Being Proud Part Two: Still Quiet

Drama Baazi, the Bangalore Pride website told me, needed me to bring my stories, scripts, ideas, body and voice. Packing these items untidily into my Big Bag For Laptops (I packed my laptop in there, too, as well as books and sundry other items, freaking thing weighed more than I do), I showed up at 1. Shanthi road as close to six as possible. This is not because I was neurotically determined to be punctual, but because I was certain I would mostly meet the same people today I met yesterday. Surely all possible avenues of interesting conversation were broached yesterday? My conversational quiver was empty! Oh noes!

As it happened, there were new things to talk about: S and I exchanged books. I now hold hostage his copy of The City and the City, while he has his claws sunk deep into my Perdido Street Station.  We are now officially Book Buddies, which sort of makes up for every social blunder I made today.

An ex-classmate was there. I vaguely remember Thangamma making jewelery in college, but she’s been doing this seriously for over a year now. Thangamma makes jewelery from stuff (technical term) – discarded coins, broken earrings, bottle caps, the lot. The result is casual chic, at nice, friendly rates. I sat and watched her for a bit.

T (ref: last post, where I refer to her as ‘tiny’ a lot) showed up, looking snazzy. She’d read the blog! She objected to being called “Tiny T”, which I didn’t! (I swear. It’s like “Elementary, my dear Watson!” Canonically never happened.)  It is her birthday today, by the way, so: Happy Birthday, T! Hope you had a good one, and don’t see this post till late tomorrow morning. 🙂

The actual event took place in the exhibition room. We all dutifully congregated on the chaapes – my padamasana has done yeoman’s service lately – noisy until someone called out “kill the lights! kill the white lights!” which seemed unnecessarily violent to me. S was forcibly reminded of the medieval English custom of drawing and quartering, which must have been very unpleasant for the poor horses. Not to be outdone, I told him that the labourers who died toiling over the Great Wall of China were mixed into the foundations to strengthen them –

– at which bloodthirsty point, the show began.

LesBiT is an offshoot of Sangama, fighting for the advancement of human rights for this particularly invisible community. Musical Chairs is a compilation of various true stories LesBiT has come across over the years. Unfortunately, the skit – it was short, very emotional – was multilingual and had no English. I wasn’t able to follow all of it. In fact, I only really understood the last, Kannada narrative. Two I could not understand at all – so I’ve lost something here. An F-to-M transgendered person, I gathered, was the protagonist/narrator of the third part; he spoke of (again, I am speculating) his discomfort in traditionla female wear, the disrespect he was shown in the streets for not behaving or looking like a “proper” “woman”, the more intimate and mundane issue of going to a public toilet in a bigendered public world… The fourth narrator spoke in Kannada, andreaffirmed my belief that the Kannada word “preethi” is somehow one of the loveliest words for “love”. She loved a girl. The parents didn’t approve. She was forcibly married. She was forced to be a mother. She was forced out of her homes. She turned to sex work. She remembered her first love.

The second play was, again, interlinked short pieces alternating in English and Kannada narratives. Sumathi (from Sangama), Kauveri (she wasn’t here, but I suspect this is KRI in the last post) and Gee wrote the entire set and put it together. We revisted Dr. Srinivas Siras’ suicide, and the collective washing of hands that occured after – I think this section reminded me that the personal might be political, but it is still, most intensely, personal. The next narrative took us into a hijra’s family as they beat her, drugged her, cut her hair off – because she wasn’t being a man. Because. The third narrator is the sister of a victim of honour killing. Such as that is. She describes her sister’s budding, chaste romantic relationship, contrasted with its insanely dangerous risk. The murderers were her own brothers. The last narrative was voiced by Sumathi, with Chitra performing (Chitra was in the first play as well – she and Sumathi have fantastic voices, and Chitra is a strong, dramatic performer). Chitra enacted the strengths and vulnerabilities of a woman who didn’t want to be “her” but “he”. Parted from the woman he loves, scorned by society, beaten, hurt…

All the plays, all the narrators, whether I understood them or not, remind me that confession can be strong, it can be cleansing; it can also be a very lonely thing, a great deal to bear until it is done. And there are so many of us out there who are lonely, or hurt, unhappy. I wish we had some happier confessions today. Just for the reminder.

Fuck this, I’m changing the subject. The venue for the past two days has been 1 Shanthi road. It’s a studio gallery that provides living space and a gathering space for artists. It’s all for creativity and cutting edge art, and it has a very laid-back, calm feel to the place. If I were an artist, I’d want to drop by. (They have a swing on the veranda! Baby, I’m sold!)

I forgot to talk about Queer Ink yesterday! Queer Ink is an online bookstore and publisher, specialising in us highly unusual people, or whatever we multitudinally want to call ourselves. There’s been a table of books from QI for sale the past two days, and I think there will be for the next few events as well. There’s a nice-ish selection, meant to tease, to make you go to the website and browse for fuller fare. My personal favourite sort of marketing.

I hung out with Thangamma for a bit, watching her make an anklet – it’s soothing, really, those quick, repititive motions making this complicated-looking shiny thing – and then I left when she got inundated with potential customers. (Go, Thangamma, go! Do that capitalist thing! [I need to learn to cheer. And swear. And slang.])

A good day, all in all.

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