Author: Eva Cunningham, Tate Soller
In December
of 2012, Delhi, along with the world, were propelled into a state of shock and
anger after the fatal gang-rape and assault of a 23-year old student. At the
time of this incident, Anish Singh was working in drama. Horrified just like
the rest of India, Anish awakened to a brutal reality marring his community.
“What should we do?” was his first question, “where do we go from here?” He
pondered how he could use his position as an artist to approach the topic of
gender and the shapes it takes in society, many of which going unnoticed or un-vocalised.
Anish wondered where this duality existing within gender emanate from, a
duality of power and weakness. He pinned this dichotomy down to gender rules.
These rules pervade society and underlie gender discrimination and gender based
violence. The choices I make as a boy, or as a girl, are determined by gender,
Anish explained, and he wanted to explore how exactly this transpired. This
duality though manifests in pressure arising on both sides though, he notes,
although varied. Boys are expected to work and to uphold the family name and
honour, but restricted emotionally with taunts like 'boys don't cry' and 'are
you a girl?' Girls, on the other hand are subordinated in this masculine jeer,
denoting them as weaker. They have societal pressure to learn to cook, to keep
the home and to marry. These, though, are some of the surface level pressures,
while a myriad of gender-based pressure are omitted from public vision and
discourse, existing below the surface. This difference between gender
conceptualisations begins at birth, the roles and the training are markedly
different, Anish explains.
In order to
dissect these notions Anish devised workshops for youth, aimed at sensitising
them to the problems surrounding the concept of gender. He began working in
schools, running these workshops as a tool to break down gender biases and to
instil that such biases should not simply be accepted. Theatre is a powerful
tool to enable social change as can connect with life, Anish describes. In
theatre, one performs through experience, expressing what happens around us.
But, in society such platforms for expression often don't exist, he remarks.
Theatre provides this missing platform and if issues are illustrated, others
then watch and then questions are asked. Children are able to explore their own
stories and own experiences of gender through this medium.
In society,
children are seen as incomplete, Anish notes, they are only complete once they
are 25. They must learn, must abide, but are seldom asked their own thoughts,
opinions or feelings; there is no space for expression. But this is an integral
space in his opinion – of self-expression – and is one he has sought to create.
This process is a two way street though, as his involvement in theatre has
brought him where he is today, Anish reflects.
Such
endeavours aren't without their share of challenges though. Stress is a
constant undercurrent of his trying work. He hadn't expected the work load to
be as big as anticipated prior to commencing, he explains. But the intensity of
such a pursuit isn't something he could have ever imagined. His commitment to
the project though has kept him going despite his stressful load. The
Changelooms program has also aided him with this, giving him a solid deadline
to commit to.
This
deadline provided by the Changelooms programs has meant Anish has achieved what
he hadn't thought was remotely possible – to achieve the goals he'd laid out
for his project within one year. His commitment to being a changeloomer has
made him fasten his progress, due to his drive to meet his target. On top of
this, Changelooms has also granted him the opportunity to meet a range of other
change-makers working on gender issues, with whom he can connect & reflect.
The
attention and appreciation his work has garnered is Anish's biggest success, he
concedes. The students' enjoyment especially, is something he takes the pride
in most. Giving them a platform like they haven't had before and the moment
when students come back despite no obligation to; their excitement to talk
about issues pertinent to them, are fundamental successes for Anish.
In Anish's
opinion there needs to be more of this open dialog in order to substantiate
lasting change. Time has changed and people are beginning to notice this, Anish
states. The more people talk, the more people start noticing. Gender is something we live with, Anish
discusses, so it is hard to notice sometimes what the privileges and disadvantages are; asking the
questions is first step, he says.
He dreams of
continuing to create even more with students, as well as broadening this into
film too. He wants to make it a meaningful and accessible medium for students,
as well as creating something that lasts; to be able to retain theatre and the
conversations it raises long after the production itself.
He also
pushes for others to follow their dreams as well. “Whatever you are really passionate about,
you should do that”, Anish implores, “you
can contribute to the society in any way – if you follow your passion”. Every
pursuit of passion and change will benefit society in one way or another. For
Anish, “everyone is a changeloomer”.
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