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Handle rape cases with sensitivity

Incidents of rape cases in UP are shameful for a society which boasts of humane traditions (editorial,Rape victims of UP”, Feb 11). I wonder why human beings are turning into rapists. Sociologists and psychologists can provide an answer.

UP is in a state of social transformation and the remnants of feudalism find it difficult to reconcile with the changes occurring in the social, economic and political structures. Under the patronage of a pro-Dalit government, the underprivileged and marginalised sections of society feel socio-economically empowered. They have started asserting and challenging socio-economic injustices.

But still the feudal and criminal-minded people present in the ruling party or society, while pretending to be pro-poor, blatantly make use of their influence and status for exploiting the poor and the needy. No doubt, the state government has put many influential persons in jail for their crimes. Still much more needs to be done.

Identify the rogue elements and smash their networks. Sensitise and humanise the police and the civil administration. Provide all help and guidance to the victims. Fast-track courts should be set up. The media and the intelligentsia should continue to expose the culprits.


Waheeda’s story

The middle “Old gold”(Feb 3) by K.K Paul touched an emotional cord. I am a fan of Waheeda Rehman and would like to share some points with the readers. Many people believe that Waheeda Rehman was born in Hyderabad. Actually, she was born into a traditional Muslim family in Chengalpattu (Tamil Nadu).

She learnt Bharatnatyam at Mumbai’s Sri Rajarajeswari Bharata Natya Kala Mandir. Her father was a district commissioner and he died while she was still in her teens. Her dream was to become a doctor. But due to circumstances and illness, she abandoned this goal. She hit the silver screen with the Telugu film Jayasimha (1955), followed by Rojulu Marayi (1955). In Hindi cinema, she was discovered by Guru Dutt who cast her in the film C.I.D. (1956), directed by Raj Khosla.

Kamaljit who starred opposite her in Shagun (1964) proposed to her. She accepted his proposal and they were married in 1974. After her marriage, she shifted to a farmhouse in Bangalore. She bore two children. I think, she is a one of the most prominent actresses of the golden era.

AMIT KUMAR, Faridkot

Nuclear threat

Both countries must know that in the unfortunate event of a nuclear flashpoint, there shall be no one left behind to celebrate or mourn (editorial, India, Pak must talk, Feb 9). Its impact would be many times more than that of Hiroshima and Nagasaki.

This fact must be made known to each and every individual. Only then a full scale war can be averted. India must continue to play a positive role and not succumb to provocation of any kind. We must live by our ethos of ‘world peace’ and treat the world as one family.


Egyptian crisis

There could not have been a better commentary on the public unrest prevailing in Egypt than the one brought forth by Maharajakrishna Rasgotra in his article Arabs cry for democracy’ (Feb 7). It provided a peep into the genesis of upheaval in Egypt in particular and in few other neighbouring Arab countries in general.

But one thing surely goes to the credit of Egypt that despite the mass of humanity coming out in open in the streets of Cairo against the misrule of Hosni Mubarak, the army of the country remained conspicuously neutral. Pakistan should learn a lesson in this where a de-facto democracy has not been able to take its roots in the 63 years of its history, because the army always keeps breathing down the necks of the elected leaders whenever they get a chance to rule.

L R SHARMA, Haripur, Sundernagar

Art education 

The article, The art-horse just about trots (Feb 7) by Vandana Shukla vividly portrayed the present scenario of India’s art education vis-à-vis art market. In this context, the observation made on schools of arts in India by A.K Coomaraswamy appears to be valid even today.

“The true function of schools of art in India”, he wrote” is not to introduce European methods and ideals but to gather up and revitalise the idea of Indian art as an integral part of the national culture, and to relate the work of Indian craftsmen to the life and thought of Indian people.” But this discernment of the great scholar of the Indian art seems to have nearly no bearing on the present art education in India.





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