Register | Login

Host-A-Performance | Hindi | Marathi | Gujarati | English | Features | News | Theatre Workshops | About Us | Home

Subscribe



Search a play


By Language




Play Schedules


By Language

By Theatre

By Play




Reviews
Gupshup
Artistes
Auditoriums
Theatre Schools
Theatre Groups
TheatreSpeak

News

Dark Clouds over Nigeria Forebodings for India

But Abaka is not just Nigeria's dictator, for he is a convenient middleman for these Western nations that are consistently tapping Nigeria's oil resources. However much these liberal Western nations criticize him now to project their liberalism, they do need this country's oil. Hence they need General Abaka, or someone else for that matter, as a middleman.

The real root-conflict is not between this cruel dictator and the simple, innocent Ogoni people, but between the industries which take away the oil and the orphaned mass of local people. This so-called cruelty of the dictator is only a circumstantial excuse or a desperate alibi. This is the truth. If not the local people, then the higher echelons of society might get some benefits in the form of temporary, petty jobs or some other inconsequential gains in all these exchanges. But the tribals, such as those of the Ogoni tribe, will be the ones to experience total devastation without even being given a chance to lick at these benefits.

Finally, what is the message of this unanimous condemnation coming from the 'universal fraternity' comprising not only the developed Western countries, but the developing nations of the Commonwealth including India? It says that the hasty execution of the nine activists was bad, uncivilized and condemnable. But nobody opposes the process by which one country's wealth is being looted and spirited away by destroying the local people there. Today, nobody, no country, is prepared to think about the conflicts engendered by such exploitation. We have accepted it as normal and the only way to win political hegemony. The exploitation of one village by another, one district by another, one state by another has become an everyday aspect of our life today. In this conflict all stated and countries will be torn to pieces. Endangered indigenous people have been pushed to the edge of destruction. Today it seems about 2,500 such communities which, wounded by these conflicts and in a hopeless situation, are to be found all over the globe, are already fighting to win back their own land.

The powerful nations of the West have from time to time fanned the fires of such conflicts, planned them, and finally seen to it that all the fruits of such exploitation are available to them alone.

Looking at our own country, we don't have a ruthless dictator like General Abaka, nor are we likely to have martial investigations, nor are death sentences likely to be passed. Even fifty years from now let us assume that we will not face such inhuman incidents given our general background. But if we were to observe the process of privatization and fast-paced progress which are the root causes of exploitation and violence then India's situation is no different from that of Nigeria's. The dark clouds that shroud Nigeria threaten our country and State too. Innumerable explosive projects all over the country like the Northern Tehri, the Narmada project, and Bedthi and Sharavathi in Karnataka itself, hover dangerously over the heads of the people, continuously terrifying them.

It is meaningless to hope that we can control the violence while we hold such smoking explosives. Jailing and tormenting civil society which ought to be quietly leading its own life may not be as terrible as a death sentence, but it is just as violent and destructive. Nigeria's example must make us beware of our own dangerously similar state. The big problem facing us is how we, the people of India, the people of Karnataka in particular, are going to prevent this cause of violence, how we are going to cool the 'internal earthquake.'



   More Features

- A Forgettable Tribute to Vijay Tendulkar - Jyoti Vyas. (new)
- 7x3 = Anek! - Jyoti Vyas.
- Goodybye Chetan Datar - Ramu Ramanathan.
- DANCING TO SAVE LIVES KOLKATA SANVED BROADENS THE HORIZONS OF DANCE - Shoma A. Chatterji
- The Drama of the Saints.
- The Last Playwriting Workshop - Ramu Ramanathan.
- Vijay Tendulkar Is No More - Ramu Ramanathan.
- Nati Binodini Theatre Festival In Kolkata - Shoma A. Chatterji.
- Agunmukho A CONTEMPORARY GERMAN PLAY PERFORMED IN BANGLA - Shoma A. Chatterji.
- AT THE SPIELART FESTIVAL: ALVIS HERMANIS ET AL. - Dr. Kalina Stefanova.
- Getting Into The Big T of the Theatre - Deepa Punjani.
- Thespo Nine: Adding To The Year End's Disappointing Fare of Mumbai Theatre Festivals. - Deepa Punjani.
- Revisiting ANTIGONE
- Musically Yours!- Deepa Punjani.
- IPTA Mumbai's 36th Inter-Collegiate Drama Competition (ICDC): A Huge Disappointment.- Jyoti Vyas.
- An Open Letter to Mr. M.S. Sathyu…
- Notes on a Mega Messed Up Theatre Festival - Jyoti Vyas.
- "Reflections on Tamasha & Lavani in Maharashtra": A Multilingual Seminar Hosted by the English Drama Circle of Symbiosis College, Pune in August 2007. - Pranav Dixit & Sharada Rao.
- Faust Director -Between "The Moment"And The New Theatricality - Ludmila Patlanjoglu (Romania)
- One More Meeting…One More Point Completely Missed… - Deepa Punjani
- ABSTRACT/ Paper Extra congress Seoul - Margareta Sorenson (Sweden)
- COULD THEATRE CRITICISM BE “POST-DRAMATIC”? - Kalina Stefanova, Ph.D.(Bulgaria)
- For Seoul: IATC Congress - John Elsom (The U.K.)
- Between Drama and Dramaturgy, or What Is (Really) Changing in Portuguese Contemporary Theatre, or Should We Say the Performing Arts? - Paulo Eduardo Carvalho (Portugal)
- From Argentina: Periferal Objects - Halima Tahan
- The Future in Me: American Theatre and Criticism in the New Millennium - Kerri Allen (The USA)
- A Selection of Samuel Beckett's Poems
- Girish Karnad's Message to the International Community on World Theatre Day...
- Sultan Bin Mohammed Al Qasimi's Message for World Theatre Day...27th March 2007...
- A Peek into One of the Best Known Theatres in the UK…Oxford After All has more to Offer than just its World-famous University and Colleges…
- The Living Theatre of Identity Politics
- Training in Voice and Speech: One Indian Approach
- Speech: A Genetic Plan of Abhinaya
- Laughter, Humour and Comedy
- Turning History Into Relevant Drama An Introduction To Girish Karnad's TAALE-DANDA
- Damoo Kenkre
- Sarita Joshi
- Ashok Pangam
- S. Purshottam
- The Court Is In Session: Manaswini Lata Ravindra reminisces her stint at the 2006 Royal Court Theatre Workshop for Emerging Playwrights
- Atmaram Bhende
- Chandrika Shah
- Tarak Mehta
- Anil Mehta
- Prabodh Joshi
- Indian Summer
- Namdeo Lahute
- Suresh Dresswala
- Kusum Kulkarni
- Ranganath Kulkarni
- Sadanand Joshi
- Vasant Potdar
- P L Deshpande
- Pragji Dossa
- M G Rangnekar
- Nissim Ezekiel
- Shahir Sable
- Gieve Patel
- Derecyk Jeffereis
- A K Hangal
- Off the Beaten Path: Theatre Tips at No Cost For the Wide-Eyed Beginner
- Harold Pinter - Nobel Lecture
- Gujarat Soliloquy
- Theatre At The Grass Roots: K.V. Subbanna In Dialogue With Prasanna And Geeti Sen
- Modern Kannada Drama and Theatre
- Dark Clouds over Nigeria Forebodings for India
- Loka Shakuntala
- Ninasam: The Springs Of Inspiration
- Excerpts from the essay*- "The practice of noh theatre" written by Monica Bethe and Karen Brazell (PART VI)
- Excerpts from the essay*- "The practice of noh theatre" written by Monica Bethe and Karen Brazell (PART V)
- In Retrospect: Select plays of the 9th National Theatre Festival at Nehru Centre, Mumbai.
- Excerpts from the essay*- "The practice of noh theatre" written by Monica Bethe and Karen Brazell (PART IV)
- Excerpts from the essay*- "The practice of noh theatre" written by Monica Bethe and Karen Brazell (PART III)
- Excerpts from the essay*- "The practice of noh theatre" written by Monica Bethe and Karen Brazell (PART II)
- Excerpts from the essay*- "The practice of noh theatre" written by Monica Bethe and Karen Brazell (PART I)
- On Voice and Speech Training
- The Opera and the Gran Teatre del Liceu
- Ninasam: A Cultural Alternative
- Marathi Theatre
- Gujarati Theatre
- Bengali Theatre
- Hindi Theatre
- Kannada Theatre
- THEATRE: From a woman's point of view
- Excerpts from the last chapter of "The Indian Theatre" by Mulk Raj Anand: The Hindustani Theatre
- Excerpts from the seventh chapter of "The Indian Theatre" by Mulk Raj Anand:The Parsis And The Gujerati Theatre
- Excerpts from the sixth chapter of The Indian Theatre by Mulk Raj Anand:The Marhatti Theatre in Bombay
- Excerpts from the fourth chapter of The Indian Theatre by Mulk Raj Anand:The Bengali Theatre
- Excerpts from the fourth chapter of The Indian Theatre by Mulk Raj Anand:The Andhra Theatre
- Excerpts from the third chapter of The Indian Theatre by Mulk Raj Anand: Puritanism and Decadence
- Chapter 2 of The Indian Theatre by Mulk Raj Anand, The Folk Tradition
- Excerpts from The Indian Theatre by Mulk Raj Anand
- Excerpts from Maxim Gorky's "Anton Chekhov: Fragments of Recollections"
- DONGNAE YARYU is a Yeongnam style of a masquerade play
- Excerpts of "On Reading A Play" from Oscar Brockett's The Theatre* with inputs from Deepa Punjani
- Naya Theatre & Habib Tanvir

JATRA is a folk theatre form from:
Orissa.
Kerala.
Bengal.
  Submit

Radharani Mumbai Na Sethani





Top



 
  Disclaimer | Privacy Policy | Feedback | Contact Us |Write to us |Careers
  A Fifth Quarter Infomedia Pvt. Ltd. site. © Copyright 2008, All rights reserved.