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Day 3 : 27 September 2008

- Clara Presler, America India Foundation

The third day of the Development Film Festival covered two very different topics: the cultural and environmental implications of a national park in Rajasthan and the life and struggles of folklore artists in Tamil Nadu. Seemingly disparate subjects, a single theme unified them: the livelihood and culture of an individual or community cannot be forcefully taken away. In each film, the strength of the human connection to land and heritage was the abiding message.

“Living in the Park” explores the Ranthambore National Park in Rajasthan, which was established with the aim of protecting the Bengal Tiger from extinction. Although this is an admirable initiative in itself, the film provides a more complicated perspective on this park: the effect of the park on the local people and culture. Although tourism has boosted the local economy giving more business to some local artists, the majority of the community has been displaced to the outskirts of the park, alienated from their home. They can no longer cultivate their land or hunt, and even the young children are growing up without the same depth of knowledge about their natural surroundings.

The film interviewed several individuals who had experienced such displacement and their message was clear: involve the local population in this park and help them live in dignity. Instead of reducing our options for income to coolies and drivers, we could offer our expertise and knowledge about living in harmony with the land the land, thus contributing in a meaningful way. As it stands now, the tiger is the only privileged one; the national park should unify people and nature.

The movie left us with the questions: how can we protect both the environment and our people? How can development measures unify those who have a stake instead of dividing them? Echoing in our minds was the phrase, “you can take the people out of the park, but not the park out of the people”.

The director of the film, Living with the Park, Dr. Susan Sharma was answering the queries raised by the jury and the public. There was a good response for the film as many people in Madurai had an opportunity to virtually go for a safari.

“Elumalai Jama” conveyed much the same message in relation to folkloric art. This extremely engaging film—even to a non-Tamil speaker—followed the life of several folklore artists who act out traditional stories to musical dancing. The head of the troop plays the king and dances with particular exuberance; the joy on his face is constantly apparent. As the film progresses, however, it becomes increasingly difficult for the troop to make a living off of their art. The masses go to the cinema instead of watching their plays. The troop disbands and looks for work as vendors and coolies. At this point the film takes on a different tone entirely: the joyful music stops and the color tone turns to sepia. The “king” is crestfallen. His only joy is when he imagines himself a king again—the color returns to the film only to vanish again when his day dream is broken.

The main theme of the film is apparent through these daydreams. Despite the change in lifestyle, the folklore cannot be taken away from this man’s heart. This self identity both causes him problems (when he is addressed informally in his new employment he flares up in a rage as would a king) but it is also what keeps him motivated to follow his dream of returning to folklore as a livelihood. The film ends on a powerful note when the “king” encounters a young group of artists in the forest. Despairing at the amateur nature of their skill, he jumps out of the shadows to display his abilities. After a joyful return to his art, he collapses to the ground: his last dance.

The director of “Elumalai Jama” was not present so he was contacted with the help of telephone and he heard the comments from the audience and answered few question raised by the audience.