Broadcasting Dantewada

(This was first published in the June 2011 edition of Himal Southasian magazine.)

Earlier, what went on in the jungle remained in the jungle. But no longer.

On 27 March, Anil Bamne gave a missed call to a Bangalore number from his mobile phone. Within ten seconds, he received a call back and, moments later, he had recorded a news report detailing how children less than five years old had been going hungry for the past five months in Bahaud, a village in Chhattisgarh. Bamne’s report described how the children were sitting throughout the day in their aanganwadi – a government-sponsored childcare centre – playing with mud, while the food packets meant for them had never arrived, beyond a few bags of puffed rice. Two weeks after Bamne’s report, food materials reached the aanganwadi. A government programme officer later told a journalist that, although he had been in his position for three years, he visited Bahaud for the first time, thanks to the news story.

This and similar reports have been made possible due to a mobile-phone-based ‘citizen journalism’ system called CGNet Swara. Here, CG stands for Central Gondwana, referring to the area that takes in parts of Chhattisgarh, Maharashtra and Madhya Pradesh; swara means voice. Despite this geographical designation, since February 2010, CGNet Swara – a free service – has offered a journalistic platform to any caller anywhere in India.

This is how the system works. If a caller has a story to report, or simply wants to hear the news, he or she gives a missed call to a Bangalore-based server number – 08041137280 – and waits to receive a call back. The caller can then choose to listen to reports recorded by others, or record their own piece of news, or even a song or bit of poetry. After a few hours, the recorded news is aired for the world to listen, either over the phone or via the organisation’s website, www.cgnetswara.org. The gap of a few hours allows CGNet Swara’s editor to check the credibility of the reports, a critical element when callers are leaving significant information about, for instance, violence or corruption. In the year-plus that it has been operating, CGNet Swara has become a potent source of news for journalists and a major tool for activists. It woke up the Chhattisgarh government to realise that there is indeed a malaria crisis in the state, for instance, when 47 malaria deaths were reported from just one of the state’s 18 districts.


The project is the brainchild of Shubhranshu Choudhary, a former BBC journalist who developed the service while he was on a Knight Journalism Fellowship that began in 2010. A native of Chhattisgarh, Choudhary says that he had watched the shift in Adivasi support from a negligent government to the Maoists. ‘Our system wants the tribals to give up their oral culture and be textbook educated,’ he said. ‘The tribal population in central India numbers nine crore, and we do not have a single AIR [All India Radio] bulletin in a tribal language. There is a major communication gap here.’ Choudhary continues: ‘In the end, the tribals have no one to talk to. Who will then listen to them? The Maoists, of course.’ Choudhary says that he sees journalism as one of the least democratic sectors in India.

News For Some
The burgeoning Adivasi allegiance to the Maoists surged when the government signed several new agreements with mining companies that would permanently disenfranchise communities of their land – some 300,000 people in nearly 650 villages, according to estimates. As Maoist activity rose, riding on the back of this growing public frustration, Choudhary says that he observed a simultaneous rise in important news stories going either unheard or, at best, wrongly reported and misinterpreted.

‘The Central Gondwana region is categorised as among the most backward regions of the country,’ he says. ‘The media reports emerging would mostly reflect only the official version. And we have missed the community radio bus. Today, news all over the Internet is legal, but news on the radio is illegal. I know of many men who can make a radio for just 100 rupees, but that has been made illegal. The government wants us to buy transmitters from only licensed vendors – who, of course, sell it at a high price. How then can news be for everyone?’ While Choudhary says that newspapers were a ‘revolutionary medium’ many years ago, ‘Today we need to go beyond the newspaper and make use of the mobile phone, short wave radio, the Internet and oral traditions. In that respect, Swara is a mere experiment in democratising the process of broadcasting news.’

In early 2010, he began training 33 people on how to use CGNet Swara. At that time, the participants were mostly working in Chhattisgarh on various community issues. ‘During the second day of the workshop,’ Choudhary recalls, ‘I realised that asking them to write the news and then speaking it aloud lacked in spontaneity. The tribal communities have an oral culture, which is their essence.’ So, he let the participants ‘speak on their own, asking them to narrate like they would have done it before their family and friends. The idea was to lower the entry barrier into journalism.’ The first batch would talk about Swara wherever they went, and that is how the news trickled in.

Today, the Swara website is overflowing with reports of various stripe, in the primary area of Central Gondwana and beyond. The stories cover, for instance, non-payment of NREGA wages, illegal stone quarrying in Rajasthan, women digging their own bore well in Andhra Pradesh, the push against unfurling of the Indian flag in Assam for Republic Day, Santhali men and women dancing in sub-zero temperature, public anger against new coalmines, anti-liquor campaigns, children’s hopes for their schools, and more.

Given his journalistic background, Choudhary says, he understands the importance of credibility. As such, he has focused on building a wide network of sources who can vet and verify the news posted on Swara. In mid-March, for instance, he began receiving reports of arson, murder and rape taking place by Salwa Judum in Tadmetla, Timmapur and Morpalli; some 300 homes were gutted by fire, while three women had been raped and at least two men murdered. Choudhary says he sat on each of these stories for a week so they could be verified. But almost immediately after these reports were posted, journalists from prominent newspapers began to highlight the ongoing stories. Eventually, the incident led to the superintendent of Police of Dantewada, S R P Kalluri, and the collector, R Prasanna, to be transferred for neglecting to check the abuses; the state government has also ordered an enquiry into the matter.

New Voices
Prior to Swara, Choudhary had tried to connect Chhattisgarh through the Internet, by moderating a Yahoo! Group where people would send news about Chhattisgarh and discuss the issues. However, that still did not cater to Adivasi communities. After all, India does not have a single Adivasi journalist from central India. When Swara was born, the network of these people who had been connecting over the previous eight years began to help Choudhary to verify facts and vet the stories. ‘If there was a news item about a certain incident in a village in Bijapur,’ Choudhary says, ‘I would call up the most reliable person there to check for such an incident.’

Clearly, Swara’s verification process leans on the robust wall of goodwill and the keen outlook of all concerned citizens, however, not necessarily Adivasis – a fact with which Choudhary is clearly uncomfortable. Eventually, the idea is for Swara to become system with many more ‘citizen journalists’, and with Adivasi youths themselves acting as moderators. For now, for instance, Choudhary has to rely on just one person, Himanshu Kumar, for translations into Gondi. (Kumar is an activist who had lived and worked in Dantewada for 17 years before he was thrown out of the state for raising questions about the Salwa Judum.) Choudhary says he now intends to conduct workshops with Adivasis from different parts of the country, who would be given basic training on reporting with an eye to becoming moderators for multiple language channels on Swara.

Still, for now Swara’s numbers are impressive, if nascent. Since its inception, more than 31,000 calls are reported to have been received (both to report and to listen), about 17,000 of which have come in since the beginning of this year. About 800 news reports have been published during that time. Choudhary says that he has received some opposition to Swara’s work, as well, though he brushes this off by saying that the project is fuelled by the possibility of shaking up callous government institutions. ‘Waking up the authorities and getting them to do their job right,’ he says ‘that’s what gives the people the hope that their basic needs can be fulfilled.’

~Priyanka Borpujari is an independent journalist based in Mumbai.

The Call of the Camera

(This article first appeared in OPEN magazine: Vol 03, Issue 6, dated May 11-17, 2011)

When Rajesh Jala made one documentary on the son of a militant and another on children who stole shrouds for a living, he didn’t expect the films to transform their lives, least of all his own

In May 2004, Rajesh Jala was walking along Srinagar’s Dal Lake with a camera when he saw a little kid scooping water out of a boat. Jala began to photograph him. The kid, seeing his journo jacket and long hair, mistook him for a foreigner and started speaking in broken English—only to be surprised when Jala replied in Kashmiri.

The kid asked whether Jala wanted a ride. Surprised that someone so young could handle the boat, he was thinking it over when another boy came running and warned him against it. The kid had drowned a customer a few days ago, he said. Jala turned a little cautious, but some instinct made him accept the offer. Thus did they embark on what turned out to be a long boat ride. Arif, the kid, was a very good boatman, it turned out.

Jala, a Kashimiri Pandit, had grown up without a mother, and, uprooted from Kashmir in the mid-1990s, he had lived with several Kashmiri families in a cramped hall in a Delhi refugee camp, constantly yearning for his father. Something about Arif struck a chord. The kid was his family’s sole breadwinner, and when Jala met Arif’s mother Farida, he was instantly drawn to their story. “Farida had been kidnapped as a 12-year-old by a militant, and then gave birth to his first child two years later,” says Jala, “Today, in her thirties, she is the mother of five children.”

Jala just knew he had to make a documentary on the family. “It was very difficult for me to come to terms with her story, but I was selfishly involved in my film. I could understand her misery, but did not allow myself to contemplate her misery.” His effort, Floating Lamp of  the Shadow Valley, came out in 2006.

Later the same year, Jala wanted to make a film on Varanasi but did not know how to go about it. He was there for a month, and began visiting cremation grounds. On the second or third day, he saw a little boy snatching a shroud off a corpse and going to his gang of friends. Intrigued, Jala followed the group. There were seven of them—Ravi, Gagan, Sunil, Yogi, Kapil, Manish and Ashish. He struck up a conversation, and became friends with them. He realised that the children regularly stole shrouds and sold them. They fed their families this way. The story of another documentary was staring at him.

Manikarnika Ghat is Varanasi’s busiest cremation ground, with over 100 bodies cremated daily. It is especially hot here in the summer, when temperatures rise to nearly 50º Celsius. “I kept wondering if I would be able to shoot there,” he says, “Then I thought, if these little kids are earning their livelihood here and surviving this place, then why can’t I just shoot this film?” Jala’s Children of the Pyre came out in 2008.

There is nothing to connect the seven boys of Varanasi with Arif of Kashmir, except that the real life sequel to their lives has been similar—the films changed the future of all of them. After the screenings and many awards that the films fetched, none of the eight children are doing what they were when Jala met them.

Jala says he got involved with their future once he began questioning his own motives. During a conversation, Yogi, one of the shroud thieves, had told him that he wanted to escape the cremation ground but his parents forced him to earn money this way. “That echoed in my mind. I realised that these kids needed help,” he says. Also, he felt guilty of having taken advantage of them. “I had this big dream of being a filmmaker since I was 12. When I first met these children, I had a purely selfish reason to make the film. I wanted to make a film that would have an interesting story to engage audiences with, that would also fetch me some money, awards and critical acclaim… But in both cases, especially when I was making Children of the Pyre over 18 months, I developed a deep bond with them. I initially thought that when I sell this film, I would give a certain portion of the profits to these kids. But I wasn’t sure whether anyone would buy a film of this kind.”

Jala’s friendship with the kids grew stronger once he realised how completely they had put their faith in him. They began to give him missed calls when he would get back to Delhi. On calling them back, they would ask him when he would return to meet them, and request him to bring along some clothes or sweets. Though he was giving them some money for their participation in the film, he wondered whether he was exploiting them. “Justifying my actions wasn’t easy. It was okay to give them the little money I was, but eventually, I knew that I was the one gaining the most from the film. So I had to answer that question of my conscience.”

Arif today goes to a private school and has a tutor to guide him. “I assured his mother that I would help them on the condition that he would stop rowing the boat,” says Jala. The boy was miserable at being told he couldn’t row anymore, but Jala says it was important to ensure his future. “Besides, the boat was also in very bad condition, so they couldn’t pull it anymore.” Some friends of Jala who saw the movie donated money to the family. One lady from the US gave $550 in 2007, which ensured that their entire expenses were taken care of for the year. “A publisher friend of mine is now taking care of Arif’s school and tutor fees for a year. But it is complex, giving the family money—the father would snatch it away. Immediately after I had made the film, I opened a bank account in Farida’s name. I direct people to that account when they want to offer help. Last summer, they received two big cheques after a screening in Chennai.”

Children of the Pyre also did well for its subjects. Thanks to its release, in 2009, Plan International, an organisation working to relieve children of poverty, launched the Bhagirathi Project to transform the lives of 300 children working in different ghats of Varanasi, including these seven kids. They don’t give money, but empower them with skills.

Jala was grateful, but didn’t feel it was enough for the seven children. “My immediate concern was to stop these kids from going to the cremation ground. Bhagirathi Project did not yield that result because the kids were still going to there for their livelihood. So I had to find some money that would help them run their families some other way.”

Jala himself is not rich. To make Children of the Pyre, for example, he had to use the money he’d saved to buy a flat. The Best Documentary Award at the Montreal World Film Festival in 2008 came as vindication. After that, whenever the film would be screened anywhere in the world, he would get an overwhelming response, and people would come asking for ways to help these kids. After a screening in New York, a man called Kevin contacted him and offered to educate the Varanasi children. Three of them had crossed that age when they’d want to study, but there was hope for the other four. Kevin found a boarding school in Sarnath run by an Italian man, and the four children have been admitted. As for the elder three, Jala is trying to help out in other ways. “We sent them for English-speaking courses, but they didn’t do well there either. They are not disciplined kids. Their lives can get on track only if I have a more active role in Varanasi. One plan is now to give them driver’s training, and then we could perhaps arrange the capital investment to get them auto rickshaws through a loan, which they could then repay on their own. It’s not final, but I don’t see any other way out. Except for Gagan—I am very keen to see him as a dancer, but it’s all about his own commitment.”

In Children of the Pyre, one of the younger kids, Sunil, says, “I don’t love my father.” That is also what Arif says in Floating Lamp of the Shadow Valley. Jala says such moments make him look back at his own dark times. “Working with these children brought back memories of growing up in Kashmir without a mother and an absentee father. In some ways, we were all in the same boat, in different circumstances and at different times. Perhaps this made it easy for me to relate to the kids.”

Whenever Children of the Pyre is screened, Jala says he is typically asked if the experience has changed him. “Considering all the struggles that I have gone through in my childhood and youth, the experience of working with these children has made me very conscious of complaining. I do complain, but now my thoughts immediately go to these kids and their struggles. I am not saying that both these films have changed my life, but… Earlier, I would look back at my childhood and pity myself for having been through hell. Now when I try to do that, which is rare, I realise my agony as a child pales in comparison with theirs. In a way, therefore, these two films are the beginning of what I am.”