Concept of Postcolonialism with the reference of “Garam Hawa”

 Table of Contents

Concept of Postcolonialism with the reference of “Garam Hawa”    3

What is  Post colonialism?    3

Introduction    4

Identity Politics    4

Metanarratives    5

Discrimination    6

Subaltern    6

Here and There    7

Conclusion    8

Works Cited    10

Concept of Postcolonialism with the reference of “Garam Hawa”

What is  Post colonialism?

Postcolonialism deals with the effects of colonization on cultures and societies. Unlike “colonialism,” this term is of much more recent provenance, emerging in the late 1970s to describe a range of literary and cultural analysis of colonized and formerly colonized societies. As originally used by historians after World War II in terms such as the post‐colonial state, “post‐colonial” had a chronological meaning, designating the post‐independence period. However, from the late 1970s, the term has been used by cultural critics to discuss the various social, political and cultural effects of colonization. It now describes neither a historical period nor a fixed range of societies but is best understood as a discourse generating a specific reading practice.

Introduction

This moving picture is predicated on a Muslim family  was Living in India once partition. The moving picture depicts the lifetime of Muslims once partitions. Salim Mirza  was the leading figure of the family at begin, neglects the very fact that partition doesn't have any impact on his lifestyle. The story covers the social life within which Muslims lived once partition. It shows Muslims’affiliation to the place wherever they lived before. In fact, it's to convey an inspiration however folks were joined to the place wherever they lived before partition

The title “Garam Hawa” is introduced within the scene wherever Salim Mirza is in voice communication with the tonga wala says,

“Kaise hare bhare drakht kat rahe hai in hawao mein”, to that the tonga wala replies,

“Badi Garam Hawa hai. Jo ukhda nai wo sookh jayega”.

These lines area unit self instructive to the very fact that the “Scorching Wind” of partition didn’t spare anyone. several of them were uprooted and people United Nations agency refused to be uprooted dried up. The film moves terribly slowly rather like hot wind and slowly shows however the Muslim community dropping one by one and departure India.

Identity Politics

Garam Hawa, thus, told regarding its audience that the two-nation theory of India and Islamic Republic of Pakistan wasn't victorious for everybody, particularly for the Muslims United Nations agency continuing to contemplate India their home. Though the film argued that Islamic Republic of Pakistan was recently shaped and provided higher job opportunities for Muslims United Nations agency migrated there, it illustrated that Indian Muslims two-faced discrimination, lack of job opportunities, and a precarious standing as each Indians and Muslims. Few handfuls of leaders took the choice of dividing the country into 2 elements however it's the common person United Nations agency suffers the foremost.

Haliz Mirza, the character compete by Dinanath Zutshi, elder brother of the protagonist Salim Mirza, is aforesaid to represent the leaders and therefore acts as a example for the example of the complete leaders. This characterization is finished specially by Sathyu to showcase the double standards of the leaders and the way they succeed to befool the common person.

Haliz Mirza declares at a speech rally: “Even if all the Muslims leave this country, there's one United Nations agency can ne'er transmigrate this nation, and his name is Haliz Mirza”. nonetheless within the terribly following scene he says to his woman

 “Now even I can’t keep in India… there's no scope for any Muslim in Hindustaan.”

Metanarratives

In this moving picture we are able to see things of Muslims people who willfully choose India rather than Pakistan they're facing social and economic discrimination. The story could be a advanced narrative assembled with affectionate attention to detail. The story's main concentrate is Salim Mirza, compete by veteran actor Balraj Sahani in his final film before his death. Salim Mirza could be a Muslim shaper and patriarch United Nations agency doesn't need to relocate to Islamic Republic of Pakistan. There's the additional component of a story plain-woven into this political narrative, however, and it's this component that adds bigger desiring to the story. The filmmaker's adept use of sunshine and framing adds dimension to the characters and their struggles.

Salim's female offspring, Amina (Gita Shauhat Kaifi), is betrothed to Kazim (Jamal Hashmi); they're shown to be deeply soft on and really happy along. Kazim goes across the border to Islamic Republic of Pakistan to search out work (as there's none for Muslims in metropolis because the story progresses). once he returns to marry Amina, he's inactive. She pines for her lost lover, however has the attentions of Shamshad , whom she doesn't love and doesn't would like to marry. Her agony could be a reflection of her father's; these folks area unit cornered between 2 worlds.

Discrimination

We additionally see however the 2 hundred years of colonial rule has affected the economic processes of the country. For the younger son Sikander  has obtained a bachelor’s degree it's vital to search out AN workplace job instead of serving to his father out with the close corporation. This shows that there's a shifting nature of however jobs area unit valued as Sikander and his friends set out on the streets to protest for these workplace jobs. This method of partition contains a alternate nature because the social and economic processes reinforce one another to perpetually discriminate on the premise of faith. the very fact that Sikander isn't ready to get employment is as a result of most employers area unit non- don't need to rent a Muslim as a result of a human process wherever they're seen as disloyal and at risk of leave India for Islamic Republic of Pakistan. As a consequence, even once he runs into a Muslim leader he doesn't get employed because the leader tends to over scrutinize his position of bias for his own faith. We have a tendency to additionally see however the 2 hundred years of colonial rule has affected the economic processes of the country. For the younger son Sikander United Nations agency has obtained a bachelor’s degree it's vital to search out AN workplace job instead of serving to his father out with the close corporation. This shows that there's a shifting nature of however jobs area unit valued as Sikander and his friends set out on the streets to protest for these workplace jobs.

Subaltern

Salim is powerless against the shift in attitudes and political climate. Garam Hawa participates in a very collective revaluation of the legitimacy of a naturalized nationalist attribute. It becomes progressively troublesome for Salim Mirza to acquire business loans, either from the native shylock or from the banks. while not credit funding, it becomes not possible to contend with mass producers; ultimately, little businessmen like him area unit forced to exit the market.Several landlords refuse to rent buildings to Mirza, a mussalman; finally he manages to urge a house solely once taking part in a full year’s rent earlier. Annoyed Salim Mirza in voice communication to managing director says

“jo bhage hain, unki sazaa unhe kyu di jaaye,

jo nhi bhage hai aur rehna chahte hai”.

The socioeconomic issues diode his relations to depart the country. His son wasn't given any job as a result of he was Muslim. Muslims failed to like Muslims for employment. They were scared of Indian society. They were targeted by people. Once Salim Mirza was discharged by court , the society failed to settle for him. As told within the moving picture, the choice of the court doesn't matter. The society accepts a person or rejects a person. The moving picture shows there was gathering wherever they mentioned regarding their job refusals. This shows that they weren't willing to rent any Muslim for employment. Salim’s younger son did his best to urge employment however variety of refusals were increasing by each try. He lost hope and commenced gathering folks to fight for his or her rights.

In the climax, Salim’s works was destroyed and his female offspring try suicide. There was nothing left for him to remain in India. They set to migrate to Islamic Republic of Pakistan. As there have been a lot of job opportunities. This is often to indicate that the final word answer to Muslims’Problem was to migrate to  Pakistan. they're going to not have the method that they likeable to be in India.

Here and There

We can see common state of affairs for each Hindus and Muslims. Hindus two-faced discrimination and Violence in Islamic Republic of Pakistan same state of affairs happened with Muslims in India.

The verse form of Kafi Azmi would be AN apt conclusion to the discussion that depicts things and also the trauma of the folks, “here”(yahan) and “there” (wahan).“

Conclusion

Hope for brand spanking new India(Gandhi-Nehruvian Ideology)

Salim Mirza decides to go Pakistan together with his wife and says” we should  not leave India we stay here and fight for our rights with the common man”.

Salim Mirza not reply to sikandar however next day we have to see him at the Taj Mahal with dampish eyes as if his pain is flowing with tears. Finally he sits in tonga for attend station together with his begam and son, on the way they see a public demonstration.

A catchword is heared “Ïndia needs food, shelter and clothing”. Currently perceive his son and Salim Mirza says “Go on son , i'll not stop you. Man can't live alone for long. I'm additionally uninterested in this example take the long back” causation his wife back home on the tonga, he too joins the demonstration together with his son.

Works Cited

Bill, Ashcroft. Onlinelibrary. 29 February 2012. 23 November 2020. <https://onlinelibrary.wiley.com/doi/abs/10.1002/9780470670590.wbeog466>.

Garam Hawa. By Azmi Kaifi and Zaidi Shama. Dir. Sathyu Mysore Shrivinas. Perf. Sahni Balraj, et al. Prods. Sivani Abu and Arya Ishan. 1974. Online. 24 November 2020. <https://youtu.be/IzO1EIEG_fc>.

Khalid, Awais. 30 April 2017. 23 November 2020. <https://foundationsofsouthasianhistory.wordpress.com/2017/04/30/garam-hawa-the-social-and-economic-processes-of-partition/>.

Nidhi, Shrivastav. "The Identity Politics of an “Indian Muslim” in M.S. Sathyu’s Garam Hawa (1973)." researchgate (2015). PDF. 23 November 2020. <https://www.researchgate.net/publication/280101645_The_Identity_Politics_of_an_Indian_Muslim_in_MS_Sathyu's_Garam_Hawa_1973>.

Sneha, Samddar. "Garam Hawa: India’s Living Dead." Learningandcreativity (2013). 23 November 2020. <https://learningandcreativity.com/silhouette/garam-hawa-indias-living-dead/>.

Tammy, Kinsey. Filmreference. n.d. Advameg Inc. 23 November 2020. <http://www.filmreference.com/Films-Fr-Go/Garam-Hawa.html>.