About 400 years ago, in the Virudhunagar region of southern Tamil Nadu, there lived a transgender warrior by the name of Arikandi, who is said to have valiantly fought with the army of a king바카라Kangapuram Jamin바카라to protect the life of a princess, the daughter of Mangalapuram Jamin.
History has a tendency to be biased towards its writers. And since transgender persons did not write history, Arikandi바카라s story was not recorded in books or taught in schools. Yet, the story lived on for 400 years in the collective memory of locals and was shared verbally within the traditional transgender communities until, in the 21st century, it travelled 60 kilometres to Madurai and ended up with Priyababu.
A transgender activist, educationist and social worker, Priyababu was stunned by Arikandi바카라s story. But she was even more shocked to realise that only a handful of people knew about her.
바카라When we think about transgender persons or hijras in India, we think about beggars and sex workers. We think of transgender people as helpless victims. But Arikandi was a warrior, a strong and powerful person, an inspirational character. I wanted to tell this story to the world. So I decided to make a film about it,바카라 says Priyababu. And thus began the year-long journey to research Arikandi.
Priyababu바카라s film, which released in 2022, marked a big moment for the trans community as it was made not only for transgender persons and about them but also by transgender persons. Unlike in the growing list of 바카라trans-themed바카라 films like Taali, Chandigarh Kare Aashiqui, Laxmii and others, to name a few from Bollywood, the lead role of Arikandi was played by a noted transgender physiotherapist S Solu who trained for 15 days to portray the character of the warrior. Over 80 artists were involved in the film of which 12 were transpersons, she states.
The activist who left her home in the 90s and spent her initial days on the streets of Madurai until she found her feet in social work, raised the Rs 14 lakh required to film the period drama through crowdsourcing platforms like Ketto, petitions to the Tamil Nadu Transgender Board (which provided Rs 4 lakh) and voluntary donations of friends. The rest came from her own savings, which she earned through working jobs.
Priyababu, who runs the country바카라s first Transgender Resource Centre in Madurai and is also the founder of initiatives like the Trans Kitchen and Transgender Library, was not surprised to find the lack of resources and documentation of the transgender community바카라s history in the country. But the larger hurdle came in the filming stage.
바카라I바카라m not a classically trained director. But I had a very clear vision of what I wanted to do. And having run my own YouTube channel for many years, I had some experience with screenwriting for my shows. But I had to face a lot of ridicule from my technical crew, many of whom were not convinced that I knew how to direct a film or a shot.바카라
Priyababu recalls how her cameraperson often showed the shots he had filmed at her behest to her assistant director바카라a cis-het man바카라for approval. 바카라There is this whole attitude of dismissing the technical skills of a transgender person based on their gender or sexual identity,바카라 she states.
Priyababu바카라s story, though inspirational, comes as a reminder that amid the growing interest in queer stories in the mainstream Indian film and television industry and a purported push toward representation, inclusion remains a contested issue for artists from trans and queer communities in India.
With the release of Taali, a series based on real-life transgender activist Gauri Sawant in which actress Sushmita Sen plays the titular role, Bollywood seems to be in a mode of liberal self-congratulation. And indeed, many like Priyababu and documentary filmmaker Debalina Majumdar from Kolkata agree that these films are a starting point for conversations about trans issues. 바카라A series like Taali with Sen as its lead generates interest among the masses. Irrespective of its merit or political correctness, it helps start a dialogue which creates room for criticism,바카라 Majumdar, who has been documenting trans identities and issues since the early 2000s, adds.
Many trans and non-binary viewers and filmmakers have their reservations against this new and purportedly woke 바카라representation바카라 of trans lives and stories in the media which often become tokenistic and even offensive.
While many argue in favour of casting trans actors in trans roles, artists like Bengaluru-based Siddhant, a filmmaker and theatre director working with Light Off, says that the gender identity of the actor should not be the basis for their selection. 바카라I don바카라t think that is inclusion and casting is a much more complex call than just the gender,바카라 Siddhanth states.
What is problematic, however, is when they put makeup on cis-het actors to make them 바카라look more trans바카라. 바카라This idea to exoticise the body of the trans woman or have her look a certain way fosters stereotypes. It focuses on cementing similarities between trans and cis-het when in reality, we should be nurturing the difference,바카라 he states.
The point about body image is also raised by Geet, 38, a playback theatre actor and art facilitator who works with Citylamps Playback Theare, a theatre company based in Bengaluru that works with trans and non-binary persons and often performs for LGBTQIA audiences.
바카라The body image that films like Chandigarh Kare Aashiqui or even Taali project of trans women (played by cis-het women) is scary. That is not how trans women look and I worry and wonder what kind of pressure trans women go through while cis-het women get projected as trans women on screen. Trans persons cannot be judged by the cis-het beauty lens. It would lead to a trans person constantly worrying if they look 바카라trans enough바카라 or pass according to cis-het standards,바카라 Geet states.
Geet, who is a trans-masculine person, says even when transgender actors are cast in queer roles, the specifications on the casting calls are often derogatory and restrictive. 바카라I have seen casting calls worded like 바카라Non-Binary AFAB (assigned female at birth)바카라. It바카라s dehumanising to have assigned gender which many of us renounce as a criteria for casting바카라.
Much like actors who only form the tip of the iceberg in terms of queer-inclusion, make up and look form just one layer of representation. Most cis-het filmmakers fail to delve deeper than that, resulting in lacklustre films with no authentic insight. That바카라s often because the real way to shape a film is through the filmmaking process which involves direction, screenplay, cinematography, editing and much more. This dearth of inclusion of queer persons in these professions hampers their representation as well. 바카라You know, as queer people, we often live with this 바카라gaze바카라. It바카라s sometimes curious, sometimes amused, sometimes intrusive, sometimes abusive. It comes very organically to us 바카라this phenomenon of being 바카라looked at바카라, as opposed to 바카라being seen바카라,바카라 Majumdar explains. The documentaries made by her and her team contain this outsiders바카라 gaze. 바카라It isn바카라t something a cis-het person would easily notice.바카라
Nevertheless, queer artists, especially trans and non-binary, continue to face the problem of access to platforms to showcase their talents. While those like Siddhanth swear by meritocracy and want their gender to not be their so-called 바카라USP바카라 as a filmmaker or artist, Geet points out that there is a glaring problem of gatekeeping and disproportionately occupying spaces by upper caste trans/non-binary persons.
바카라As across every category in Indian society, caste shapes trans lives as well, and transgender persons from marginalised castes or persons with disability find it harder to even enter the same spaces as some of the privileged queer cliques,바카라 Geet states. In cities like Kolkata, Bengaluru, Chennai and Mumbai, which boast of strong trans activism, access to these communities remains restricted to the urban elite and persons like Priya Babu, who work on grassroot often find it difficult to wiggle room. But Priya Babu remains optimistic. 바카라Much of the industry is still dominated by men and even women have barely got equality yet. Trans visibility will take longer. But we have made the start,바카라 she states. Geet adds that while there is still talk and awareness about trans/non-binary lives, "intersex people are completely invisibilized in films, theatre and other mainstream art spaces."
The importance of highlighting queer identity and the work of queer artists is undeniable. When award-winning Bengali director Rituparno Ghosh came out about his sexual identity and made films like Chitrangada, which he both directed and acted in, the Bengali 바카라bhadralok바카라 was shocked. 바카라But he managed to breach the sacred Bengali middle-class 바카라ontormohol바카라 (inner chamber) and suddenly, everyone was talking about gender, about trans identity,바카라 Majumdar recalls. In hindsight, all his films bear the hallmark of his inner struggles and search for identity and assertion.
Though he does not want to be pegged as a 바카라queer filmmaker바카라, Siddhant agrees that most queer filmmakers cannot help but make films about gender. His own work, including his plays, has a focus on gender and issues related to queer identity. 바카라I don바카라t think that every film a queer person makes has to have the gender lens just because they are queer. But as a queer person, it바카라s hard not to tell stories only I can tell because I have lived those feelings and experiences,바카라 he states.
One wonders what Ghosh, who passed away before Section 377 was abolished or before transgender persons in India were granted the third-gender status by the Supreme Court, would have felt about the changing tide of popular cinema. Would he be happy with the representation? Or would he scorn at the appropriation? Nevertheless, Ghosh바카라s true legacy바카라both as a filmmaker and as a queer person바카라lives on in younger generations of queer filmmakers, actors and storytellers who are making the entertainment industry inclusive, one painstaking film and play at a time.
(This appeared in the print as 'The Trans Lens')
