Gateway of India
Apollo Bunder
Colaba
Ironic that the first visual that comes to mind when one says "Bombay" is the "Gateway of India", since it was built to commemorate the visit of King George V & Queen Mary in 1911.
A little known fact is that the Monarch walked through a plaster of paris replica. The Authentic Gateway was ready in 1924. At 26 metres high, this yellow basalt stone archway is the first landmark that a visitor sees when arriving by ship. This crypto-Moresque archway has welcomed numerous viceroys, governors and top civil servants as they disembarked by launch from their P & 0 steamers. But it was redundant just 24 years later when the last British Regiment ceremoniously departed India through its archway.
This archway was designed by George Wittet (who later designed the Prince of Wales Museum) in the Muslim styles of 16th century Gujarat.
Today there is a green park opposite the Gateway which boasts an equestrian statue of Chhatrapati Shivaji. Also a statue of Swami Vivekananda has been installed to the right.
Behind the Park is the magnificient "Taj Mahal Palace & Tower"
Boats from here depart for Elephanta Island, mainland village of Mandwa, Alibagh & a few other places. The Heritage Bus Ride also departs from here at 7pm & 8:15pm on Saturdays and Sundays.
You can only circambulate the monument. Actual entry is not permitted.
Entry to the monument and the park with Shivaji's statue are free. Parking is charged at the normal BMC rates at South Bombay. Parking is right at the monument.
Saturday, March 11, 2006
Friday, March 10, 2006
I love Juhu
Sonya's blog on Juhu has this beautiful article on what all can be done in Juhuu. Its a brillieant peice & a shortened version was published in Timeout Mumbai on January 14th 2006.
Read the entire article which covers
The mini Gandhi ashram, the temples, the tanks, the Bollywood homes, Chandan Cinema, Juhu Beach, The ISKCON Temple Complex, The Centre for Arts and Crafts, Bharat Scouts and Guides Grounds, Prithvi Café, Mahesh Lunch Home & The Original Naturals Ice Cream Outlet.
A must read article this !
Read the entire article which covers
The mini Gandhi ashram, the temples, the tanks, the Bollywood homes, Chandan Cinema, Juhu Beach, The ISKCON Temple Complex, The Centre for Arts and Crafts, Bharat Scouts and Guides Grounds, Prithvi Café, Mahesh Lunch Home & The Original Naturals Ice Cream Outlet.
A must read article this !
Thursday, March 09, 2006
A Bombay Breakfast - Epitome of the City
Akshay Writes :
Everybody knows that an English Breakfast is fried bacon, sausages, mushroom, eggs and tomatoes; a Continental Breakfast is bread rolls or croissants and butter and perhaps jam, with coffee or tea or hot chocolate; but the question I ask today is what is a Bombay Breakfast ?
Here is my look into what fuels millions in this city?
A Bombay Breakfast epitomizes the city in every way- it is fast to cook, diverse, mobile, well packaged, high on carbs and low on greens.
If you have grown up in Bombay you would have noticed a particular piece of food is a perennial part of your diet - bread. Not the sliced 'modern bread' you pick up from the nearest pan-wallah shop. It is " Pav", this 'bread roll' of sorts is delivered straight to your home bakery fresh by the friendly neighbourhood pav-wallah. The pav-wallah is just one of many visitors an average Bombay household gets - all those friendly faces that keep you busy answering your doorbell through the day - the dudhwala (milkman), the paperwalla (newspaper boy), the bhajiwalli (vegetable grocer), the machiwali (fisherwoman) and the string of cats that follow her, the istriwalli/dhobhi (the fellow who washes your clothes or irons them or does both), the jamadar (garbage-collector), the watchman (security at the main gates), the maali (gardener - not in all cases), the bai (maidservant).. I would have continued but the list is endless.
Read recommendations & view Photoblog here for descriptions on Breakfasting in Bombay
1. Naashta No.1 - the wada-pav
2. Chamosa at Lower Parel
3. The Marathi Option - Prakash - Shakahari Uphaar Kendriya
4. Vinay Health Home
5. The Persian Connection
6. Going Down South - Udipi
Read the entire article here
Everybody knows that an English Breakfast is fried bacon, sausages, mushroom, eggs and tomatoes; a Continental Breakfast is bread rolls or croissants and butter and perhaps jam, with coffee or tea or hot chocolate; but the question I ask today is what is a Bombay Breakfast ?
Here is my look into what fuels millions in this city?
A Bombay Breakfast epitomizes the city in every way- it is fast to cook, diverse, mobile, well packaged, high on carbs and low on greens.
If you have grown up in Bombay you would have noticed a particular piece of food is a perennial part of your diet - bread. Not the sliced 'modern bread' you pick up from the nearest pan-wallah shop. It is " Pav", this 'bread roll' of sorts is delivered straight to your home bakery fresh by the friendly neighbourhood pav-wallah. The pav-wallah is just one of many visitors an average Bombay household gets - all those friendly faces that keep you busy answering your doorbell through the day - the dudhwala (milkman), the paperwalla (newspaper boy), the bhajiwalli (vegetable grocer), the machiwali (fisherwoman) and the string of cats that follow her, the istriwalli/dhobhi (the fellow who washes your clothes or irons them or does both), the jamadar (garbage-collector), the watchman (security at the main gates), the maali (gardener - not in all cases), the bai (maidservant).. I would have continued but the list is endless.
Read recommendations & view Photoblog here for descriptions on Breakfasting in Bombay
1. Naashta No.1 - the wada-pav
2. Chamosa at Lower Parel
3. The Marathi Option - Prakash - Shakahari Uphaar Kendriya
4. Vinay Health Home
5. The Persian Connection
6. Going Down South - Udipi
Read the entire article here
Arvind Joshi, director, actor, producer - discusses the perils of theatre auditoriums in a city like Mumbai.
This article is from the latest issue of Seagull
'The theatre's full, the boxes glitter,
The stalls are seething, the pit roars,
The gallery claps and stamps, a-twitter;
The curtain rustles as it soars .'
- Alexander Pushkin
Arvind Joshi, director, actor, producer - discusses the perils of theatre auditoriums in a city like Mumbai.
The most important thing about a performing place for an artist is its compactness; and the ability to reach-out across the foot-lights to the audience. In this regard, Tejpal and Prithvi are the best. In Tejpal, for instance, the actor establishes a rapport with the audience in the first five minutes. This means, the audience is with the play right from the outset, and the actor does not have to make an extra effort. This helps the performance and the play.
Whereas with Bhaidas or Birla Matushri, this reaching-out to the audience becomes a difficult task, since these are huge, noisy auditoriums. Here - it is extremely strenuous to establish a harmony with the audience. Then there is the almost-impossible-to-perform Birla Matushri Sabagrah. It is perhaps more suited for conferences and lectures by star speakers. As a theatre auditorium, it is a failure, since it is not possible for the last rows to see the stage. Forget the expressions and nuances of the actors, since sometimes the main action is blocked due to pillars on the sides. Which is why, I'm very fond of Tejpal, or an auditorium like Prithvi. Because even whilst you're on stage, you're at the same time one among the audience, since the demarcations, the boundaries do not exist.
Another venue, I'm fond of is, Jai Hind. But this is largely due to my familiarity to the space, since INT and my brother; Pravin Joshi performed most of its plays at Jai Hind. I also enjoyed performing at the Bhulabhai auditorium with its jutting balcony. It required a special technique from the actor on stage to communicate to the audience who was seated in this balcony. This requires a subtle change in the performance. The actor has to look-upwards, or at least provide the illusion of doing so. Or else the audience in the balcony would leave left-out. Most of our actors ignore this and perform only for the front-row.
The point is, in Mumbai, very few auditoriums are constructed for the purpose of theatre. It seems, only Bhulabhai, Tejpal, Prithvi, NCPA have been constructed for theatre performance. The rest of the auditoriums lack intimacy. It's also very curious that during the construction of these auditoriums, the architects never consult theatre people. And so, the end-result is a building with good architecture, along with technical competency and good acoustics. However, the most vital requirement of theatre is neglected.
This does not entail great amounts of money or extra efforts. For example, the Bal Gandharava theatre in Pune is almost perfectly constructed. Even the Sahitya Sangh theatre (although not functional, today) is a good theatre. In fact I would rate it better than Shivaji Mandir.
The old Opera House was a brilliant theatre. It has witnessed all sorts of performances from operas to plays. It had a balcony with boxes - but the curvature of the balcony was well-appropriated by placing four seats in every curvature. This meant that the spectator in the box was also very close to the stage.
Another good old theatre was Daulat Talkies, which was located in the red-light area. This area was called 'pill-house' a corruption of the term 'play-house'. Around fifty years ago, there were innumerable theatre like Daulat Talkies, these were, Roshan Talkies, Alfred Talkies, Moti, Royal and so on, which used to stage Gujarati, Parsi or Urdu plays. There used to be long tin boards in front of the rows in the pit class. And so, the audience in this class would stamp their feet on this board, and create a din. This was their way of demanding an encore, or a once-more or applause.
Bangwadi was another fine theatre. It possessed all kinds of facilities, which included dwellings for actors, musicians and crew. There was also a company kitchen. Everyone was paid monthly wages; and the group was very much like a repertory company.
In those days, the stage was very sturdy. So much so, I've seen plays which have had an elephant on stage. Prithviraj Chauhan would ride (not canter) on a horse from wing to another. Further, there were trap-doors on the floor of the stage, this device was used to good effect. In one play, which I've witnessed, Prithviraj's eyes are being put-out by Mohamed Ghauri. Prithivraj is on the floor, and is trying to aim an arrow at Ghauri who is perched at a height on top of the castle-wall. On cue, Prithviraj takes aim and the arrow hits Ghauri, who falls-off the high wall . directly into a trap-door, and vanishes by sliding inside the stage. This extremely dangerous manoeuvre used to be executed not once - but four-to-five times due to a hysterical public demanding 'encores'. And so, the same scene would be repeated with clinical precision. In today's times, we do not possess the workmen or skill to produce such a scene. Our version of the above scene would end with a black-out the moment Ghauri is hurt.
Even with lights, we have to make compromises. Most auditoriums provide six to seven lights at the most. Overseas, the scenario is vastly different. Theatres there are equipped with 600 lights - at least. This means every square inch of the stage can be lit. This guarantees a better visibility - and a better 'feel' of the play. Moreover, in Mumbai, with our shift-system, and constant setting-up and dismantling of the set, we are not in a position to set-up too many lights. After all, how many lights can one set-up in an hour!
As a rule, the management are insensitive to the needs of the performer. These are usually tiny things - but they matter. For instance, the mirror at Bhaidas is distorted, and so, instead of a reflection, the artist ends-up seeing unusual shapes and contours. Then there are no bulbs around the mirror. Now, how can an artist apply make-up in tube-light? How does one get the exact texture and correct hue in tube-light? Further, even when the auditorium is air-conditioned, there is no air-conditioning in the green-room. This is insensitivity, nothing else. After all, the green-room is the most crucial place for a performer. The performer prepares for his role in this space. He concentrates, gets into character, goes-over the details, etc. In Tejpal, for instance, after repeated insisting, the management has installed a window air-conditioner in the green room.
In fact, once when I asked Pravin Joshi, as to what we would do when we are no longer actors or directors? He replied that with our knowledge of the theatres, we would easily get a job as booking clerk. After all, who can out-match our knowledge about the seats in an auditorium.
Another crucial thing which is not thought over is a small quick-change dressing room. This is for the rapid-fire exit and entries. This particularly true for women-artists, some of whom have to make the 100-metre dash from the stage to the green-room, change their costume, and appear on stage - unruffled, and totally composed. Why, there have been occasions when I've changed my costume on stage in a black-out or whilst the curtain is down .. But it is very risky. Of late, theatre groups construct a tiny, make-shift cubicle of canvas in the back-stage area for these quick-changes.
The point is, our auditoriums are built without the consultation of theatre people. Consider: the ambience and atmosphere of a theatre. The moment, one enters a theatre one should feel that one has entered the arena of entertainment. In Mumbai, no one pays attention to this. Consider Bhaidas, they have a huge foyer. And so much can be done in this space with a bit of attention and care. A few lights, photographs of plays and a few words about the actors who have made their reputations; all this would create a great atmosphere.
The old Bangwadi had a great atmosphere. To start with there was the labyrinth of lanes leading up to the auditorium. The soft sounds of music, of laughter. Then there were theatre-books for sale. All this made the experience of seeing a play truly wonderful. On my part, I've been speaking to the Bhaidas management to do something similar. After all, they have ample space.
The good news is, they are planning a Gujarati Cultural Centre - once they procure some FSI. They have already begun consulting theatre people. There is a plan for a library of scripts of performed plays, a video-centre with recording of plays for non-commercial reasons. Pictures and notes about sets and costumes. Interviews with theatre personalities can be recorded on video. There can be clippings of a director in a rehearsal which will help us comprehend his methodology. Even the traditional art forms can be preserved. For instance, at the moment only four groups are performing Bhavai, now before this form dies, we should do something about it.
Sometimes I wonder if our priorities are all mixed-up. We spend so much money and energy on constructing new temples, but we do not do a thing about institutions which matter like schools, hospitals, theatres .
'The theatre's full, the boxes glitter,
The stalls are seething, the pit roars,
The gallery claps and stamps, a-twitter;
The curtain rustles as it soars .'
- Alexander Pushkin
Arvind Joshi, director, actor, producer - discusses the perils of theatre auditoriums in a city like Mumbai.
The most important thing about a performing place for an artist is its compactness; and the ability to reach-out across the foot-lights to the audience. In this regard, Tejpal and Prithvi are the best. In Tejpal, for instance, the actor establishes a rapport with the audience in the first five minutes. This means, the audience is with the play right from the outset, and the actor does not have to make an extra effort. This helps the performance and the play.
Whereas with Bhaidas or Birla Matushri, this reaching-out to the audience becomes a difficult task, since these are huge, noisy auditoriums. Here - it is extremely strenuous to establish a harmony with the audience. Then there is the almost-impossible-to-perform Birla Matushri Sabagrah. It is perhaps more suited for conferences and lectures by star speakers. As a theatre auditorium, it is a failure, since it is not possible for the last rows to see the stage. Forget the expressions and nuances of the actors, since sometimes the main action is blocked due to pillars on the sides. Which is why, I'm very fond of Tejpal, or an auditorium like Prithvi. Because even whilst you're on stage, you're at the same time one among the audience, since the demarcations, the boundaries do not exist.
Another venue, I'm fond of is, Jai Hind. But this is largely due to my familiarity to the space, since INT and my brother; Pravin Joshi performed most of its plays at Jai Hind. I also enjoyed performing at the Bhulabhai auditorium with its jutting balcony. It required a special technique from the actor on stage to communicate to the audience who was seated in this balcony. This requires a subtle change in the performance. The actor has to look-upwards, or at least provide the illusion of doing so. Or else the audience in the balcony would leave left-out. Most of our actors ignore this and perform only for the front-row.
The point is, in Mumbai, very few auditoriums are constructed for the purpose of theatre. It seems, only Bhulabhai, Tejpal, Prithvi, NCPA have been constructed for theatre performance. The rest of the auditoriums lack intimacy. It's also very curious that during the construction of these auditoriums, the architects never consult theatre people. And so, the end-result is a building with good architecture, along with technical competency and good acoustics. However, the most vital requirement of theatre is neglected.
This does not entail great amounts of money or extra efforts. For example, the Bal Gandharava theatre in Pune is almost perfectly constructed. Even the Sahitya Sangh theatre (although not functional, today) is a good theatre. In fact I would rate it better than Shivaji Mandir.
The old Opera House was a brilliant theatre. It has witnessed all sorts of performances from operas to plays. It had a balcony with boxes - but the curvature of the balcony was well-appropriated by placing four seats in every curvature. This meant that the spectator in the box was also very close to the stage.
Another good old theatre was Daulat Talkies, which was located in the red-light area. This area was called 'pill-house' a corruption of the term 'play-house'. Around fifty years ago, there were innumerable theatre like Daulat Talkies, these were, Roshan Talkies, Alfred Talkies, Moti, Royal and so on, which used to stage Gujarati, Parsi or Urdu plays. There used to be long tin boards in front of the rows in the pit class. And so, the audience in this class would stamp their feet on this board, and create a din. This was their way of demanding an encore, or a once-more or applause.
Bangwadi was another fine theatre. It possessed all kinds of facilities, which included dwellings for actors, musicians and crew. There was also a company kitchen. Everyone was paid monthly wages; and the group was very much like a repertory company.
In those days, the stage was very sturdy. So much so, I've seen plays which have had an elephant on stage. Prithviraj Chauhan would ride (not canter) on a horse from wing to another. Further, there were trap-doors on the floor of the stage, this device was used to good effect. In one play, which I've witnessed, Prithviraj's eyes are being put-out by Mohamed Ghauri. Prithivraj is on the floor, and is trying to aim an arrow at Ghauri who is perched at a height on top of the castle-wall. On cue, Prithviraj takes aim and the arrow hits Ghauri, who falls-off the high wall . directly into a trap-door, and vanishes by sliding inside the stage. This extremely dangerous manoeuvre used to be executed not once - but four-to-five times due to a hysterical public demanding 'encores'. And so, the same scene would be repeated with clinical precision. In today's times, we do not possess the workmen or skill to produce such a scene. Our version of the above scene would end with a black-out the moment Ghauri is hurt.
Even with lights, we have to make compromises. Most auditoriums provide six to seven lights at the most. Overseas, the scenario is vastly different. Theatres there are equipped with 600 lights - at least. This means every square inch of the stage can be lit. This guarantees a better visibility - and a better 'feel' of the play. Moreover, in Mumbai, with our shift-system, and constant setting-up and dismantling of the set, we are not in a position to set-up too many lights. After all, how many lights can one set-up in an hour!
As a rule, the management are insensitive to the needs of the performer. These are usually tiny things - but they matter. For instance, the mirror at Bhaidas is distorted, and so, instead of a reflection, the artist ends-up seeing unusual shapes and contours. Then there are no bulbs around the mirror. Now, how can an artist apply make-up in tube-light? How does one get the exact texture and correct hue in tube-light? Further, even when the auditorium is air-conditioned, there is no air-conditioning in the green-room. This is insensitivity, nothing else. After all, the green-room is the most crucial place for a performer. The performer prepares for his role in this space. He concentrates, gets into character, goes-over the details, etc. In Tejpal, for instance, after repeated insisting, the management has installed a window air-conditioner in the green room.
In fact, once when I asked Pravin Joshi, as to what we would do when we are no longer actors or directors? He replied that with our knowledge of the theatres, we would easily get a job as booking clerk. After all, who can out-match our knowledge about the seats in an auditorium.
Another crucial thing which is not thought over is a small quick-change dressing room. This is for the rapid-fire exit and entries. This particularly true for women-artists, some of whom have to make the 100-metre dash from the stage to the green-room, change their costume, and appear on stage - unruffled, and totally composed. Why, there have been occasions when I've changed my costume on stage in a black-out or whilst the curtain is down .. But it is very risky. Of late, theatre groups construct a tiny, make-shift cubicle of canvas in the back-stage area for these quick-changes.
The point is, our auditoriums are built without the consultation of theatre people. Consider: the ambience and atmosphere of a theatre. The moment, one enters a theatre one should feel that one has entered the arena of entertainment. In Mumbai, no one pays attention to this. Consider Bhaidas, they have a huge foyer. And so much can be done in this space with a bit of attention and care. A few lights, photographs of plays and a few words about the actors who have made their reputations; all this would create a great atmosphere.
The old Bangwadi had a great atmosphere. To start with there was the labyrinth of lanes leading up to the auditorium. The soft sounds of music, of laughter. Then there were theatre-books for sale. All this made the experience of seeing a play truly wonderful. On my part, I've been speaking to the Bhaidas management to do something similar. After all, they have ample space.
The good news is, they are planning a Gujarati Cultural Centre - once they procure some FSI. They have already begun consulting theatre people. There is a plan for a library of scripts of performed plays, a video-centre with recording of plays for non-commercial reasons. Pictures and notes about sets and costumes. Interviews with theatre personalities can be recorded on video. There can be clippings of a director in a rehearsal which will help us comprehend his methodology. Even the traditional art forms can be preserved. For instance, at the moment only four groups are performing Bhavai, now before this form dies, we should do something about it.
Sometimes I wonder if our priorities are all mixed-up. We spend so much money and energy on constructing new temples, but we do not do a thing about institutions which matter like schools, hospitals, theatres .
Sunday, March 05, 2006
The Open Couple - Reviewed
The invitation to view "The Open Couple" was quite tantalising being a Dario Fo play and all.
It read
"A Comedy about a couple where the husband wants an "open relationship" wherein he is free to see other women and claims to accept the fact, if his wife also does the same. However it slowly becomes clear that the arrangement works only from the husbands point of view as long as he has other relationships but when his wife does likewise he breaks down and wants to go back to the conventional couple situation"
Having Recently watched Unprecedented Distasters like "Plane Crazy Bout Love", we had sworn off the Comedy genre in India. We have even walked out of a couple of
"comedies" earlier because they were so pitifully presented. Either their timing was off completely or it was just a disaster on stage.
Hence we have been sticking to serious theatre for the last few years by recognised groups. Since we live close to Prithvi, it has been quite easy.
But "Open Couple" restored our faith in Comedy in Indian Theatre. We did enjoy the show.
The play evolves through flashbacks & at points the 2 lead characters converse directly at the audience. (Not interactive, but directed towards the audience)
Nazneen Madan had some Lengthy Dialogues. At times they were completely effortless, although she did struggle at times to make them sound natural. Jagdish had limited
dialogues, but his facial expressions were always bang on. Too often actors do not react to what is going on, around them on stage. His appearance from the bathroom wrapped in a multicolored towel & his wife's shower cap on his head & hair dryer in hand in a bid to commit suicide had the entire audience in splits.
I wouldn't say it was an excellent production, but it was a very good try & much, much, much better than a lot of trash coming out in the name of "Comedy."
Why do corporates give those trashy wannabe's sponsorship while avoiding Quality Theatre? {Will rant on this later. Its another pet peeve of mine.}
To sum up I think a quote from the "Hero" Jagdish is appropriate "It is actually the magic by the writers Dario Fo & Franca Rame who are amazxing with their language and flow of script.....We have had amazing response each time we have performed and standing there on stage I have learnt to filter the sounds from the audience where the loudest laughter comes from women ! :) This was also the observation of all groups who have performed worldwide over these last 25 years ....amazing na ?"
It read
"A Comedy about a couple where the husband wants an "open relationship" wherein he is free to see other women and claims to accept the fact, if his wife also does the same. However it slowly becomes clear that the arrangement works only from the husbands point of view as long as he has other relationships but when his wife does likewise he breaks down and wants to go back to the conventional couple situation"
Having Recently watched Unprecedented Distasters like "Plane Crazy Bout Love", we had sworn off the Comedy genre in India. We have even walked out of a couple of
"comedies" earlier because they were so pitifully presented. Either their timing was off completely or it was just a disaster on stage.
Hence we have been sticking to serious theatre for the last few years by recognised groups. Since we live close to Prithvi, it has been quite easy.
But "Open Couple" restored our faith in Comedy in Indian Theatre. We did enjoy the show.
The play evolves through flashbacks & at points the 2 lead characters converse directly at the audience. (Not interactive, but directed towards the audience)
Nazneen Madan had some Lengthy Dialogues. At times they were completely effortless, although she did struggle at times to make them sound natural. Jagdish had limited
dialogues, but his facial expressions were always bang on. Too often actors do not react to what is going on, around them on stage. His appearance from the bathroom wrapped in a multicolored towel & his wife's shower cap on his head & hair dryer in hand in a bid to commit suicide had the entire audience in splits.
I wouldn't say it was an excellent production, but it was a very good try & much, much, much better than a lot of trash coming out in the name of "Comedy."
Why do corporates give those trashy wannabe's sponsorship while avoiding Quality Theatre? {Will rant on this later. Its another pet peeve of mine.}
To sum up I think a quote from the "Hero" Jagdish is appropriate "It is actually the magic by the writers Dario Fo & Franca Rame who are amazxing with their language and flow of script.....We have had amazing response each time we have performed and standing there on stage I have learnt to filter the sounds from the audience where the loudest laughter comes from women ! :) This was also the observation of all groups who have performed worldwide over these last 25 years ....amazing na ?"
Delhi Darbar, Mumbai
Delhi Darbar
Holland House
Shaheed Bhagath Singh Marg
Near Regal Cinema
Colaba
Mumbai 400 039
Tel : 2202 5656, 2202 0235, 2284 8231
Read the Review
Holland House
Shaheed Bhagath Singh Marg
Near Regal Cinema
Colaba
Mumbai 400 039
Tel : 2202 5656, 2202 0235, 2284 8231
Read the Review
Saturday, March 04, 2006
Resident Doctors on Strike in Mumbai
The last few days the papers have been carrying all kinds of reports on the resident doctors in Mumbai who are on strike. Very few newspapers are on the side of these doctors. Most of them have criticised the doctors harshly.
Lets just look at a few points objectively.
As far as I know, Resident doctors are students who have cleared their MBBS exams and are preparing for their MD exams. In some cases you have students who have given their MD exams & are waiting for results.
Education & Pay :
Doctors are educated citizens in a civil society. They get a salary of Rs.8000/- per month.
Lift men in hospitals on goverment pay scales earn approximately 10,000/- per month. Call centre representatives earn an average of 15,000/- per month and in most cases they aren't even graduates. From the time of independence, the government has hiked its own pay umpteen number of times. That of resident doctors has only been hiked thrice in almost 60 years.
Do you think 8000/- per month is a reasonable salary to expect for someone who is well above average intelligence & has put in all the hard work to become a doctor ?
Most resident doctors in government hospitals are there on merit & because of a vocation & not because of donations. If they had become doctors through the donation route they would be serving their residency in fancier hospitals with better working conditions.
Until now their annual fees were 18,000/- per annum. They have recently been increased to 50,000/- per annum. Annual income 96000/- per annum. Resident doctors don't even fit into the lowest tax bracket. Which means they aren't even earning minimum wages.
Recommendation : Pay needs to be made commensurate with their education & the amount of work that they put in.
Read the Rest of My Article on My Other Blog
Lets just look at a few points objectively.
As far as I know, Resident doctors are students who have cleared their MBBS exams and are preparing for their MD exams. In some cases you have students who have given their MD exams & are waiting for results.
Education & Pay :
Doctors are educated citizens in a civil society. They get a salary of Rs.8000/- per month.
Lift men in hospitals on goverment pay scales earn approximately 10,000/- per month. Call centre representatives earn an average of 15,000/- per month and in most cases they aren't even graduates. From the time of independence, the government has hiked its own pay umpteen number of times. That of resident doctors has only been hiked thrice in almost 60 years.
Do you think 8000/- per month is a reasonable salary to expect for someone who is well above average intelligence & has put in all the hard work to become a doctor ?
Most resident doctors in government hospitals are there on merit & because of a vocation & not because of donations. If they had become doctors through the donation route they would be serving their residency in fancier hospitals with better working conditions.
Until now their annual fees were 18,000/- per annum. They have recently been increased to 50,000/- per annum. Annual income 96000/- per annum. Resident doctors don't even fit into the lowest tax bracket. Which means they aren't even earning minimum wages.
Recommendation : Pay needs to be made commensurate with their education & the amount of work that they put in.
Read the Rest of My Article on My Other Blog
Friday, March 03, 2006
Thursday, March 02, 2006
Street harrassment Blog-a-thon
Blank Noise Project is organising a Blog-a-thon 2006 on March 7th the issue of street harrassment
for those interested the following is the link and announcement
http://blanknoiseproject.blogspot.com/
Wednesday, February 22, 2006
Blank Noise Presents....
Blog-a-thon 2006
Marking our one year foray into the blog world, we’ve decided to host a Blog-a-thon on the issue of street harassment. No, you don’t have to run anywhere (thankfully) to participate, you’ve just got to get to your computer this TUESDAY (7th MARCH) and post your thoughts on street harassment/ eve teasing on your blog. You can write about anything related to the topic: testimonies, opinions on harassment, comments about the Blank Noise project, would all be great. It doesn't matter where you're from, where you live, or whether you're a man or a woman - we'd love to have you on board. If you’d like to participate, send an email to blurtblanknoise[AT]gmail.com before the coming Monday (6th March). We’ll add your name and blogsite to the ‘running’ list of participants on the Blank Noise blogsite so that everyone can see what everyone else is writing about the topic. Also, just to get the maximum number of people 'out' for this event - we'd request that you put up a posting on your blog prior to Monday to encourage other people to participate, and to let them know to check your blog on Monday. So join one, join all!
Blog-o-thon List of Participants:
Amit Ken
Ammani
Amodini
Anna
Annie
Atanu
Aurina
Black Ink
Black Mongoose
Boheme Belle
Boo
Buttercup Tea
Charukesi
Chinmayee
The Compulsive Confessor
Deepali
DesiPundit
Dina Mehta
The East Street
Etcetera
Gaurav Sabnis
Guptavati
Hathirpithi
IdeaSmith
India Uncut
Jasmeen
Jasmine
Kaleidoglide
Kalesh Kumar
Kim
Komal Mehta
Laks
M.
Mangs
Mathy Kandasamy
Megha Krishnan
Namit
Neha
Payal Dhar
Premalatha
Queer
Raghu
Rahul Bhatia
~River~
Sangeetha
Sea & Sky
Shilpa
Shruthi Rao
Shub
Smita
Somika
Sthreeling
Stravinsky
Sumna Inc.
Twilight Fairy
Vivitsa
Wundergal
Zigzackly
Technorati tag: The Blank Noise Project blogathon
My post is at http://muserkim.blogspot.com/2006/03/daily-harassment-faced-by-women-in.html
Link to me, blogroll me but do Read Me. You can participate in the blog-a-thon, no matter which part of the world you are in.
Wednesday, March 01, 2006
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