Professional Documents
Culture Documents
<
- Hindi newspapers and magazines.
dustry was the primary business in which Mumbai’s Thus, what is sometimes lampooned as
many linguistic groups and religious communities Bambaiyya Hindi (especially by the educated gen-
learned to collaborate in a machinery of money- try of Delhi) is a fascinating linguistic formation, of
making and a mythology of celebrity, prosperity which the most noted fact is its penetration by lex-
and pleasure that retains its distinctive signature emes, grammatical forms and various minor gram-
Movie Posters
=&
<
matical and syntactic features derived primarily
Flickr: Lavannya
singers and scriptwriters, Maharashtrian editors, from Marathi (such as the famous “kayko” instead
singers, and cinematographers (harking back to deeply steeped in the Urdu and Persian traditions of of “kyon” for the English “why”) or the equally fa-
>
?- the small royal courts of North India. Their songs, mous “khali-pili” meaning roughly “for no good rea-
dios) came into contact with the great courtesanal
Q
son”, as well as various less noticed semantic and
families of the Muslim North which yielded stars primary source of popular music throughout India syntactic features from the Gujarati of Mumbai, it-
like Nargis and singers like Noor Jehan, as well as in the 1950s, 1960s and until the present (along with self drawn into the language stereotype comic voice
poets and scriptwriters like the great Saadat Hasan the small printed chapbooks on which the lyrics were ?
Q
[\
#-
Manto. In a slightly later period, the Urdu progres- printed for those who wished to know them well) in- nicities of Hindi cinema for its golden decades (from
sive movement of the Gangetic heartland created an <
1950 to about 1980) were always vaguely North
@
> certain lyric Hindustani vocabulary and style which Indian (Panjabi peasants, Rajput princes and war-
Azmi, Sahir Ludhianvi, Majrooh Sultanpuri, Hasrat lives in the street Hindi even today. At the same time, riors, Mughal emperors, Lucknow courtesans, cow-
Jaipuri and others) who permanently infused the the great radio song shows, such as the Binaca Geet belt landlords and the like) while the “marked” eth-
Q
Mala of the 1950s and 1960s played and replayed
@
]
^
=
worlds in Mumbai. UN, and Anna Tibaijuka , the Executive Director of
But these encounters also build on another form sometimes in large-scale political and public UNCHS, were in the midst of the informal exhibits
of encounter which has been described elsewhere events, in which politicians, policy-makers and surrounded by a dancing, singing, ululating group
and is vital to the transnational politics of the global urban elites are drawn into a space of cross- of women from South Africa and India, and an even
network of urban communities to which the India
larger crowd of curious delegates and visitors in
alliance belongs. These are the learning exchanges nor control suits, who followed this spontaneous political drama
between members of these communities, in small through the lobby of the UN. Some short speeches
groups, who travel to each other’s communities Many elements of these practices of micro-cosmo- were delivered and the luminaries swept away but
across Africa, Asia and even England, united by a politanism and transnational cultural bridge-build- for a few brief moments, the political power and
common concern with homelessness and urban ing were caught in an extraordinary event in New magic of the UN had been drawn into the space of
housing security. In these encounters, the urban York in 2001, Istanbul +5, in which I was privileged the urban poor and the highest representatives of
poor of immensely diverse communities (from Cape to participate. The context was a major meeting the United Nations were surrounded by the voices,
Town and Johannesburg to Mumbai, Manila and about global urban housing hosted by the United the songs, the dances and the physical exhibits of the