Rahi, Happy 18th 💖

 My Dearest Rahi,

Happy 18th Birthday! My heart swells with pride and love as I write this to you. Eighteen years have flown by, and watching you grow into the remarkable young man you are has been the greatest joy of my life.

And what a special day it is! You were born on March 8th, International Women's Day, a day that celebrates strength, resilience, and the power of women. To me, you embody those same qualities – strong, compassionate, and full of potential. You are my strength, my pride, and my inspiration.

Turning 18 is a significant milestone, a threshold to new beginnings and exciting adventures. Embrace the opportunities that come your way, chase your dreams with passion, and never forget the incredible person you are.

I am so incredibly proud of the kind, intelligent, and talented young man you've become. As you step into this new chapter of your life, know that I will always be here for you, cheering you on every step of the way.

Happy Birthday, my wonderful son. May this year, and every year to come, be filled with happiness, success, and all the love in the world.

With all my love,

Mom (Usha)

~Dawn

Kerala's Legacy Lives On: 'Cross Belt' in San Francisco

Thapasya Arts San Francisco recently brought the powerful drama "Cross Belt," penned by the esteemed late N.N. Pillai, to the HUSD Performing Arts Center in Hayward. This staging, performed entirely by talented Bay Area artists, offered a compelling live rendition of a story widely recognized through its 1970 film adaptation.

While many associate "Cross Belt" with the film directed by Crossbelt Mani and produced by A. Ponnappan, featuring iconic performances by Sathyan, Sharada, Kaviyoor Ponnamma, and Adoor Bhasi, it's crucial to acknowledge the play's original theatrical roots. The narrative, whether on screen or stage, delves into a woman's desperate act of violence born from challenging circumstances, and the subsequent repercussions. N.N. Pillai's writing, both for the stage and the film, explores complex social issues and human drama, with the title "Cross Belt" itself alluding to the law enforcement theme central to the story.

Witnessing the Bay Area production evoked vivid memories of watching the classic black-and-white film. The local cast and crew delivered an exceptional performance, demonstrating that the spirit of Malayalam theater flourishes even far from Kerala. 

Their dedication and passion were palpable, creating an immersive and moving experience. The enthusiastic applause at the play's conclusion was a sincere expression of gratitude for the artists' commitment and talent.

This performance of "Cross Belt" served as a powerful reminder of the enduring strength of regional art and its ability to connect communities. It was a testament to the Bay Area's vibrant Malayalam cultural scene, where art and community seamlessly intertwine, leaving a lasting and impactful impression.

A Saturday evening well spent !

~Dawn

A Tale of Two Feminist Narratives

Cinema has long been a powerful medium to challenge societal norms, and both The Great Indian Kitchen (2021, Malayalam) and Mrs (2024, Hindi) attempt to shed light on gender roles and the oppression women face within traditional marriage structures. However, while both films tackle similar themes, The Great Indian Kitchen stands out as a more powerful, immersive, and hard-hitting experience compared to Mrs, which, despite good intentions, falls short in its execution.

 

The Great Indian Kitchen, directed by Jeo Baby, is a masterclass in subtle yet gut-wrenching storytelling. The film follows a newlywed woman (Nimisha Sajayan) who gradually realizes the suffocating nature of her marriage. The monotony of housework, the indifference of her husband and in-laws, and the dehumanization of her identity are depicted with such realism that it becomes an almost visceral experience for the audience. There are no over-the-top dialogues—just the repetition of everyday chores, making it painfully relatable.

On the other hand, Mrs, starring Sanya Malhotra, attempts to present a modern, urban take on a woman’s fight for identity within a patriarchal setting. While the premise is promising, the film leans heavily on dramatic dialogues and predictable conflicts rather than relying on the subtleties that made The Great Indian Kitchen so haunting. Mrs presents its protagonist’s journey with a more polished, commercial approach, which, while engaging, doesn’t quite deliver the same emotional punch.

Nimisha Sajayan’s performance in The Great Indian Kitchen is nothing short of extraordinary. She doesn’t rely on loud confrontations; instead, her exhaustion, frustration, and quiet rebellion seep through her expressions and body language. It’s an organic transformation from subjugation to resistance, making her final act of defiance all the more satisfying.

Sanya Malhotra in Mrs is undoubtedly strong in her role, but the writing doesn’t allow for the same depth of transformation. Her character’s journey feels somewhat rushed and formulaic, making it harder for the audience to truly immerse themselves in her struggle.

Jeo Baby’s direction in The Great Indian Kitchen is meticulous. The cinematography focuses on the daily grind—chopping, cooking, cleaning, serving, and then repeating the cycle endlessly. The close-up shots of oily kitchen sinks, the clatter of utensils, and the mechanical nature of household chores make the audience feel the protagonist’s suffocation. The film’s silence is deafening, forcing viewers to absorb the sheer exhaustion of domestic oppression.

Mrs, directed by Arati Kadav, has a more conventional Bollywood-style execution. The film is well-shot, and the production design is slick, but it lacks the raw intensity that makes The Great Indian Kitchen unforgettable. Instead of letting the audience experience the protagonist’s reality, Mrs tends to explain it, making it less impactful.

Both films raise important questions about gender roles, the expectation of women to conform, and the battle for autonomy. However, The Great Indian Kitchen does it with a quiet rage that stays with you long after the credits roll. It doesn’t rely on grand speeches; instead, it forces the audience to sit in discomfort and truly understand the oppression that millions of women face daily.

Mrs tries to deliver a similar message, but it does so in a more direct, mainstream-friendly way, making it a less powerful critique of patriarchy. While it succeeds in addressing the issue, it doesn’t push the boundaries as effectively as The Great Indian Kitchen.

While Mrs is a well-intentioned film that highlights an important issue, it ultimately pales in comparison to the brutal honesty of The Great Indian Kitchen. The latter is a cinematic experience that forces you to confront uncomfortable truths without the need for excessive drama. If you’re looking for a film that truly challenges the status quo and lingers in your mind long after watching, The Great Indian Kitchen is the clear winner.

Also, keep an eye on Jeo Baby—he has crafted some extraordinary films that will leave a lasting impact on audiences.

~ Dawn

We must keep going !

This past Saturday, January 25th, the Museum of the African Diaspora (MoAD) in San Francisco hosted a captivating event in partnership with SFJAZZ, celebrating Black History Month with a unique blend of art and music.

The afternoon began with a guided tour of MoAD's exhibitions. MoAD's current exhibition is a vibrant exploration of Black identity, creativity, and the concept of "liberatory living." The show cleverly intertwines art and design, showcasing how everyday objects and spaces can become powerful expressions of self and community.

Zanele Muholi's striking photographic portrait, "Balindile I, the square, Cape Town 2017," likely served as a compelling anchor for the exhibition. Muholi's work often confronts issues of race, gender, and sexuality, and this piece probably provided a powerful lens through which to view the other works. Malene Djaneba Barnett's "Illusion of Softness" wallpaper added a tactile and visually rich dimension. Barnett's work explores themes of African heritage and ancestral connection, and the wallpaper likely created an immersive environment within the exhibition.

The overall theme of "Liberatory Living: Black Radical Joy" provided a framework for understanding the works on display. It suggests that by creating and inhabiting spaces that reflect their own values and aesthetics, Black individuals can experience a sense of freedom, joy, and empowerment. 

This exhibition seems to be a testament to MoAD's commitment to showcasing diverse voices and perspectives within the African diaspora. By blending art, design, and social commentary, it creates a thought-provoking and inspiring experience with a range of powerful and thought-provoking works exploring the African diaspora. Museum tours always offer a chance for personal reflection and shared perspectives, and this one was likely no different, sparking conversations and deepening understanding.

Following the tour, the focus shifted to music with a performance by the talented Martin Luther McCoy, known for his soulful blend of blues, R&B, and storytelling, McCoy treated the audience to an intimate concert in the museum's gallery. He was joined by bassist Elizabeth, adding depth and groove to his signature sound. This performance was particularly special as it offered a first listen to selections from McCoy's upcoming album "Welcome Back Love," giving attendees a sneak peek into his creative process.

Overall, the event seems to have been a resounding success, offering a rich and engaging experience that combined the visual power of art with the emotive force of music. It provided a fitting tribute to Black History Month, showcasing the creativity and resilience of Black artists and their contributions to our cultural landscape. And meeting curator Kee Jo Lee at the end of the visit was a great way to deepen my understanding of the exhibition. Curators play a crucial role in shaping the narrative of an exhibition, and Lee's insights likely added a valuable layer to our experience.

The personal touch at MoAD extended beyond the art itself. Elizabeth Gessel, the Director of Public Programs, sent a thoughtful email after I registered for the event, which made me feel welcomed and valued. Then, receiving a thank you note from her after attending added a special touch and deepened my connection to the museum. This level of personal attention and care elevated the entire experience, making it feel truly touching and thoughtful.

~Dawn