செல்ஃபி ஷாக் – நக்கீரன்

இந்தியாவின் புதிய சூப்பர் ஸ்டார்’ ஷாருக்கானின் செல்ல மகன் ஆர்யன்கான், பள்ளி மாணவி ஒருவரோடு அந்தரங்கமாக இருக்கும் வீடியோ காட்சி… ஒருசில இணையதளத்தில் வெளியாகி பாலிவுட்டில் மட்டுமல்ல அத்தனை “வுட்’களிலும் பரபரப்பை பற்ற வைத்திருக்கிறது. அதுவும், அந்தரங்க வீடியோவை எடுத்தது வேறு யாருமல்ல, 17 வயதே ஆன ஆர்யன்கான்தான். இதைவிட இன்னொரு ஷாக் நியூஸ்… ஆர்யன்கானோடு இருக்கும் அந்த மாணவி பாலிவுட் பழைய சூப்பர் ஸ்டார் அமிதாப்பச்சனின் மகள் வயிற்றுப் பேத்தி.

ஆர்யன்கான் பாலிவுட்டின் மன்மதன். ஷாருக்கின் “கபி குஷி கபி கம்’’படத்தில் குழந்தை ஷாருக்காக நடித்தவன். டிஸ்னியின், “தி இன்கிரெடிபில்ஸ்’-ன்’ இந்தி மொழிபெயர்ப்பான “ஹம் ஹை லாஜவாப்’’படத்தில் தேஜ் கேரக்டருக்கு டப்பிங் வாய்ஸ் கொடுத்துள்ளான். இதற்காக ’சிறந்த குழந்தை டப்பிங் ஆர்ட்டிஸ்ட்டுக்கான விருதையும் பெற்றுள்ளான். தீராத விளையாட்டுப்பிள்ளை ஸ்போர்ட்ஸில் மட்டுமல்ல, கேர்ள்ஸ்களிடமும்தான்.  ஆனால், அவன் இப்போது விளையாடியது விபரீத விளையாட்டு. கடந்த சிலநாட்களுக்கு முன்புதான் இரண்டு பெண்கள் ஒரேநேரத்தில் அவனுக்கு முத்தம் கொடுத்த புகைப்படம் வெளியாகி புகைச்சலை உண்டாக்கியது. இப்போது, இப்படியொரு வீடியோ வெளியானது பெண்ணுரிமைப் போராளிகள், சமூக ஆர்வலர்கள் மத்தியில் பெரும் சர்ச்சைகளையும் விவாதத்தையும் உருவாக்கி யிருக்கிறது.

அப்படி என்ன செய்துவிட்டான் ஷாருக்கானின் மகன் ஆர்யன்கான் என்பதை அறிவதற்கு முன்  கல்கத்தாவில் நடந்த ஒரு சினிமா ப்ரஸ்மீட்டில் சமீபத்தில் ஷாருக்கான், “”பெண்களுக்கு எதிரான குற்றங்கள் உலகம் முழுவதும் நடந்துகொண்டிருக்கிறது. பெண்களிடம் எப்படி பழக வேண்டும் என்று பெற்றோர்கள் தங்கள் குழந்தைகளுக்கு சொல்லிக் கொடுக்கவேண்டும். எனது மகனிடம்  “எந்த பெண்ணின் மனதையும் புண்படுத்தாதே… நாகரிகமாக பழகு’ என்றுதான் அட்வைஸ் செய்வேன்”’என்றார். ஆனால், எந்த மகனிடம் அட்வைஸ் செய்ததாக ஷாருக்கான் குறிப்பிட்டாரோ அதே மகன்தான் இப்படியொரு அநாகரிகமான செயலில் ஈடுபட்டிருக்கிறான்.

காரில்தான் நடக்கிறது அந்தக் காட்சி. அமிதாப்பச்சன் பேத்தியின் ஆடைகளை களைந்து சில்மிஷங்களை செய்தபடி வீடியோ எடுக்கிறது ஒரு கை. கொஞ்சநேரத்தில்தான் தெரிகிறது அது நடிகர் ஷாருக்கானின்  மகன் ஆர்யன்கானின் கை என்பது. அதற்குப் பிறகு நடந்தது அச்சில் ஏற்றமுடியாத செயல்கள். இதை எல்லாம், ஆர்யன்கானே செல்ஃபி வீடியோ எடுப்பதும் இதன் பின்விளைவுகள் புரியாமல் அந்த மாணவியும் இவனோடு நெருக்கமாக இருப்பதும்தான் வேதனையின் உச்சகட்டம்.

சர்ச்சை குறித்து, பாலியல் சுரண்டல் மற்றும் பாலியல் வாதத்திற்கு எதிரான அமைப்பின் தலைவர் நிர்மலா கொற்றவையிடம் கேட்டபோது, “”முதலில், இது இரண்டு பேரின் பர்சனல் விஷயம். இரண்டாவது, இது உண்மையான வீடியோதானா? அல்லது மாஃர்பிங் செய்யப்பட்டதா என்பதையும் ஆராயவேண்டும். மூன்றாவது, ஷாருக்கானின் மகன் ஆர்யன்கான்  எடுத்த வீடியோவை அவனே இணையதளத்தில் உலவவிட்டானா அல்லது அவனது செல்ஃபோனிலிருந்து திருடப்பட்டு வெளியானதா என்பதை பார்க்கவேண்டும். சமூக வலைத்தளங்களைப் பயன்படுத்துவது, பெரிதும் ஈடுபடுவது டீன் ஏஜ் வயதினர் என்பது கவலை அளிக்கக்கூடிய விஷயம்.

குறிப்பாக, டீன் ஏஜ் பெண்கள் இதன் கவர்ச்சித் தன்மையில் தன்வயம் இழந்து சில அந்தரங்கமானப் புகைப்படங்களையும் பகிர்ந்து விடுகின்றனர். வீடியோ எடுப்பதன் விபரீதம் தெரியாமல் தடுப்பதற்கு பதிலாக அமைதியாக இருந்துவிடுகிறார்கள்.  இதனால்,  வருங்காலத்தில் ஆபத்தான பின்விளைவுகளையும் எதிர்கொள்ள நேர்கிறது. உண்மையில் அந்த வீடியோவில் இருக்கும் பெண்ணைவிட வெட்கப்பட வேண்டியது அந்த வீடியோவை எடுத்து தவறாகப் பயன்படுத்தியவன்தான். மேலும், பெண்களின் புகைப்படங்களையும் வீடியோக்களையும் தவறாகப் பயன்படுத்தும் நபர்கள் நிச்சயம் தண்டிக்கப்பட வேண்டியவர்கள்”’என்கிறார் அவர்.

தமிழக அரசின் குழந்தைகள் நல குழுமத்தின் முன்னாள் தலைவரும்  ‘செஸ்’ குழந்தைகள் அமைப்பின் இயக்குனருமான டாக்டர் மனோரமா கொந்தளித்துப்போய் பேசுகிறார்.  “”இரண்டுபேரும் அப்படி அந்தரங்கமாக ஈடுபட்டது வேண்டுமானால் அவர்களது பர்சனல். ஆனால், அதை வீடியோவாக எடுத்து  சமூக வலைத்தளத்தில் பரப்பியதை பர்சனல் விஷயமாக எப்படி எடுத்துக் கொள்வது?  அதுவும், ஆர்யன்கான் எடுத்த வீடியோ அவனது அனுமதியில்லாமல் மற்றவரால் எப்படி திருடப்பட்டிருக்கும்? ஏற்கனவே, தமிழகத்தில் 17 வயது சிறுவன்  பல பெண்களை காதலித்து ஏமாற்றி வீடியோ எடுத்ததாக குற்றம்சாட்டப்பட்டு சிறார் சீர்திருத்தப்பள்ளியில் இருக்கிறான்.  நக்கீரன்தானே, பாதிக்கப்பட்ட பெண்களுக்கு ஆதரவாக அச்செய்தியை தொடர்ந்து எழுதி நடவடிக்கை எடுக்கவைத்தது.

ஷாருக்கானின் மகன் என்பதாலோ பிரபலம் என்பதாலோ விட்டுவிட முடியுமா என்ன? ஷாருக்கானின் மகன் ஆர்யன்கானுக்கு வயது 17 என்றாலும்கூட அவன் செய்த செயல் சிறுபிள்ளைகள் செய்யக்கூடிய சாதாரண செயல் அல்ல. இப்படியொரு வீடியோவை பார்க்க நேரும் சிறுவர்-சிறுமிகளின் மனநிலையில் என்ன தோன்றும்? அதேபோல், நாமும் முயற்சித்துப்பார்க்கலாம் என்றுதானே தோன்றும்? இதைவிடக் கொடுமை, அந்தச் சிறுமியின் எதிர்காலம் என்னவாகும்? சிறுமிகள், பெண்கள் பாலியல் ரீதியாக பாதிக்கப்படுவதற்கு இது ஒரு முக்கிய சான்று. இதை,  பெண்கள் அமைப்பும், காவல்துறையும் இப்படியே விட்டுவிட்டால் பெண்களுக்கு எதிரான பாலியல் கொடுமைகள் தொடர்ந்துகொண்டேதான் இருக்கும்.  அதனால், உடனடியாக ஷாருக்கானின் மகன் மீது நடவடிக்கை எடுக்க  நீதிமன்றத்தில் வழக்கு தொடுக்க வேண்டும்”’என்கிறார் ஆவேசமாக.

“சைபர் க்ரைம்’ வழக்கறிஞர் ஹன்சாவிடம் கேட்டபோது, “”நெருங்கிய தோழியாக இருக்கட்டும், காதலியாக இருக்கட்டும்,  மனைவியாக இருக்கட்டும். எந்த உறவாக  இருந்தாலும் சரி… ஒரு பெண்ணின் அந்தரங்கத்தை படம்பிடிப்பது தவறு. அதுவும், அவளது அனுமதியில் லாமல் அதை இணையதளத்தில் வெளியிடுவது சட்டப்படி குற்றம். எந்த ஒரு பெண்ணும் தனது அந்தரங்க வீடியோவை அனைவரும் பார்க்கட்டும் என்று இணையதளத்தில் அப்லோட் செய்ய விரும்பமாட்டாள். அந்த கோணத்தில்தான் இந்த வீடியோவையும் அணுகவேண்டியிருக் கிறது. அவளது அனுமதியில்லாமல்  அந்தச் சிறுவன் அந்த வீடியோவை பரப்பியிருந்தால் சட்டப்படி குற்றம்.

பொதுவாக இது மாதிரியான அப்லோட்களை யார் செய்தது என்பதை அதன் ஐ.பி. அட்ரஸ், மற்றும் மேக் அட்ரஸை வைத்து  சைபர் க்ரைம் போலீஸார் கண்டுபிடிப்பார்கள். ஆனால், ஐ.பி. அட்ரஸ், மேக் அட்ரஸை மாற்றும் அளவுக்கு தந்திரமுள்ளவனாக இருந்தால் அவனை சிறார் அல்லது சிறுவன் என்று சொல்லமுடியாது. ஆனாலும் சட்டப்படி  18 வயது நிரம்பிய ஒருவன் சிறுமியின் அந்தரங்கத்தை படம்பிடித்து நெட்டில் உலவவிட்டிருந்தது நிரூபிக்கப்பட்டால், சைல்டு ஃபோர்னோகிராஃபியை பரப்பியதற்காக இன்ஃபர்மேஷன் டெக்னாலஜி சட்டப்படி ஐந்து வருடமும் இந்திய தண்டனை சட்டம் 292 பிரிவின்படி ஐந்து வருடமும் என 10 வருடங்கள்வரை தண்டனை கிடைக்கலாம். ஆனால், சிறுவன் என்பதால் சீர்திருத்தப் பள்ளியில் கொண்டு போய்தான் வைக்க முடியும்.

டெல்லியில் நடந்த பாலியல் கொடூரத்தில் ஈடுபட்டவனும் 17 வயது உடையவன்தான். இப்படி, 16 வயதிலிருந்து 18 வயதுக்குட்பட்ட இளம் சிறார்கள் பலவிதமான குற்றங்களில் ஈடு பட்டு சட்டத்தினால் தப்பித்துக்கொண்டிருப்பதால்தான் சிறார் வயதை 16-ஆக குறைக்கவேண்டும் என்று பலரும் போராடி வருகிறோம். அதற்கான, சட்டம் முன்வரைவாகத்தான் இருக்கிறது. விரைவில் சட்டமாகி அமலுக்கு வந்தால்தான் இதுபோன்றவர்களை தண்டிக்க முடியும்”’என்கிறார் அவர். இதுகுறித்து, தேசிய மகளிர் ஆணையத்தின் தலைவர் லலிதா குமாரமங்கலத்திடம்  நாம் கேட்டபோது, “”அந்த வீடியோ உண்மையா, பொய்யா என்று தெரியாமல் நான் கருத்து சொல்லமுடியாது. அதேநேரத்தில், பாதிக்கப்பட்டதாக அச்சிறுமியின் பெற்றோர் புகார் கொடுத் தால் நிச்சயம் அதுகுறித்து விசாரித்து நடவடிக்கை எடுக்க பரிந்துரை செய்வோம்”’என்றார்.

இச்சர்ச்சை குறித்து பாலிவுட் வட்டாரத்தில் விசாரித்தபோது, “””ஷாருக்கானின் மகனும் அமிதாப்பச்சனின் பேத்தியும் ஸ்டார் குடும்பம் என்பதால் மட்டுமல்ல, இருவருமே லண்டனில் ஒரே பள்ளியில் ஒரே வகுப்பில் படித்துக்கொண்டிருக்கிறார்கள். அமிதாப்பச்சனின் மகள் ஸ்வேதாபச்சனின் மகள் இவர். இந்த இருவருக்கமான நட்புதான் இப்படி எல்லை மீறியிருக்கிறது” என்கிறார்கள். ‘”நீங்கள்  ஒரு பெண்ணிடம் தவறாக நடந்துகொண்டால்… கொடூரம் காட்டினால்… உங்கள் தந்தையர் நிச்சயம் மன்னிக்கமாட்டார்கள்’’என்று அடிக்கடி ஷாருக்கான் சொல்லிக்கொண்டே இருப்பார். ஆனால், அவரது மகன் செய்திருப்பது வெறும் மன்னிக்கக்கூடிய செயல் அல்ல; சட்டத்தால் பாடம் புகட்ட வேண்டிய செயல்.

-மனோ

source: http://www.nakkheeran.in/Users/frmNews.aspx?N=130110

The great Publishing Scam of the Twenty First Century by Vidiyal Pathippagam, Coimbatore.

விடியல் பதிப்பகம், vidiyal pathippagam

விடியல் பதிப்பகம், vidiyal pathippagam

The Past:

Vidiyal Pathippagam, a radical publishing house was started by a group of ex-comrades of a revolutionary political movement with Sivagnanam as its founder supported by Dhandapani and Kalyani. Several other comrades and translator V. Govindasamy joined them in this noble cause of disseminating knowledge.  It is said that all comrades involved then including Siva were not profit motivated and were dedicated to the cause of publishing radical and revolutionary books – particularly translations.

Vidiyal earned goodwill of the Tamil readers for the titles it published and has been regarded so far as the most sought after publishing house by all those who are concerned with struggle for an egalitarian society and in contributing to social change.  Such a reputation was in fact garnered by Vidiyal only because of the translated works published by them and translators served to be the back bone of those publications. Among the many translators contributed for Vidiyal,  com. V Govindasamy and com. S. Balachandran were known to be the  contributors of  a lot of massive political and literary works with their selfless commitment towards knowledge dissemination.

In the due course of time, several altercations arose between Siva and translators, and this unforeseen circumstance resulted in comrades V.Govindasamy and S.Balachandran detaching themselves completely from Vidiyal Pathippagam and both of them intransigently chose to ‘STOP’ giving publishing rights for any translated work – whether it was already published by Vidiyal or not it didn’t matter- to Vidiyal for further publishing.  Two other translators who were then attached to vidiyal, namely V. Natraj, Kannan.M (French Institute of Pondicherry) extended their hands of support to Com.V.Govindasamy and Com S.Balachandran and withdrew their involvement with Vidiyal .

The bitter experience from such a ‘principled’ publication as Vidiyal had caused great distress to V.Govindasamy and S. Balachandran and they were in a situation of being unable to attach themselves as full fledged translators  to any other publication. Even in that situation they had been collaborating with Bharathi Puthakalayam and New Century Book House in editing and publishing some of the works translated by them and others. Soon the above mentioned progressive publishers are going to publish a few works too.   But, despite the warning given by the comrade translators, Vidiyal continued to sell their translated works, many a time doing this without informing   them about the number of copies printed, and without any financial compensation for them.

This bungle became widely known amongst the writers, translators and literary circles at a later stage. But, it was said that Sivagnanam was joined by few ‘business men’ who were misguiding him and this proved to be true when Sivagnanam announced that vidiyal Pathippagam was soon to be converted as Vidiyal Trust. Sivagnanam was diagnosed with lung cancer and had been hospitalized. It was at this life ending juncture that he announced that Rajaram ( a businessman),  Kannan.M (French Institute of Pondicherry) and Soundaran (businessman), and Sulur Vijayakumar (businessman) were the member  trustees of Vidiyal. This came to the shock of many including comrade Kalyani (and her daughter Sumithra) whose family were with Sivagnanam right from the day of its inception of Vidiyal and gave their blood and soul to all its activties . They have raised several doubts about Sivagnanam’s WILL and also opposed Vidiyal being taken over by those ‘trustees’. It is said that some legal actions have been taken by that family. Also news is that Rajaram had verbally abused Kalyani, a lonely widow of the suddeny  demised comrade Dhandapani, living in the premises where Vidiyal was functioning earlier, with venomous male chauvinistic words.

Kalyani and family have sought after legal assistance to fight against the injustice done to them.

The Present:

Having allegedly expropriated  Vidiyal Pathippagam and its assets,  ‘Trustee-Owner’ Rajaram (&his group of other member trustees) ventured in committing several other fraudulent practices including republishing translated works of one translator with another translators name, altering the original translation in bits & pieces, hoaxing the titles, writing dim-witted blurb’s in an imprudent manner. They continued to republish and sell the already translated works without informing the translators and offering them the due monetary compensations.

Their first such scam was brought to light when they published renown translator com. Ira. Murugavel’s translated work “Oru Poruladhara Adiyalin Oppudhal Vaakkumoolam” (Confessions of an Economic Hit Man) was republished slightly altering its title as  “Oru Poruladhara Adiyalin Vaakkumoolam” (dropping the word Oppudhal, meaning confession – and the reworked title would actually mean Statement of an Economic Hit Man!!!). The book was said to be translated by Poppu, but it was very evident that they used Ira. Murugavel’s translation and in pretension of publishing a new translation of the book they did some superficial patchworks that are catchy.

Writer, Translator Ira. Murugavel had filed a case against Vidiyal Pathippagam. Then it is said that they ‘came to line’ with him and were made to bend their knees.

In spite of facing continuous legal charges for their continuous frauds, ‘Trustee-Owner’ Rajaram & Co. continue their uncouth works.

Now they have their eyes on S. Balachandran’s and V. Govindasamy’s translated works. Those works were highly sought after for their extraordinary titles, subject matter and translation. Their translations have in fact earned a reputation and trustworthiness to those books (amongst many other translated works on the same subjects). Vidiyal Publishers, now  having lost their reputation and not having any noteworthy, publishable constructive works with them has chosen to republish the comrade translators’ translations in a deceitful manner by following the same pretensions  as they already did with Ira. Murugavel’s translation.

This 2nd scam of theirs was conveyed through Kurali Publications, a budding publication from Theni. Kurali was started as a little serious literary magazine about 2 years ago and has now been established as a publishing house. With its selective articles and translations  Kurali had also earned a high reputation and trustworthiness and became a sought after little magazine in tamil within a very short period of time.

The Present Continous:

Kurali’s commitment to radical and revolutionary publishing had brought in tandem with comrades like S. Balachandran, Govindasamy and other like-minded people to publish books of importance and high social value. Both S. Balachandran and V. Govindasamy have whole heartedly given publishing rights for their many translated works without demanding a single penny, which again stood testimony to their selfless nature and commitment towards social change.

It was with this background and motive, Kurali stepped into publication. Processes related to publishing their works have been going on for almost a year and are  on  the verge of completion. As the news spread in the industry now, Kurali had received a phone call from ‘Trustee-Owner’ Rajaram on 13th of September,2014. Though the talk of the phone- call had started as   wishing Kurali for its new venture, the intent  was to inform that Vidiyal is publishing two translated works of S. Balachandran titled ‘Eriyum Samaveli’ and ‘Pedro Paramo’ written by Juan Rulfo. When Rajaram informed this, Vasumithra, one of the partner of Kurali Publications in turn questioned how it was possible for them to publish those works when Balachandran had given the copyrights for them to be published by  Kurali.

The answer given by Rajaram was astounding – “Balachandran cannot claim any rights as it was a product of  ‘team-work’ and some corrections of the translations and incorporation of  two new short stories in their tamil versions are freshly done by one of the  then team members V.Nataraj , “ he said.  We told him we would  get back to him after discussing with Balachandran. On hearing all  this, Balachandran was taken aback and rose to agony and got back to us after discussing with his friend and translator V. Govindasamy with a decision to approach court of law.

When we conveyed this to Rajaram he said, “Okay, you may go ahead and file a case, we don’t bother.” The tone conveyed the arrogance and pride of a ‘Capitalist’ greed after money. It looked like fraud and scam were not new to them and it showed that they are ready to do anything to make money in the name of publishing “revolutionary book with social commitment”. While they boast themselves of publishing radical and revolutionary books that disseminate knowledge to fight against exploitation (primarily capitalism), they are not ashamed of exploiting the translators. Having buried  down their conscience- if at all they really had it ever- Vidiyal Pathippagam trustees Rajaram@ Rajaraman,Soundar@ Soundaran,Sulur  Vijayakumar and Kannan (French Institute of Pondicherry and their chief collaborator V.Nataraj @ V.Natarajan are not only cheating translators but are also planning to obliterate a budding publishing house with a typical Capitalist Spirit of eliminating competition.

Believing in the past comradeship shared by our comrades with Natraj, we wanted to seek clarification from him whether he was actually involved in this fraud. V. Natraj’s reply was again shocking to us. While S. Balachandran spoke to him V. Natraj had confirmed that he has done translation of the two additional stories. When he was question whether it was morally right on his part to have done this inspite of knowing that vidiyal was going to publish the existing Balachandran’s translation by just adding two new stories, Mr. Natraj confessed that he was doing that as Kannan (French Institute Pondicherry) had asked him to do so. He also added that he will do what Kannan says. Dear People, this is the Ethics of Kannan & other trustees of Vidiyal Pathippagam. It is quite shameful.

Kurali Publication and S. Balachandran have decided to fight for justice by appealing to the court of law. The work is already in progress.

Having exposed the unethical practices of Vidiyal Pathippagam, Kurali appeals to all Book Stores, Publications, BAPPASI and readers to condemn Vidiyal Pathippagam and also request not to support them in any form. And also we appeal to all the writers and translators of the tamil literary world   to be with us in fighting against injustice perpetrated on the intellectuals of all milieus by the publishing octopuses of the creed of Vidiyal Pathippagam.

Time to End Sex-Testing of Female Athletes – Ms.Magazine

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When are we going to stop the nonsense of sex-testing female athletes?

Because of an International Association of Athletics Federations (IAAF) and International Olympic Committee (IOC) policy, Dutee Chand, an 18-year-old Indian sprinter, was blocked from competing at the 2014 Commonwealth Games because her body makes too much testosterone. She has been prohibited from competing at all national and international sporting events on the grounds that she has an unfair advantage over her competitors. These actions left Chand feeling “completely shattered.”

Her situation might sound familiar, because it is.

In 2009, the IAAF banned Caster Semenya, a South African runner, from competition after she won the 800-meter race at the Berlin World Championships in Athletics. Competitors were complaining that Semenya might have had an unfair advantage in the race, complaints triggered by Semenya’s gender presentation. Eventually Semenya was allowed to return to competition, but only after a horrible media frenzy that took an emotional toll on the young athlete.

The IAAF and IOC created a policy in the wake of the Semenya debacle, but because this policy was flawed from the beginning, Chand is forced to face what Semenya had to deal with years earlier.

In the first in-depth critique of this policy [pdf], colleagues and I argued that among other problems there was no scientific basis for the policy that derived from illogical thinking about fairness for female athletes. The policy is filled with problematic assumptions about testosterone in women’s bodies, specifically around what an acceptable natural level is and the effect it has on athleticism. Even if we accept the assertion that testosterone is the primary component of athletic ability, why punish women for their natural bodies? Women with naturally high testosterone levels are not cheating, yet they are being treated as if they were doping.

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The policy also targets gender nonconforming women. If a female athlete isn’t feminine enough, she might be unfairly singled out for sex testing. Why? Because people assume women’s clothing choices, hairstyle preferences, and the like are driven by biological predisposition. This means less feminine athletes will be suspiciously viewed and their ability to compete as women challenged. What message does this send our daughters? You can compete, but you better do so with a bow in your hair?

Because of this policy, Chand is barred from all competitions unless she undergoes invasive medical procedures [pdf], which could mean irreversible surgeries, in order to lower the natural testosterone level in her body. The procedures are unnecessary and are known to cause emotional and physical harm.

The Sports Authority of India is showing international leadership supporting Chand’s challenge of the discriminatory policy.

Chand is incredibly courageous and it shows in her determination to stand up for what’s right. We may never know where her courage comes from, but I bet it is related to the characteristics she’s cultivated on her way to competing at such an elite level of sport. It’s a damn shame that the world is forced to cheer her off the track and not on it where she belongs.

A petition is underway pressuring the IAAF to abolish this policy. We can let Dutee Chand know how many stand with her as she fights for the rights of all women to run.

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Georgiann Davis, Ph.D., is an assistant professor of sociology at University of Nevada, Las Vegas. Her research is nestled at the intersection of sociology of diagnosis and gender theories. She is currently writing a book that tells the story of how intersex became a contested disorder of sex development.

Source: http://msmagazine.com/blog/2014/09/11/time-to-end-sex-testing-of-female-athletes/

ஆண்மை பரிசோதனை – நக்கீரனில் கருத்து

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Advertising Standards Council clamps down on fairness products

Says no ad should communicate discrimination on basis of skin colour
New Delhi August 19:
The stand taken by groups such as Chennai-based Women of Worth, which have been behind campaigns such as ‘Dark is Beautiful’ and opposed the television commercial of the Fair & Handsome brand, endorsed by actor Shah Rukh Khan, has now been validated.

The Advertising Standards Council of India (ASCI) on Tuesday said “no advertisement should communicate any discrimination or reinforce negative social stereotyping on the basis of skin colour.”

In recent times, consumers as well as celebrities have expressed outrage against claims made by fairness product makers.

In a move that is expected to put an end to discriminatory ads for fairness products, the self-regulatory voluntary body of the advertising industry has come out with guidelines for skin-lightening and fairness product companies.

“Given how widespread the advertising for fairness and skin-lightening products is and the concerns of different stakeholders in society, ASCI saw the need to set up specific guidelines for this product category,” said Partha Rakshit, Chairman, ASCI.

The diktat

“Specifically, advertising should not directly or implicitly show people with darker skin, in a way that is widely seen as, unattractive, unhappy, depressed or concerned. These ads should not portray people with darker skin in a way that is widely seen as a disadvantage of any kind, or inferior, or unsuccessful in any aspect of life, particularly in relation to being attractive to the opposite sex, matrimony, job placement, promotions and other prospects,” it said in a statement.

In addition, it has said that in the depiction of the model before usage of the product, companies should ensure that expressions should not be negative or unhappy.

Against discrimination

It also said that ad campaigns should not associate darker or lighter colour skin with any particular socio-economic strata, caste, community, religion, profession or ethnicity. “Advertising should not perpetuate gender based discrimination because of skin colour,” said the ad watchdog.

Kavitha Emmanuel, Director Women of Worth, said: “…it would only be fair for all cosmetic brands to take heed to this change and ensure that all discriminatory advertisements are taken off our TV screens and print media. We hope that these guidelines are made legal at some point.”

Emami and L’Oreal says they agree that advertisements should not encourage social discrimination of people based on skin colour.

Mohan Goenka, Director, Emami Ltd, said: “The aim of an advertiser should be to ensure that viewers are not misguided about the efficacy of any product or promote discrimination of any sort….”

A spokesperson for L’Oreal India said the company’s communication focuses on the efficacy of the product. “Our conviction is that there is no single model for beauty, the appearance and physical features of each person are unique,” said the company’s spokesperson.

(This article was published in the Business Line print edition dated August 20, 2014)

source: http://www.thehindubusinessline.com/todays-paper/advertising-standards-council-clamps-down-on-fairness-products/article6332796.ece

Tamil writer Jeyamohan rubbishes women colleagues, reveals wider misogyny

The novelist said last week that many female writers got recognition not because they had talent but because they were women, eliciting cogent and concerted protest from his target.
Tamil writer B Jeyamohan’s disparaging remarks about his women colleagues, posted on his website earlier this month, exposes a strain of misogyny in the literary world of this ancient language, one that springs from a fear of strong female voices.Jeyamohan wrote on his popular website on June 9 that many female Tamil novelists and poets lacked literary merit but had gained prominence and won awards because “they had employed many publicity gimmicks and had attracted media attention and popularity”.

He was evidently reacting to a list of significant contemporary Tamil litterateurs, compiled by senior writer Naanjil Naadan and published in  the Tamil weekly magazine Ananda Vikatan , in which 11 of the 27 novelists and poets named were women.

“The male writer has to prove his literary merit to join such lists; the female writer gains prominence simply by being a woman,“ he wrote. “[In a growing] feminist culture many are afraid of speaking the truth that may be anti-women for fear of earning their ire.“

His comments did indeed evoke ire, but from women and men alike, with about a hundred writers and activists signing a statement published online on June 18, protesting against what they said was “blatant misogyny“. The protest was spearheaded by veteran Tamil writer Ambai, who founded the Mumbai-based organisation SPARROW (Sound and Picture Archives for Research on Women), which documents the work of female writers and artistes.

Taken aback by the backlash, Jeyamohan issued an apparent apology on his website the following day. “If only they read my works they would understand my feminist principles,“ he wrote, initially sounding conciliatory, only to later describe the signatories as a “gaggle of foul-mouthed female protesters“.

These protestors include women from a range of communities – Dalit, Muslim and working-class – whose works have provided unique insights into Tamil society and alternative worldviews from the subaltern trenches of the 21st century.

Over the past decade powerful female voices have emerged in the Tamil literary world. Bama, the nom de plume of Faustina Mary Fatima Rani, whose maiden novel, Karukku (Palmyra Leaves), a Dalit feminist work, won her several awards in 2000, has a considerable following.

Another voice is Kutti Revathi, a poet and lyricist who has won several national awards. Her novel Muligal (Breasts) drew criticism from male Tamil writers, who said she had sexed up her writing. She said she was looking at the female anatomy as a living entity, not as a commodity.

Among poets, Salma’s name comes to mind. Her transformation from a housewife in rural Tamil Nadu living a closeted life to a daring poet in the public eye became the subject of a documentary that was applauded at the Sundance Film Festival, perhaps the world’s top forum for independent films, held every January in Utah in the US. She has become a celebrated author and an inspiration to many.

“Jeyamohan is not being merely patronising; he is obliterating their contribution,” said Pritham K Chakravarthy, a Chennai-based translator. “He called female writers sparrow-heads (meaning bird-brained). This is obnoxious.”

Said poet and novelist Meena Kandasamy, “It is rude and arrogant. I find it difficult to engage with the world of such Tamil male novelists.”

This is not the first time Jeyamohan has found his female colleagues wanting. In his popular and widely read website, he has time and again described late R Chudamani and Kamala Das “as lacking in literary merit”.

Stray voices, however, found merit in Jeyamohan’s criticism and supported his right to express his views. Among them was K Arivazhagan, who writes under the name Charu Nivedita and who, paradoxically, is himself known for transgressive novels that contain sexually explicit passages and dwell on subjects that were once taboo. Without a trace of irony he accused female Tamil poets of getting easy media coverage because they threw in a few lines describing “details of the body and genitalia”.

“If Jeyamohan is doing this as a publicity stunt, he should face the music,” he began by saying in his blog, only to add: ”Instead of rising to the challenge thrown by Jeyamohan to prove their literary prowess intellectually, they [the women writers] are resorting to protests and demanding apologies.”

Meena Kandaswamy reacted with disgust. “It shows their [male writers'] immaturity and discomfort to engage,” she said.

Jeyamohan’s comments are not, unfortunately, out of place in the world of modern Tamil literature. Although this world has remained vibrant from pre-Independence to today, breaking new ground and capturing emerging realities, it has been dominated by male voices and viewpoints.

Surprisingly, however, many male writers have adopted women’s names as pseudonyms, often names of their mothers or wives. For example, Kalki Krishnamurthi adopted his wife’s name Kalyani; S Rangarajan wrote under the name Sujatha; Subha, the author of Tamil pulp fiction, is the pen name of the duo D Suresh and AN Balakrishnan; JR Sundaresan, a comic novelist, went by the name Bagyyam Ramaswamy; Sri Venugopalan wrote spiritual articles under his own name but his racy and raunchy stories under the name Pushpa Thangadurai; and Charu Nivedita is the nom de plume for K Arivazhagan, the writer who appeared to support Jeyamohan.

The list is long and the trend may call for analysis, but it does not, clearly, reflect a deeper change in the status quo.

Source: http://scroll.in/article/668281/Tamil-writer-Jeyamohan-rubbishes-women-colleagues,-reveals-wider-misogyny

Joint Statement against writer Jeyamohan’s sexist and women hatred post on his website

jeyamohan1

Writing, as an art, demands its own morality. Masters like Karl Marx changed the course of history and human thought through their writings. When writing becomes a mere weapon in the hands of reactionaries, the society is in danger of becoming morally corrupt. The irresponsible statements of some literary personalities have made the Tamil literary space vulnerable to such corruption.

The literary policing of Jeyamohan is almost unspeakable. Pro-establishment, pro-Hindutva, anti-minority, intolerance towards other religions, hatred towards left intellectuals, manipulation of history to suit  his political standings and male-chauvinist high-handedness are among his major traits, as can be gleaned from his writings. His vicious statements against women stem from a deeply rooted patriarchal mindset that

believes men are superior. We understand his psychological need to stay in the limelight forever – something that has been well-established when he has courted controversy through his statements on Tamil fonts etc. But we will be failing in our duty to society if we don’t protest his intellectual violence against women.

Jeyamohan claims to always look for for greater and greater women writers; In his obit to one of the most respected writer R Choodamani, he writes thus: “I think Choodamani’s short stories has very little literary value. She cannot be approached as a relevant literary personality today. She has no role in Tamil short story or novel.” And thus he rejects Choodamani’s contribution to Tamil literature. By calling her a “kalaimagal type writer’, he also seeks to limit her space. In doing so, Jeyamohan also tries to establish himself as self-appointed regulator of Tamil literary scene. We chose not to react, reposing our faith in the democratic spirit of criticism.

When writer Kamala Das passed away, Jeyamohan writes thus: “She became famous by her descriptions of the scent of a young friend’s semen”. He also says that Kamala das was overrated because  her son was the editor of Mathrubhumi. His compliments to Kamala Das are strikinglyleft-handed. He says: “Kamala’s problems have the same root. She was not good-looking. She was fat, dark and almost ugly. She had an insatiable thirst for publicity and kept promoting herself.” He says it is evident from her autobiography that because of her ugly looks and consequent inferiority complex, Kamala das became a nymphomaniac.  Obviously Jeyamohan seeks to establish that any activity by women including their writings is largely based on their looks and bodies.

Curiously Jeyamohan refrains from finding out what inspires male writers or what good looks (or absence of such) do to them. Such chauvinism and arrogance has to be denounced unequivocally.

His deep hatred for women writers is evident, despite the several masks he juggles with. His article titled women 1: Women’ love makes the following points. “Many of our young women readers develop distorted perspectives thanks to the screams of  stupid feminists and have never ventured into the literary world. They are unaware of true literary experiences.”

“I have been noticing women writers who claim to be feminists. They do not have the basic reading required for a writer. Why, they have not been able to do anything beyond creating a ripple. That’s also the reason why they have not been able to produce anything significant. The feminism they talk is a simple self-defence technique used to shield their shoddy works against the challenge posed by a discerning reader.”

“Ignoring these petty voices, Tamil is waiting for women writers who can boast of real creative talent and pride.”

What kind of hatred, vengeance and allergy would have gone into crafting such statements! It is shocking that Jeyamohan has such hatred for   women deep down. Jeyamohan, like many others, has misconstrued feminism as hatred for men. He consistently tries to make out arguments try to a case against women writers claiming they have not been writing anything meaningful, shear them of identity and therefore conclude that they cannot stake claim to Tamil literary space. Like Goebbels, he keeps claiming that women do not have deep reading. Looks like we have to get a certificate from Mr Jeyamohan on our own scholarship or otherwise, whether we qualify to be a writer at  all.

In his write up titled “Aishwarya Rai and Arundhathi Roy”, his misogyny finds expression in following statements.

“I have met Aishwarya Rai once. Had chatted with her for half hour. Beautiful woman. Unlike beautiful women in general, she was intelligent too.”

A Beautiful woman is an idiot is one of his many pre-conceived notions. It is shameful that Tamil literary space celebrates him as a father figure. In the same write up, he says Arundhathi Roy is not an activist, but a ‘mere media creation.’ He says Roy’s booker winning novel lacks depth and a disappointment to readers. That could be passed off as a critique. But his deep hatred for the woman called Arundhathi Roy reveals itself in the ugliest possible way in his write up My India (July 2, 2012).

And he says:  “It is very surprising that a bird-brained person like Arundhathi Roy who lacks the basic historical perspective and balance gets undue importance in the media today.” Some of us do accept that the western media make much of  Arundhathi Roy. But by the same token to call fellow human beings as lame, bird-brained and monster is  nauseating.  For an established writer to use such terms and for some people to still acknowledge him as a writer can only be seen as an act against one’s own conscience. There is not much difference between killing someone physically and mentally.

Jeyamohan’s misogyny extends beyond Tamilnadu. On writer Nanjil Naadan’s recent list of promising young writers, Jeyamohan has this to say:

“All the male writers in the list are extraordinary writers. I expect more from them. But the women have not written anything significant and have used various tactics to become media images. It beats me why Nanjil calls many of them as writers or poets.”

“This is very important. Today, men have to write to establish themselves. But women merely have to present themselves as women to get the necessary space. And If they are feminists, many of them will back off.” (June 9, 2014)

It is impossible to denigrate women writers more. Misogyny is in full flow in such comments. This is a slap on women’s independence; an insult that cannot be tolerated. While questions like whether Jeyamohan has read all that has been written by women naturally arise, what is important is his insinuation that they have used their physique to their advantage. An outrageously sexist remark – something for which he can be sued in fact.

Jeyamohan, who willingly courts controversies, perhaps coveting notoriety goes on to say in his next post (Women writings, June 11, 2014)

“Aren’t the male writers important? Not even a single one? Has anyone been mentioned in any magazine? This is the first time they have appeared even as stamp size photograph.” One wonders if Jeyamohan reads all the magazines that he buys or whether he uses them as a pillow to rest his head on and sleep.

“They create their own news” he says. What witches and publicity maniacs these women are! The women writers are probably much more villainous than those that appear in the mega serials! “They cannot write a few pages without making mistakes. They don’t have the patience to write ten pages together” says the writer who made mistakes in the very post where he denigrates women writers. Is it not an irony that he is trying to teach us grammar? Only time should teach him that quality of literature is not measured by pages but by its depth and aestheticism.

It is better to write one immortal poem and stay in history than write thousand pages of trash and pose threat to rainfall. In another self explanatory note, Jeyamohan heaps on more insults:

“If the stupidly feminist works of these women have to be approved because they are feminists, we need to approve all campaign trash written in the name of Marxism and environmentalism.”

Jeyamohan’s anger can only be construed as pain and disappointment over women writers who are determined to stop men from writing their histories. He poses a challenge: “Let them – those who want to engage in a dialogue over this – ponder over the work that gave them a complete reading experience after Krithika. Let them figure out which work written by a woman has become a talking point in the last thirty years.”

Thus he makes a very stupid argument that the last thirty years of Tamil literature has been filled only by men. Writers like Ambai, Bama, Sivagami who encouraged feminist thought through her writings and other women have no place in Tamil literary history, it looks like. or is it that male chauvinism simply seeks to erase their names from history?

Who else but Jayamohan can wield the male chauvinist whip sitting atop a blind horse riding on the road to Tamil literary history?

Jeyamohan cannot be in isolation though. He is the focus of this joint statement only because we want to make an example of him and warn other similarly mean-minded that we are not going to keep quiet when derided.

By raising questions of the character of women who differ from their views, by spreading rumors about the women, by using vulgar terms, these writers seek to restrain women from participating in social/literary space.

We have been a witness to the fact that some publishers and literary personalities have been indulging in individual assaults and character assassinations. Some of them gang up to periodically malign women writers from some platform or other. For want of space we refrain from naming them all.

We have decided to hold regular  dialogues in future on the stands taken by such personalities.

To use a term discovered by Jeyamohan, social media has become an expanded space for abuse. It would not suffice to make words dance, Jeyamohan should understand that primary human values is to respect a fellow human being.

Everyone knows how difficult it is for a woman to write given the pressures from a male chauvinist society and heavily lopsided institution called family. Yet the women do not demand any concessions, favours. They do not seek any allowance in criticisms. We only demand that we should not be demeaned simply because of our gender.   We have been dragging ourselves forward, hurting and bruising ourselves even as the chains of female slavery pull us back.

Your literary masks poorly cover up your male chauvinistic vitriol. We can return the compliment, but don’t out of reasons of decency. We believe that like women, fellow male writers too have the responsibility of questioning the dangers that stem from Jeyamohans’s chauvinist,elite mindset. But many remain mute . Or they probably rejoice in private over such statements of Jeyamohan. This is perhaps the time for every writer to question their own conscience. A real human being is someone who responds to the question posed by their conscience, rising above such considerations as friendship or public persona, influences that can fetch awards.

More and more  Jeyamohan sounds like an insecure dictator, looking for enemies in every corner and fighting them. We place on record our strongest condemnations against Jeyamohan’s vitriolic, chavunistic  statements against women  who have defied many odds to arrive.
Attested by:

Ambai, Kutti Revathi, Sukirtharani, Dhamayanthi, Kavitha Muralidharan, Se. Brindha, A. Vennila, Salma, Perundevi, Thamizhaci Thangapandiyan, Monika, Jeevasundari Balan, Uma Sakthi, Tharmini, Kavitha Sornavalli, Vinothini Sachidanandam, Kavin Malar, Mayoo Mano, Sakthi Jothi, Tamilnathy, Living Smile Vidhya, Swathi Sa. Muhil, Aarthi Vendhan, Narumugai Devi, Mubeen Sadhika, Bharathi Selva, Rama Inba Subramaniam, Shaheeda, Kotravai, Parameswari, Sabitha Ibrahim, Sa. Vijayalakshmi, Uma Mohan, Hemavathy, Prashanthi Sekaram, Nachimagal Suganthi, Jeevasundari Balan, Padmaja Narayanan, Geetha Ilangovan, Bala Bharathi, C. Pushparani, Banubharathi, Bhavani Dharma, Ilamathi, Kirthika Dharan, Nilavumozhi Senthamarai, Su. Thamizh Selvi, Nandhamizh Mangai, Kalpana Karunakaran, C. Meena, Jenny Dolly, Priyamvadha, Indhiragandhi Alangaram, Thamizhpen Vilasini, Ku. Umadevi, Thenammai Lakshmanan, Abdul Haq. Lareena, Geetha Narayanan, Fayisa Ali, Penniyam Website team (Thillai, Keshayini, Suganthi, Veronika, Saravanan), Latha Saravanan, Jeevalakshmi, Shilpa Charles, Akalya Francis, Rag Suga, Sasikala Babu, Subhashini Thirumalai, Nivedha Udhayan, Kothai, Shanthi, Prema, Nila loganathan, Parimala Panju, Thamizharasi, Sakthi Selvi, Maesa Kadhambari,  Chandra Raveendran, Girija Raghavan, Shuba Desikan, Reva, Sujatha Selvaraj, Hansa, Sujatha Selvaraj, Amutha Thamizh, Pudhiya Madhavi

Bvn Deepa Nagarani, Mohana Somasundram, Saroja Saroja, Nagai kavin, Sundara Valli,

Olga Aaron, Priyababu, Sheethal Chennai, Kani Mozhi G, Catherine Theresa, Thara, Nakshatra, Vasantha Kumari, Vasuki

Male Writers, Poets and Activists:

Keezh. Ka. Anbuchelvan, Muralikrishnan Chinnadurai, Ilavenil, K. Natrajan, Vasumithra, Ra.the. Muthu, Boutha Ayyanar, Nizhali, Yo. Thiruvalluvar, Aazhi. Senthilnathan, R. Vijayashankar, Annamalai Sundaramurthi,Suresh Kathan,  Shajahan, Nandhan Sridharan, Vasu Murugavel, Su. Agaramudhalvan, Vijay. K. Chakravarthi, Devendira Boopathy, Aiyappan, Jeeva Karikalan, Putiya Parithi, Micheal Amalraj, Jose Anroin, Manonmani Pudhu Ezhuththu, Periyasami Natarajan, Mgptcaa Jaani, Aganazhigai pon. Vasudevan, Rathan Raghu, Thamizh Studio Arun, Raja Sundararajan, Yamuna Rajendiran

R.R. Srinivasan, Rudhran, Rathan Chandrasekar, Lakshmanan Cbe, Viswanathan Ganesan, Saravana Kumar Salem, ADV Dhanabal, Umanath, Kiruba Munusamy

Sa. Thamizh Selvan, President, Tha.Mu.A.Ka.Sa

 

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