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Trajectories of Queer Politics in Contemporary India Navaneetha Mokkil

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Trajectories of Queer Politics in Contemporary India Navaneetha Mokkil This article was downloaded by: [University of California, San Diego] On: 26 March 2010 Access details: Access Details: [subscription number 918975534] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Inter-Asia Cultural Studies Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713701267 Shifting spaces, frozen frames: trajectories of queer politics in contemporary India Navaneetha Mokkil To cite this Article Mokkil, Navaneetha(2009) 'Shifting spaces, frozen frames: trajectories of queer politics in contemporary India', Inter-Asia Cultural Studies, 10: 1, 12 — 30 To link to this Article: DOI: 10.1080/14649370802605142 URL: http://dx.doi.org/10.1080/14649370802605142 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Inter-Asia Cultural Studies, Volume 10, Number 1, 2009 Shifting spaces, frozen frames: trajectories of queer politics in contemporary India Navaneetha MOKKIL TaylorRIAC_A_360682.sgm10.1080/14649370802605142Inter-Asia1464-9373Original20081010000002008NavaneethaMokkilnmokkil@gmail.com and& Article Francis Cultural (print)/1469-8447Francis Studies (online) ABSTRACT This paper is a comparative reading of two Malayalam films The Journey (Sancharram, 2004) and The Wandering Bird Does Not Cry (Deshadana Kili Karayarilla, 1986) as representative of differing trajectories of queer politics in the Kerala public sphere. It uses an analysis of the representative strategies of these two films, to interrogate the limits of a universal language of sexual identity politics. The paper places the two films in the different historical contexts in which they are produced, and deploys a film from an earlier time period to problematize some of the assumptions of contemporary queer politics. For this purpose it undertakes a close read- ing of the cinematic codes of both these films, especially the spatial arrangements in the films. I argue that the location of Sancharram in the LGBT discourse in India and abroad makes it so enmeshed in setting up an established meaning for the term ‘queer’ that the process of queering becomes one of stabilizing a chosen form of desire as the ideal one. In this process of setting up a stable trajectory for queer desire, it also freezes the spatial and social terrains of Kerala. The process of queering that Deshadana Kili Karayarilla undertakes is not one that attempts to set up a particu- lar subject position as the queer subject position. It sets out to trouble the naturalized construction of the heterosexual couple and injects a sense of instability into the social sphere itself. The paper examines how some of the taken-for-granted assumptions of transnational queer politics, like the celebration of visible bodies, gets radically questioned when we turn to non-metropolitan sites of analysis. It aims to look at how cultural texts can embody different modes of sexual politics, as activists struggle to coin strategies to articulate the political possibilities of non-normative sexual practices in Kerala today. KEYWORDS: queer politics, public sphere, visibility, the couple, Kerala Released in 2004 Ligy Pullappally’s film The Journey (Sancharram, 2004) makes an important Downloaded By: [University of California, San Diego] At: 00:58 26 March 2010 political statement by portraying a lesbian love story in rural Kerala,1 a coastal state in South India. Sancharram makes a strong claim for the need for positive representations of lesbian desire in order to counter societal violence against non-normative sexual arrange- ments. It makes possible a cinematic space within which lesbian desire is openly affirmed. Labeled as a ‘lesbian film’, Sancharram has been celebrated in reviews coming from India and abroad as inaugurating radical sexual politics within Malayalam cinema. This film, in which two young women defy societal conventions in order embrace their desire for each other, is read as emblematic of a radical desire for sexual liberation within global India. This is in keeping with a narrative of progress in which contemporary forms of representa- tion and politics are often characterized as breaking the silence and making visible hitherto silenced forms of sexuality in the non-Western world. My aim in this paper is to push against this narrative of progress where current forms of representations are easily assumed to be more progressive than in the past. I will read Sancharram in conversation ISSN 1464–9373 Print/ISSN 1469–8447 Online/09/010012–19 © 2009 Taylor & Francis DOI: 10.1080/14649370802605142 Trajectories of queer politics in contemporary India 13 with another Malayalam film from the eighties The Wandering Bird Does Not Cry (Deshadana Kili Karayarilla, 1986), in order to mine the multiple sexual imaginations that are available within the Kerala public sphere. While acknowledging the important political contribution made by Sancharram, the comparative reading in this paper interrogates the limits of a universal language of sexual identity politics. It points to the dangers of valorizing a singular model of politics as univer- sally applicable and the only available mode. At this point of history, where sexuality is becoming a political issue in different parts of the world, it is important to recognize and deploy multiple ways of forging a politics based on sexuality. By reading a film text from the 1980s that does not circulate in the public sphere as a lesbian film, alongside a film like Sancharram, I am opening up the possibilities of a different imagination of queer politics. I hope this comparative reading will enable us to interrogate the radical claims of a dominant, identity based sexual politics. Two visions for the present The opening shot of Sancharram depicts a steep, menacing cliff and a surging waterfall below. A young woman is vulnerably positioned at the edge of the cliff. The camera gives us a close up of her feet as she holds them out precariously into thin air. Booming sounds of temple drums can be heard in the backdrop, making this a climactic moment of possible suicide, which the film returns to in the end, as we see the girl turn back to stake her claim over life rather than death. Sancharram is bracketed by this threat of suicide both within the film plot and the contemporary events that the film responds to.2 The Wandering Bird Does Not Cry (Deshadana Kili Karayarilla, 1986), directed by P. Padmarajan, is one of the rare Malayalam films from the 1980s that touches on the issue of ‘lesbian suicide’.3 This film ends with the double suicide of the two women protagonists. We see them in the closing shot in bed – entangled bodies in a final sleep. This paper offers a comparative reading of both of these films on sexual practices, from different moments of Kerala history, in order to offer a critical commentary on the political debates around queerness in contemporary Kerala. Sexual minority rights as a political project is still at a fledgling stage in Kerala. So this is an important juncture to reflect on what possible directions ‘queer’4 politics can take within Kerala and what complexities arise within this particular regional context. ‘Lesbian suicide’ is one of the visible events around which sexuality has become a political issue in the Kerala public sphere in the last decade. Deepa V.N. in her article ‘Queering Kerala’ says that concerns about the reports on lesbian suicides were an important starting point for the activist group and helpline Co-Traveller (Sahayathrika)5 to articulate sexual minority rights Downloaded By: [University of California, San Diego] At: 00:58 26 March 2010 as a political issue in Kerala (Deepa 2005). ‘Newspaper reports of double suicides among women companions who were unwilling to be separated are probably the most visible indicators of the difficulties endured by women loving women in Kerala. Other news stories have also appeared in the mainstream press, of women asking courts for permission to live together, or students being evicted from schools or hostels for having lesbian relationships’, she writes (Deepa 2005: 182). Lesbian suicide can be seen as an act of claiming recognition for a non-normative sexual relationship through an ultimate stepping out of the social. The ending of life here becomes a desperate act of visibility, a slashing of the social sphere by staging a public death. The acts of lesbian suicides and the debates and mobilizations around it point to an existing terrain of discourses around sexuality in Kerala within which some of the dominant assumptions around the public and the private, norms of desiring and modes of resistance get troubled. My readings of the two films Sancharram and Deshadana Kili Karayarilla (from now on DKK) are both firmly rooted in the demands of the contemporary moment as the 14 Navaneetha Mokkil dominant frameworks of a global LGBT rights movement,6 such as the politics of visibility, the concept of a counter-public, and the desire for a solidified gay or lesbian subject position, get transfigured in the public sphere of Kerala. Although DKK is from an earlier time period than Sancharram, this paper is not advocating a nostalgic return to ‘traditional’ models of desiring.
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