इलेक्शंस 2009

mk/ibrIndia Elections 2009 Maharaj Shah
Forth coming Parliament Elections are getting everyday interesting in India. Those who were seen close allies are today driven apart and seem to have developed differences over seat sharing issues. Somewhere between this rhetoric the common man gets day by day disillusioned with these self styled political parties, national or regional. The political ideologies are absent and mostly parties are based either on personality cult or family iconic or else on the basis of popularity of person on different issues other than politics or any political ideology.
People’s issues and problems are no party’s agenda. The national print and electronic media is busy in portraying the profiles of individual political leaders in comparison to their counterparts in other parties on merely trifle and trivial basis and personal likes and dislikes of these so called leaders. It presents before us a situation of political farce than any serious political conviction of leaders committed to improving the quality of life of the millions of Indian people, who still are deprived of the basic requirements of their life.
There are two measure political alliances on national level. One is congress and its regional party alliances called UPA, in which communists were until recently a part too, other big political party is BJP and its allies called NDA, which has also certain smaller regional groups supporting it and this party is branded as Hindu centric and often blamed by the other political parties as communal, though when in power, people of India can hardly find much difference in the rule of the either of two major alliances. The Hindu centric rhetoric of the BJP seems to be more inclined to attract voters on the basis of a communal divide but then situation with the other parties too is almost the same when they address their constituencies on the basis of caste, minority appeasement and communal divide too.
The third front which is newly amalgam of many regional parties and communists from west Bengal is basically a timely election seat sharing arrangement of different groups which will fasten only if it gets a reasonable dent over the two big national political parties that is UPA and NDA or else it will vanish in fragments and cling to the national alliances in one way or the other.
In the drama of this situations politician’s claiming to be in politics for serving the interest of the common masses is posed as a big joke. This kind of scenario is detrimental for the democracy of the masses. No political party candidates come from the mass base. Mostly these leaders are imposed upon, manipulated and find place in politics through coercions. The candidates fielded by the political parties are not people’s choice but their entry into politics is based on the consideration of their money, muscle, and caste qualifications.
Inner party democracy is totally absent in every political party big or small. This is the reason that most of the sitting MP’S have been given again tickets to contest elections. The candidature of a candidate belonging to a specific constituency is not decided by the working members of the particular constituency from that area but imposed upon them from the top central committee or the main political boss called the President of the party. In the present scenario people’s participation is limited to casting of a purposeless vote.

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पॉलिटिक्स इस अ दिर्टी game

mk/इबर Politics is a dirty game! Maharaj Shah

Looking at the profile of a politician in general, it sounds quite convincing that politics is a dirty game and common person should keep away from it. But to my little personal understanding, politics is the first lesson we should learn and teach our progeny to be politically vigilant and conscious of our political rights. Politicians and politics should not be looked down upon but understood in context to our own existence and accordingly hailed or discarded.

We make a big mess of our lives by not actively participating in the political affairs of our country. We often give opportunity to people who hoodwink us betray and befool us by keeping us away from the active arena of politics and make our use as thumbing stamps to give them power to rule us in their own interest and for the interest of those who cleverly plant them as peoples cause champions while as they look after the cause of only select a few of the society and carry only that forward.

Political awakening of the people will be a key to their economic prosperity and general well being.
Political awakening cannot come by sarvashiksha abhiyan or through any official education policy alone. Being well educated is no guarantee of one’s being politically aware to the same extent. Because political understanding comes through consistent study of role, played in the development of a particular society, by the historical and materialistic conditions of that given society.

Political understanding enriches the basic understanding of production, distribution and consumption relations in general and determines ones free will to participate in these relations and extent these with other constituents of society in particular.

While as their is no dearth of such so called leaders who make peoples interest as a means to promote their own self interest and behind the projection of any and every public cause is always hidden the agenda of their projecting themselves at the centre stage of events to gain publicity and get noticed for their own selfish gains and in these mendicants, who see their own gain in pleading the gain of society, is hidden the most dangerous tendency of treating their masses as a herd, keeping them ignorant from the actual reality and silently shake hands with the enemies of that group or society, which they claim they are representing.

These leaders will never want their people to rally around or promote a general peoples cause. Instead they will try to form a pressure group and make people rally behind this group. They will never talk about the sacrifices common people are daily making for carrying forward the interest of general masses but will like to show every gain society would make to the credit of their own account book.

We are watching a similar situation in our country. Some people forget that they are strictly being watched, observed and understood by the countrymen, not in terms of what they state they have done for them but what actually they have been continuously doing since last so many years, by leaving no stone unturned to make best use of the different community forums in extending their self aspirations even at the cost of any sacrifice the society members are willing to offer.

The feudal thinking of conceptulising leadership as one inherited trait and looking for the riser to take seat in a community assembly is often confused by certain self styled leaders as their qualification for leadership. It is unfortunate to note that the one upmanship is overshadowing the common cause of the community. There may be of course certain individual cases who have done some exemplary contribution towards the general cause of the community, but by and large the activity of the community leaders has remained more restricted to the extent of polemic nature with an eye on playing to and lobbying with government agencies and foreign tours.

No leader has been able to give community any agenda or a plan, which could be made as a general guideline for the entire community and around which all our -political social and cultural activities, goals, and achievements would revolve. This is rarely going to happen because all our groups are individual centric and not community centric. Perhaps this was the cause of concern for a friend of mine warning me to be away from politics and concentrate more on literary, cultural and other media related activities, but then these activities also do not exist in vacuum. It is therefore much better to make community development your leader instead of one individual who identifies his own self as community.

इंटरव्यू अशोक Jailkhani

mk/ibr
Interview with Ashok Jailkhani, Senior DDG Doordarshan India By, Maharaj Shah

Q.1: You started your career long back in Doordarshan and have come a long way from the position of a commanding on floor of shoots to commanding the administrative and programming reins of Doordarshan, how do you view your journey.

Ans: I took up the job in Doordarshan when I had yet to complete my graduation. However, at that point of time, I was already involved in active theatre and had been performing on stage and participating in Radio plays. Theatre and films was strong passion with me right from my early years. In fact, I was coaxed into taking up job in Television as the local Station of Srinagar was being set up on priority and was just the second station in the country after Delhi and to sustain programming, local talent was a must. Though I was very young not even completed 18 years, my well wishers and seniors thought that taking up the job in TV shall go well with my aptitude and dreams. Since films seemed to be too far away in our State, so I took it up as a second best option.

Q.2: You were very active stage Actor/Director in a very young age comprehending the scripts of most famous stage writers and using your own innovative methods to communicate masterpiece Indian literary plays in Kashmir Valley before a Non-Hindi audience, how would you do that all.

Ans: In those days the theatre in the Valley was stereo-type in terms of content and presentation which was not inspiring enough for me. Initially I chose modern contemporary plays written in the country. They had themes of universal appeal. Fortunately all of the plays which I staged in Hindi language were well received by the audience. The presentation and treatment of these productions was totally different and hitherto unknown to Kashmiri stage. I did lot of experimentation in lighting, sets, etc. The presentation of Drama in a continuous flow of scenes with appropriate light, sound and action would help to create the desired communicative effect. The soul of a script would be revealed in a very rational sequential flow and actor’s talent would carry the audience with. It would be tough hard work of months put together for staging a successful show. This involved working out minutest details of set, light, Actor’s exercise of pronunciation and modulation. Perfect understanding of the elements of theme and character, all those plays like “Evam-Inderjeet” , “Kisi Ek Phool Ka Nam Lo”, “Panchi Aise Aatha Hai”, “GIDH” “Santola”, etc. not only bagged, best production and acting awards, but also registered in a big way with the audiences.

Q.3: You were awarded many time best Director and best Play awards by the state cultural Academy how do you view to be awarded at such tender stage all the big awards and how would you feel.

Ans: I felt very great. Those moments are still fresh with me. I had the privilege of receiving “Best Directors / Actors Award” consecutively for 3 years and the same was bestowed to me by the then two Chief Ministers of the State. Though in retrospect, I realize that I had an excellent group of talented people with me whose cooperation and dedication made this possible. At that point of time, these awards were very special for my parents also because they realized that I can make a mark in this my chosen field.


Q.4: Coming back to your Job in Television, did it put some speed breakers on your theatre activity.

Ans: Not much but yes, I would have now to manage a tight time schedule. Attending all office work and then after evenings we would gather in one building called Dar Building and conduct our all theatre activities there. There were other theatre activists around working as well and most of the times they would be our competitors in the annual competition of the Academy.

Q.5: You were promoted to the position of Producer and given to produce Drama and in the very first production you got instant success by producing and directing a hilarious comedy inspired from English Drama.

Ans; I, during my stint as drama producer which lasted for about 10 years, must have produced around 400 plays including serials, etc. As far as comedy is concerned, play “Dastar” written by Hari Krishan Kaul was a big Hit. People were crazy about this play and it was repeated over the channel umpteen times on the request of viewers. Out of the 104 episodes of the popular serial titled “Shabrang”, 65 episodes were produced by me which are still remembered. Similarly, Serials titled “Harud”, English telefilm “The Trespassers” based on Shri Aktar Mohiddin ‘s short story were “Trend Setters”. Some of the plays also with strong social themes in which I also played the main role like “Begur-Bana” and “Ye Zahar-Kus-Chaya” by Shri Somnath Sandhu became a rage. Other most popular programme was “Aap Aur Hum” this programme gave me on screen recognition. I would answer audience mail. I had tremendous response from audience, especially female fans, even I used to receive mail across the border from POK and one female fan wrote that she would skip famous Neelam Ghar programme of PTV for my programme.

Q.6: Over the years what was TV then and what is it now.

Ans. A sea change has happened which any one can observe. It has come in all fields, from technical up gradation to shooting techniques, perspective and design packaging and presentation. Every thing has changed.

Q.7; But Doordarshan seems to have cosmetically adapted these changes and there seems to be no change in approach and thinking of the Doordarshan policy.

Ans. We can not be compared with private channels. We are Public Broadcasters and have a social mandate. Our priorities are different. We may sound a bit dull at times but you have to realize that Doordarshan has been rendering a great service to the nation by telecasting meaningful programmes on education, agriculture, social issues and Doordarshan has played a great role for the “Green Revolution” in the country and such campaigns like Adult Education, etc.

Q.8: But at least for heavens sake why does not Doordarshan bring itself any way close to the viewer’s expectations.

Ans. And what do you sum up are those expectations? Look, we have given all viewers Choice. Doordarshan has generic channels. We have separate channels for different taste of viewers.


Q.9: But we see very little difference in these generic channels. Your channels only seem to be using same programmes across the channels. You have almost wiped out commissioning ace and best producers and Directors and lay much stress on sponsored programmes.

Ans. I do not agree. For instance, DD-I, DD (News), DD (Spots), DD (Urdu) are totally and distinctly different channels. Sometimes some over-lapping may seem to be happening between some channels like DD-I and DD-Bharati, primarily because of common language used.

We have not stopped commissioning of programmes. Like for our flagship channel i.e. DD-I all our prime-time and mid-prime time is devoted to the programmes produced by outside producers for DD under Self Finance Commissioning scheme. Experienced and established Directors like Gulzar, Shyam Benegal, Amol Palekar, Girish Karnad, Adoor Golalakrishnan, Muzzafar Ali and many more have been assigned projects which have been telecast, in fact, Sponsored programmes are under “phase-out” process. On our main channel i.e. DD-I, the Sponsored programmes are very few and that too are being carried mostly in non-prime time. We shall be gradually introducing SFC Scheme in our Regional channels also. In fact, DD-Sahyadiri has already started this scheme.

All said and done, DD is constantly in the process of improving both in terms of technology, content, and overall packaging, In fact, a significant and influential segments of our society has recognized the role of Doordarshan as a responsible Broadcaster, particularly in moments of crisis, the latest example being the Mumbai blast.

Q You are a writer of several Books on theatre and Television what really inspires you for writing books after such a busy schedule.

Ans; If you talk about time one can have always sufficient time for writing if one is really inclined to do it, that you too know better how I managed my time with you while writing the book in Hindi on The techniques of television programme making. But the book on theatre which I wrote long back in Kashmiri language is first of its kind so far written in this language by any Kashmiri writer. It contains everything about regional, local, national and world theatre. It is elaborate and comprehensive book on the work of Theatre.

Q I feel even hours of talking together with you on the subject will mean very little considering the experience you can reveal, you are really a great hub of knowledge, experience, information and inspiration for the young generation of this field, I thank you for giving time and talking to me.

Contributed By: Maharaj Shah

mk/ibrTELEVISION KARYAKRAM NIRMAN

As the title of the book suggests, we are taking our reader on a journey to the land of television programme making. This book is aimed at a beginner who gets interested in knowing the technique of television programme making. Television programme or video filmmaking seems deceptively very easy to begin with, but one comes to understand the difference between an amateur and a professional easily by watching the results of the both filmmakers. There are lots of video enthusiasts who spend a great deal of their money and efforts on trying to make their own videos but without any basic and proper knowledge about the technique of video film making, they usually waste both their money and efforts. The amateurish approach due to lack of proper training cannot sustain audience interest for long, obviously the precision and systematic approach adopted by one professional in choosing and editing its filmic material will lack in the story of a not so trained and unskilled person.

This book will not make any one a trained video filmmaker or a trained television programmer but yes it can suggest a lot to its reader as to what television programme making or video filmmaking is all about. This will surely help one in overcoming the initial awkwardness of unfamiliarity with the television media.

It is also aimed at many young boys and girls who want to make television and programming their career and are already students of different media schools.
The book has been written in very lucid Hindi, to make it’s access possible to maximum Indian readers.

The writers, Ashok Jailkhani and Maharaj Shah are well-established media persons. While Ashok Jailkhani is Deputy Director General Doordarshan, Maharaj Shah is a well-known media person and Hindi writer from Jammu and Kashmir.

The entire book is divided in gradual segments, starting from one intro elaborating on program needs, manpower and equipment requirements, budgetary aspects, management and coordination interface, after which we go to the details of television production requirements. We lay a lot of emphasis on content selection, scripting and shooting schedules. We explain the working of studio and outdoor shoots; we clearly explain television shooting techniques: single camera and multicamera shoots, importance of camera techniques, audio, lighting and scenario setting. All aspects are thoroughly described, dealt with and supported by relevant illustrations. The contents of the book appear in the fallowing manner:

At the opening we portray a brief introduction of how after world war 2nd, television started expanding and growing in America and Europe. In India, television was initially viewed as a tool to spread education and help propagating development policies of Government. But soon entertainment became the driving force, which helped the widespread reach of television in entire India. Having said this, we come to the basic purpose of our book: we start from classification and types of programmes produced by TV. We divide these in Fiction, Non-Fiction, Documentary, and Current Affairs. We briefly explain these genres.

We explain briefly, how programme generation takes shape behind every creative and inventive thing there exists one idea. One single idea can move a complete world. In TV programming, idea, concept and synopsis lead to a definite screenplay. TV programmes are targeted at different section of viewers with an overview to cater sponsor and money.

Requirement of programme making Basic requirement of story, cast, equipment, studio, etc. Technical aspects, hardware & machinery, we give a vivid illustration of complete studio lay out, with positions of men and material used for making different programmes.

Programme shooting we define and elaborate on single camera shooting technique and multi camera shooting techniques. We make a flow chart of shooting stages at pre production, production and postproduction.
We tend to explain in detail the camera control and operation techniques with sufficient illustrative methods. We try to give reason for shot variation and choosing different angles.

We explain to reader the meaning and usage of exposure control, focus, zoom, camera placement, meaning of shot, types of shots and shot division, cut. Montage, transition, fade, wipe, and point of view, thrust, timing, and pitch.
Lighting we give sufficient reasons for lighting a set, we explain hard and soft light and try to define key and fill light. We also stress the need to identify source of light and lit the sequence accordingly. We make presentations of light look different from mere illumination and explain its role in creating the right mood and feel of given place and situation.

Sound another aspect, which we deal as per the requirement of television production. We explain in depth the reasoning of good quality recording voice. Impact of appropriate sound, accompanying visuals on screen. Sound can be a great decisive factor in communicating any impact on TV. We have always to remember TV being an Audio-Visual media.

Set, costume and makeup is treated with equal significance and importance is highlighted with lucid illustrations.

Editing is yet another aspect which is explained as per the requirement of a beginner.
News casting and news channel production requirements. TV Broadcast Journalism and some important features are highlighted for those who like to get involved with Television News and Current Affairs.
TV drama serial, and other fiction programmes are touched briefly towards the end. Ambience and environs of television channels is probed with a view to give some kind of feel to an aspiring young talent to find ways and means of getting into the business of TV programme making.

The book is available at Prabhat Publication 1659 Daryaganj Delhi-2

mk/ibr“Religion is based, I think, primarily and mainly upon fear. It is partly the terror of the unknown and partly, as I have said, the wish to feel that you have a kind of elder brother who will stand by you in all your troubles and disputes. […] A good world needs knowledge, kindliness, and courage; it does not need a regretful hankering after the past or a fettering of the free intelligence by the words uttered long ago by ignorant men” Bertand Russell.
I think that TV channels airing superstitions, and other kind of unscientific material ignore the entire progress mankind has achieved through rigorous investigation and research. These channels give us a feel of still living in dark ages. No wonder some where in some area, a group of people overpower some fragile soul declare her a witch and burn her fingers in boiling oil pan to prove against it.

mk/ibr When an individual 'consciouness' longing for the order collides with 'the other's' order, a third element is born" absurdity".Camus, said it, and we often come accross such situations which we realise are absurd but observed with tremondous respect overtly but seldom fallowed in reality. Cinema makes some times bold commitments and looks very near reality but it cannot be in any sense real. It is manapulated and delibrately created. It is focused, highlighted, and made effective.It can not be true. It is not. But yes a maker tries his level best to give honest statement. It will always depend on his/her out look towards different aspects of life that he may be holding close to self, that will decide his approach to his/her kind of cinema. A person may try its level best to be detached and away from the subject but his invovement will come deep from his own self and not merely the outer collusion . Of course the outer collusion will always find solution in the inner depths of the consciousness.

· Made televisions Serials, Documentaries, Current Affair Programs, Women, Children programs, Music and Dance programs for Doordarshan and All India Radio.
· Worked as Producer (in charge of entire programming) in a leading Private Satellite television channel in Rajasthan from oct.2001 to July 2002.
· Trained entire programming team in ETV Jaipur.
· Languages, which I can read, write and speak – English, Urdu, Hindi, and Kashmiri.
· Books Published: A book on Television Production Techniques is written by me in co-authorship with Mr. Ashok Jailkhani Senior Deputy Director General Doordarshan, the book is published by a sister concern of famous Prabhat Publications and is available on stalls.

Maharaj Shah