India's transgendered - the Hijras

With more than 4,000 years of recorded history Hijras have a supposedly sanctioned place in Indian l

Something old, something new, something borrowed, something … transgendered? If you are an Indian in need of some luck on your wedding day you could do no better than seek the blessing of one of the country’s estimated 200,000 male to female transsexuals or "hijras".

Hijras have a recorded history of more than 4,000 years. Ancient myths bestow them with special powers to bring luck and fertility. Yet despite this supposedly sanctioned place in Indian culture, hijras face severe harassment and discrimination from every direction. Deepa is a 72 year old hijra living in Mumbai: “Nobody says, “I’d love to be a hijra!” Not if they know what happens to us. But what else can we do? A hijra has a man’s body, but the soul is a woman.”

Something, however, is beginning to alter in the traditional Indian mindset as right now there seems to be both subtle and appreciable changes taking place in terms of how this group are being treated and recognised by mainstream society. Over the last few months India has seen its first transgender fashion model, a transgender television presenter and in the recent Bollywood epic Jodhaa Akbar a hijra, instead of hamming up the usual comic role, was portrayed as a trusted lieutenant of the female lead.

Yet these developments come after years of crushing social stigmatisation, abuse and general derision from the wider community. Pooja, 27, realises there is still a long way to go: “They make documentaries about us and say all these interesting things, but when we walk out on the street we still get the calling and the whistles.”

The uphill struggle for the hijras first begins with finding acceptance within the family. “My family didn’t know I was castrated,” tells Chandini, 28. “My hijra friends teased me because I still went home in men's clothes, so I decided to go home as I am. When I got there some people in the street spotted me and told my mother, “Here’s your son!” She saw me and fainted. My father came, he said, “I don’t have a son, go away!” I lifted my saree and showed him. I said, "I'm not your son, I’m your daughter now."”

Once the truth is out, hijras are usually forced to leave the family home. Yet the society they must take refuge in is equally as unwelcoming. Hijras have few rights and are not recognised by Indian law. This denies them the right to vote, the right to own property, the right to marry and the right to claim formal identity through any official documents such as a passport or driving licence. Accessing healthcare, employment or education becomes almost impossible. In the face of such odds they are forced to earn money any way they can. “In the day we go around the shops and beg," says Deepa. "They give us a rupee each and we go away. Sometimes we dance at weddings and festivals, we can get good money from this."

Since 2006, hijras in the state of Bihar have been employed by the government as tax collectors, singing loudly about the debt outside the defaulter's premises until they are shamed into paying up − one of the most effective tax recovery methods ever used in India. Yet for many hijras the method of making ends is prostitution. “At night I go with the men,” Pooja says. “I am looking good so I can get a room. Many who don’t look so good must use the vehicles or somewhere else outside. Yes, it can be bad at times but I'm happy with this work.”

As is the case for all gay, lesbian and bisexual people living in India, simply by being sexually active hijras are breaking the law. Section 377 of the Indian Penal Code (IPC) outlaws any “carnal intercourse against the order of nature” − in other words, any sex that is not between a man and a woman with the aim of reproduction. Brought in by the British in 1860 to try and curb the “heathen customs” of the local population, it carries with it a potential life sentence.

Whilst attitudes in the UK have matured considerably and such legislation has long since been removed from the British statute books, it still remains very much part of the Indian system. Although convictions are rare, it is in the name of such a law that the police are able to carry out their worst abuses against the hijra community. It seems that every hijra in India has her own story to tell of police brutality: "Once a policewoman attacked me," remembers Chandini. "She said, "Why are you standing here?" and continued hitting me so I grabbed her hand and she ran away. She came back with two policemen and they took me to the station. There they beat me, stripped me and made me dance."

As well as the police aggression, gangs of local thugs known as “goondas” frequently rob and sexually assault hijras on the street. These attacks are rarely prevented or reported by the locals. The local people I spoke with whilst reporting this story were all apprehensive, amused or downright hostile. “They are a nuisance!” says Akram, a jeweller from Mysore. “They come to your shop and when you don’t give them money they lift up their sarees.” Later he adds, “I’ve heard they even steal babies from hospitals.”

Until very recently these attitudes were mirrored and strengthened by the Indian media which itself seemed to suffer from a certain amount of gender vertigo. Hijras were routinely portrayed as wily tricksters who led unsuspecting men astray or half-man half-woman freak shows, almost devilish in their customs and practices. In 2003, an HIV/AIDS and human rights research centre in Lucknow was raided and the coordinator jailed under IPC 377 for "conspiracy to promote homosexual activities". An English language newspaper ran the headline: Gay Racket Busted- 2 NGOs Caught in the Act

But attitudes are gradually beginning to change.

Thanks to a large number of internationally funded support groups that are gaining considerable momentum in many big Indian cities, hijras, as well as other sexuality minority groups, are slowly starting to get a better deal. Rex Watts, coordinator of the Bangalore support group “Sangama,” let me know how this is being achieved: “We had to take direct action. For instance, every time a trashy story was published we would ring up the journalist and give them a hard time about it. It has taken time but now they usually go through us before they print something.”

Sangama was set up in 1999 and is funded by the Bill Gates Foundation and the Fund for Global Human Rights among others. As well as organising protests and rallies, groups like Sangama have been instrumental in establishing community networks with monthly meetings and safe spaces such as drop-in centres for all sexuality minority groups. Two thirds of their spending goes towards fighting against the spread of HIV infection through awareness programmes and condom distribution. According to Sangama, approximately 18-20 per cent of hijras are HIV positive. “Four years ago,” Rex says, “there were three to four AIDS deaths every month [in Bangalore], now there are three to four deaths every year.”

Just as successful has been the 24/7 crisis intervention. I met Mohammed, a lawyer involved with the project: “As soon as someone calls the crisis number nine people immediately rush to the spot. We aim to get all nine people there within 30 minutes.” In the areas where they have been implemented, the crisis intervention teams have reduced the cases of police violence against hijras to practically zero. “When we are called, to a police station for example, we are straight there, 'Why have you arrested this person? We’ve been told you beat her?' like this. They still hassle them and take money from them at cruise points, but the violence has stopped.”

Vivek Diwan from the Lawyers' Collective argues that attitudes are also changing higher up the legal ladder: "Off the record comments are often made by judges [regarding IPC 377] questioning how this kind of archaic thinking can continue, I overheard one saying only recently, "Get with the times man - there's even a pride parade now in Calcutta!""

Even the Indian government seems to be finally recognising that hijras exist. In March 2000 Shabnam Mausi, or “Aunt Shabnam” as she is affectionately known, became the first hijra to be elected into Indian parliament and since then many others have taken her lead by successfully entering the political arena.

In March this year hijras were factored into the government's policy making for the first time when they were named as a target group for a breakthrough de-addiction programme. In the same month the state of Tamil Nadu allowed hijras, if they wish, to be recognised as “T” rather than just “M” or “F” on ration cards with the same being planned soon for passports and driving licences.

Deepa, at 72, may be too old to really benefit from these new developments but she knows the baton will be carried forward for many generations to come: “If you need joy in your heart, we will come and dance for you.” Deepa lives with other hijras in a house and still dances at weddings and funerals. “We can’t just stop doing this. This is what we feel. And we can’t let it go. This is what we learnt from those before us. And this is what we will teach others. And we can’t let it go.”

Nick Harvey, 31, from Northampton is currently knee-deep into an overland round the world tour. India is his 17th country so far. He hopes to come full circle and re-enter his street from the opposite end when he finally returns home

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Seasons change, Gilmores stay the same

Gilmore Girls is fundamentally about two things: inheritance and community. The four seasons are crucial in exploring those themes.

If you’re out on the road, feeling lonely and so cold / All you have to do is call my name / And I’ll be there. The Gilmore Girls theme, a special version of Carole King’s “Where You Lead” featuring extra vocals from her daughter, plays each episode over images of autumnal New England foliage, and always reminded me of another song on Tapestry, “You’ve Got a Friend”. Winter, spring, summer or fall / All you have to do is call / And I’ll be there.

“Winter”, “Spring”, “Summer” and “Fall” are the episodes that make up Gilmore Girls: A Year in the Life, Netflix’s revival of the Noughties TV series. Fans won’t be at all surprised to see Netflix lean on the four seasons to organise the new show, a fundamental principle of the original series. This integral structure remains even as they dispense with other structures of the previous seven seasons, instead of the original 22-episode year, there are just four episodes used to narrate the Gilmores’ 2016, and each one has ballooned from 45 minutes to 90. And that familiar opening? Gone.

MISS PATTY: And flutter, flutter, flutter, flutter, flutter… and leaves! Where are my leaves? I got pumpkins, I got Pilgrims, I got no leaves.

Until 2016, every episode of Gilmore Girls included the same opening credits, with shots of red and gold leaves, a Connecticut town in the throes of autumn. So, those leafy fall shots would appear at least once an episode, even though the show’s picture-perfect town, Stars Hollow, would spend each series transitioning in and out of each of the four seasons. Of course, Stars Hollow is not a real place under the influence of real changes in the weather: it’s filmed on the perpetually sunny Warner Brothers lot in Los Angeles. And New England is so inextricably associated with autumn splendour, Stars Hollow so relentlessly idyllic, you might have expected the makes of Gilmore Girls to suspend Stars Hollow in a perennial fall, with Rory and Lorelai clutching hot coffees as they tread autumn leaves underfoot all year round. (It might make thematic sense, too: Gilmore Girls’ narrative of a precocious 16-year-old, brimming with brains and potential, slowly failing to achieve her own impossible goals fits both with the season’s connotations of academic beginnings and promise, and with its longer-standing cultural affiliation with maturity, pensive reflection and wistfulness.)

DARREN: Stars Hollow is charming. The last time we drove through there, there was a pumpkin patch.
LORELAI: Sounds like us.
DARREN: In March.
LORELAI: Oh, that would be the year the pumpkins arrived late.

The idea of Stars Hollow in perpetual autumn even comes up in a few episodes. Pumpkins arrive in March, autumnal events continue until the very end of November. Fall decorations are seemingly mandatory for local businesses.  But while every Gilmore Girls viewer can immediately conjure an image of Stars Hollow in fall, so too will they have an equally memorable selection of images of the town in winter, spring, and summer. No season goes unmarked. In fact, in the hyperreal utopia of Stars Hollow, seasons are exaggerated and picturesque: an overabundance of harvest vegetables, fluffy snow, budding blossoms, or falling leaves.

LORELAI: Grass is just not this green — not outside of Pleasantville, it isn’t.
CHRISTOPHER: So, what exactly are you saying?
LORELAI: I’m suggesting they brought in sod.
CHRISTOPHER: You suspect sod.
LORELAI: Yes, or spray paint. Maybe they spray-painted the grass when they spray-painted these trees, ‘cause, I mean, there’s autumnal foliage and then there’s autumnal foliage. It’s over the top, people.

But the seasonal obsession is more than just a way to emphasise the perfection of Stars Hollow. It’s an organising principle for the show’s structure, action and themes.

***

When Kelly Bishop (the actor who plays the most senior Gilmore girl, Emily) received the script for Gilmore Girls, she was stunned by the sheer weight of it. “I kept flicking it over, and looking at the thickness of it,” she told EW. “It was too thick to be a sitcom.” Gilmore Girls, consisting of hour-long episodes that make little sense out of order, but with its emphasis on witty dialogue over dramatic plotlines, hovers in a strange space between sitcom and drama.

Sitcoms are, by definition, situational — they often rely on characters thrown together in a confined space, be it the family living room, friends flatsharing or colleagues in a shitty office space. Comedy is often drawn from the familiarity of the specific surroundings: as a result, fans of The Simpsons or Friends or The Office could accurately draw floor-plans of the shows’ unchanging sets. So, too, could you draw a map of Stars Hollow, if you’ve seen enough episodes (trust me, I’ve done it). The action of a sitcom is often suspended in time and space: episodes end back where they began, the next opening as though nothing of note has happened since. Dramas, though, tend to thrive on progression of both character and plot; casts moving inexorably forward through time and space.

LORELAI: God, the town looks beautiful.
LUKE: Same as always.
LORELAI: No, it’s always different this time of year. It’s magical.
LUKE: If you say so, sure. Oh look, there’s the magical plumbing supply store where I bought a magical float for my toilet last week.
LORELAI: You disappoint me.
LUKE: Oh look. There’s the magical Luke’s Diner, right underneath the apartment that Jess magically lit by leaving every stinkin’ light on.

So, for Gilmore Girls to straddle both these genres, Stars Hollow must hold most of the show’s action and the majority of its ensemble cast, while still allowing the passing year to make its mark on the town. The seasons allow this. Much of this work is done in the background, as the set design changes from episode to episode, but characters are also constantly remarking on the changes in the town with each passing month, as Lorelai does when snow envelops the square.

The result is not just a keen sense of place, but of a place moving through time.

***

TAYLOR: Every other store in town has fall decorations.
LUKE: Hoorah for the mob mentality.
TAYLOR: We’re talking a few streamers and a paper turkey. How’s it gonna hurt to have a paper turkey?
LUKE: No turkey, no squash, no pumpkins. Nothing colored orange.
TAYLOR: OK, you don’t like orange. That’s fine. Autumn has many varied hues to toy with. This is the Autumn Festival. Your shop is right across the street from the Horn of Plenty! You’re smack dab in the middle of everything. You have to decorate.
LUKE: I don’t have to do anything but serve food.
TAYLOR: We’re talking about the spirit of fall!
LUKE: You know where you can stick the spirit of fall?

Gilmore Girls, with its principle cast of family members, and its sprawling ensemble cast of Stars Hollow residents, is fundamentally about two things: inheritance and community. The four seasons similarly become an important device for exploring those themes.

Small rural communities have long organised themselves around the seasons. Stars Hollow is no different — except in the ridiculous extent of its embrace of all things seasonal. Each season of Gilmore Girls is organised around the constant onslaught of annual festivals: the End of Summer Madness Festival that, well, ends summer, the Teen Hayride, the 24-Hour Dance Marathon the Autumn Festival complete with Cornucopia Can Drive and Horn of Plenty, November’s Old Muddy River Bridge Knitathon, the commemorations of the Battle of Stars Hollow, the Winter Carnival, the Snowman-Building Contest, the Christmas Procession, January’s Founders’ Firelight Festival, the Bid-on-a-Basket festival, Groundhog Day, St Patrick’s Day, the Purim festival, a whole host of springtime weddings and engagement parties, the springtime Movie Night in the Square, the annual Easter Egg Hunt, the Hay Bale Maze at the Spring Fling Festival, and the Festival of Living Pictures are just selection of the events honoured in Stars Hollow.

LORELAI: Oh, hey! Turn out the lights.
LUKE: For what? It’s not the real procession, it’s just the rehearsal.
LORELAI: So, it’s pretty.
LUKE: And why do they need to rehearse it? It’s the same thing every year.
LORELAI: Come on Luke, please. It’s hard to imagine living somewhere else isn’t it?

These aren’t just background quirks, lending us an increased sense of familiarity with the town as we’re told over and over that these events unfold in the same, strange way every single year. They’re linchpins which hold key plot events in place. Both Jess and Dean tell Rory they love her, with less than positive consequences, during the supposedly romantic Founder’s Firelight Festivals. Rory’s romantic relationship with Jess speeds up when he bids on her basket at the Bid-on-a-Basket festival, which is also where Sookie and Jackson become engaged. Her relationship with Dean ends (the second time) in spectacular fashion at the Dance Marathon. Luke begins his romantic relationship with Lorelai when dancing with her amidst springtime decorations in the town square at Liz and TJ’s wedding. The list goes on.

The result is that the lives of our main characters, the lives of the smaller Stars Hollow characters, and small-town seasonal events are all inextricably linked to the same calendar. Particularly in the early seasons, every significant relationship, for both Rory and Lorelai, becomes rooted in the community of Stars Hollow. Public acts of citizenship and private expressions of love overlap. To live in Stars Hollow is to live every aspect of your life communally, communing with others, and with nature itself.

LORELAI: Do you know that the best things in my life have happened when it snowed?
RORY: Why, yes, I do.
LORELAI: My best birthday.
RORY: Your first kiss.
LORELAI: Your first steps. They all happened when it snowed.

***

The seasonal structure of the show also brings with it a sense of inevitability, as, in the midst of these reliable annual ceremonies, Gilmore Girls explores ideas of inheritance across the generations. In the grand houses of Emily and Richard’s world (and Lorelai, Christopher and Logan’s youths) inheritance both metaphorical and literal is an encouraged part of family life: but it feels forced and uncomfortable, restricting individuality in favour of decorum and reputation. In Stars Hollow, inheritance functions in a different, but no less crucial, way: more subtle and natural, as constant and eternal as the circles of life. For children who grow up with their parents in Stars Hollow, inheritance seems predestined, even if it didn’t seem so to the characters it affects.  

Many characters are surprised by what they inherit from their parents: Luke never expected to care so much for his father’s old hardware store, Lane is shocked to discover that after years of aching to break out of her mother’s conservative ideals, she’s not comfortable with having sex before marriage. Jess never thought he would pick up a book on intimacy from his uncle Luke, let alone read it sincerely, nor to learn so much valuable advice from him about communication in relationships.

LUKE: You do not want to grow up to be like your mom.
RORY: Sorry, too late.

Of course, that sense of inescapable legacies is taken to extremes in Rory and Lorelai’s relationship: in the very first episode, Lorelai exclaims to her daughter, “After all, you’re me!” While Rory at 16  is, in some ways, a vision of everything Lorelai at 16 was not (responsible, excited by her education, chaste, keeping a constant, serious eye on her future), as the series unfolds, that changes, as Rory becomes more impulsive, reckless and romantic. Viewers are relentlessly confronted by parallels between Rory and Lorelai’s romantic choices: Christopher is to Lorelai as Logan is to Rory, Luke is to Lorelai as Jess is to Rory. Seasons change, Gilmores stay the same.

LORELAI: He kind of looks like Christopher.
LUKE: The grocery kid?
LORELAI: Yeah. He looks like Christopher.
LUKE: And Christopher is Rory’s dad?
LORELAI: The hair, the build, something about the eyes. He reminds me of Christopher.
LUKE: Well that’s not too surprising.
LORELAI: You’re going to quote Freud to me? ’Cause I’ll push you in front of a moving car. This talk was going so well.
LUKE: You and Rory are a lot alike. It’s not surprising you would have similar tastes in men.

It is an inexorable, unavoidable logic, then, that sees Gilmore Girls: A Year in the Life, a show with more interest in the unfolding seasons and the passage of time than ever, that sees Rory finally become her mother. The show’s much-anticipated final four words (“Mom,” “Yeah?” “I’m pregnant”) see Rory at 32, the same age as her mother when the series began, in a similar position to her mother at 16: single, pregnant, unfocused in her career. Some found it frustratingly obvious and pessimistic, others found it optimistic and apt. I’d sum it up in the same way Lorelai comments on her repeating circumstances with her own mother: with a grimly ironic toast “to the circle of life”.

But however you feel about the ending, Gilmore Girls has pulled off one impressive feat. As Lorelai and Rory sit together in the bandstand, and the show cuts to black, it doesn’t feel like the show has ended at all. The fictional landscape of Stars Hollow has a life that extends beyond the screen, as inevitable as the seasons themselves.

Anna Leszkiewicz is a pop culture writer at the New Statesman.