
[This beat] will give you instant energy. Like suppose, you’re going low on sugar. So there are things like instant energy boosters; like you consume some aerated drink or a cup of coffee with sugar. And instantly your energy is boosted. So six, eight will give you an instant feeling to get up, create some steps and dance. There is a swing in the beat. So you will react to that beat — involuntarily you will react.
Before Keeravani wrote the music for “Naatu Naatu,” Chandrabose was given the challenging task to pen the lyrics to this rhythm. Continuing a long-standing collaboration that began 29 years ago, Chandrabose has co-written over 400 songs with Keeravani, including this iconic title track — his only co-write on “RRR.”
Regionality played a significant role in the composition.
Ram comes from Andhra and Bheem comes from Telangana. Both dialects are different; the slang is different. So, there is a challenge to write both slangs in one song. Everybody should understand those words. That is the challenge.
Chandrabose explained how he needed to appropriately incorporate the various dialects from the regions the primary characters were from, and reflect colloquialisms from 100 years ago, when the film’s story takes place, that is also recognizable to present-day listeners.
In [the lyric] ‘Yerrajonna rottelona mirapathokku kalipinattu’ (which translates roughly to “like eating a jowar roti with a chili” in English), ‘thokku’ means pickly, like mango pickle. In Andhra, it is known as ‘pachadi’ and in Telangana, it is known as ‘thokku.’ So, everyone can relate and connect [to] that word. And since ‘thokku’ belongs to Telangana, that line is sung by Bheem.
The original Telugu version of “Naatu Naatu” was also dubbed and released across a variety regional Indian languages, including, “Naacho Naacho” in Hindi, “Naattu Koothu” in Tamil, “Halli Naatu” in Kannada, and “Karinthol” in Malayalam, and has collectively been streamed over 92 million times on Spotify.
Chandrabose remarks that he envisioned the lyrics to 90 percent of the song in half a day, but it took about 19 more months to finalize the song in its entirety. This was in great part due to the time spent on researching the dialects and finalizing each word to the overall ethos of the song. Rajamouli had given strict direction that the song should authentically be about one’s nature, their culture and countryside, and be universally respectful.
When asked about how they scaled this process across the other five language releases, Keeravani recalled that they had to prioritize lip sync.
Since it’s a dance number, there is a combination of close shots and long shots. So the long shots are spared, but in the close shots, they need to be as close to the Telugu lyric, I mean, lip wise.
He added that the writing team had to make some concessions,
There will be a certain amount of compromise in the meaning of the lyric. But that is inevitable. As long as the song is conveying its main essence, it has no problem.
Culturally, India has a rich history of celebrating songwriters, composers, and music directors in cinema. However, this recognition does not always translate to credit and compensation. For example, “Naatu Naatu” was extraordinarily successful on TikTok, but TikTok isn’t available in India, creating complex monetization adversities. It’s especially important to understand that India’s non-bollywood and independent music market has a nascent publishing infrastructure and is traditionally known to have a work-for-hire payment model where song contributors are not offered royalties.
Speaking optimistically to changing times, Chandrabose shared,
I’m getting royalty from past 12 years (from performing rights societies IPRS in India and PRS in the U.K.).
He explained that, especially with viral songs, some songwriters and composers have only limited careers in the “limelight,” but “after 10 to 15 years, they cannot get more work and they cannot get money.” He speaks to songwriting royalties as a key to retirement for the next generation of song makers.
So, at that time they will receive these IPRS royalties as their pension to meet their needs. They will get these amounts in their old age that will help them a lot.
Upon concluding our chat with Chandrabose and Keeravani, we marveled at the amount of progress that has happened for independent and non-hindi language music communities around the world. The virality of “Naatu Naatu” is a testament to the musical prowess out of South Asia, but also challenges the Western notion that Indian music is narrowly defined by belonging in the catchall ‘world music’ category, or the sounds of the sitar and tabla, or a lightbulb-twisting Bhangra club-hit wonder, or, if nothing else, then Bollywood — all in large part exclusively North Indian. Unfortunately, this distinctly important nuance still plagues Western media and major music institutions.
Recently during a Songwriters Hall of Fame conversation with Oscar-nominated songwriters, Paul Williams incorrectly introduced “Naatu Naatu,” as “the first Hindi-language song ever nominated for an Oscar,” which is spliced with not one, but two errors — not only misidentifying the language but ignoring A.R. Rahman’s “Jai Ho!,” a Hindi song which was nominated and won in 2009 for the same category. As South Asian artists around the world begin to traverse into global markets, we hope to see more Western entities taking the time to research, hire South Asian contributors, and execute due diligence to minimize inaccuracies and cultural erasure.
“RRR” is streaming on Netflix and Zee5. On March 3 it will be re-released in over 200 US theaters as part of ‘The RRR Fan CelebRRRation’. Check your local cinema guides for one-off theatrical screenings.