Home to several faiths and different races, India offers one a chance to know how inherently similar are we despite differences in customs, traditions and habits. The 30-minute film, Qissa-e-Parsi directed by Divya Cowasji and Shilpi Gulati provides an engaging description of the community.
Having migrated from Iran following its conquest by Arab Muslims, between 8th and 10th centuries, the Zoroastrians or Parsis made West India their home. Legend has it that they had promised King Jadhav Rana to sweeten the Indian community just as sugar sweetens milk and the perusal of their history does prove that they have remained steadfast to the concept.
Winner of the National Award for Best Anthropological/Ethnographic film 2014, the PSBT documentary is the result of a research dissertation done by Divya and Shilpi on the ethnic communities they hail from. With the intention of exploring their research through the visual medium, they first directed Dere tun Dill focusing on Shilpi’s community, Derawal and now Divya’s community, the Parsis are the focus of this awarded film.
The community recognized for its honesty, humour and hard work is proud of the traits. “These traits are in fact encouraged by Zoroastrianism, the three main tenets of the faith being ‘Humata, Hukhta, Huvarshta’ or good words, good thoughts and good deeds,” comments Divya. Similar sentiments are expressed by Khojeste Mistree, a religious scholar in the film who says, “The good words and good deeds bring about an ethical awareness in the world.”
The religion that prescribes to live life well to enjoy and live it to the fullest is devoid of fasting, celibacy and flagellation. Explaining what Mistree says in the film about the religion encouraging capitalism, Divya says, “He meant that the generation of wealth is seen as a means to living a comfortable life.” Significantly Mistree adds it is the religious duty of those fortunate enough to do well in life to share that fortune with those who have not been quite as lucky.
Strangely there is no record of the Parsis from their advent in India till the emergence at the forefront under the British rule. Acting as agents they helped the foreigners to procure and source goods and personnel. Having learnt English, it helped them in communicating and creating a rapport. This led to their migration from 1680 to 1780 in waves to Bombay which is described by many as their home. “We are an integral part of the city and the city is an integral part of us,” comments Sooni Taraporevala, a photographer, in the film. Following the country’s independence, the community renegotiated its space devoting itself to the industrialization and development.
One was enlightened while watching the documentary that it was the British insistence on surname in 1900 that led Parsis to adopt the names of their villages or profession as one. Hence, we have Daruwallas, Engineers and Sodabottleopenwala.
Qissa-e-Parsi is replete with examples of Parsis’ sense of humour. Though not uncommon among others what stands out is their ability to make fun of themselves. Meher Mafatia, writer and journalist says, “We find funny ways to express everything, including death. To be able to laugh even at the most solemn things; that’s a lovely trait.” She gives examples: Dead fish, fallen wicket and gone to photo frame laughing aloud. “Even while shooting, though we knew we wanted to emphasise this aspect of the community, we had to make absolutely no effort to bring to the fore. There are actually bits we could not use in the film because the entire crew was in very audible splits of laughter,” comments Divya.
On the issue of dwindling population, the community is divided. The liberal camp feels that it should be more inclusive and children of women married out should be accepted. The orthodox side opposing it finds marrying outside diluting the ethnicity. They feel the solution lies in early marriages within the community and more children.
Terming the national award as a recognition of their work, the two view it as an opportunity to reach out to larger audiences thereby help in generating a documentary film viewing culture in India. They also plan to follow it with a film specifically on women and youth in the community with regard to inter-faith marriage and gendered exclusion.
On directing together, Shilpi comments: “Divya and I direct together. Additionally, she focuses on cinematography and I take care of editing. For this project, having two directors, a Parsi and a non-Parsi, proved to be insightful.”
