Why Is Rakhi
Sawant a Desi
Queer Icon
Why is Rakhi Sawant a Desi Queer Icon, but no one is talking about it ?
Why is Rakhi Sawant a Desi Queer Icon, but no one is talking about it ?
Why is Rakhi Sawant a Desi Queer Icon, but no one is talking about it ?
Recognising Filth, Trash, and Camp in Desi Queer Iconography
Recognising Filth, Trash, and Camp in Desi Queer Iconography
Recognising Filth, Trash, and Camp in Desi Queer Iconography
The intent of this thesis is to recognise the role of a non-prestige, trash, camp, and filth media as an integral part of Desi queer iconography. To illustrate the same, we look at Indian celebrity Rakhi Sawant. Rakhi Sawant is an Indian celebrity famous for her music videos, reality show appearances, and eccentric personality.
The intent of this thesis is to recognise the role of a non-prestige, trash, camp, and filth media as an integral part of Desi queer iconography. To illustrate the same, we look at Indian celebrity Rakhi Sawant. Rakhi Sawant is an Indian celebrity famous for her music videos, reality show appearances, and eccentric personality.
The intent of this thesis is to recognise the role of a non-prestige, trash, camp, and filth media as an integral part of Desi queer iconography. To illustrate the same, we look at Indian celebrity Rakhi Sawant. Rakhi Sawant is an Indian celebrity famous for her music videos, reality show appearances, and eccentric personality.
1 - Rakhi Sawant on a red Carpet for Indian Television Academy(Getty Images) . 2- A still of Rakhi Sawant from her breakout music video ‘Pardesiya’ by DJ Hot.
A still of Rakhi Sawant from her breakout music video ‘Pardesiya’ by DJ Hot.
To explain why we need to talk about filth, trash, and camp as important tenants of queer iconography, I’d like to talk about John Waters and his filthy filmography. In his article ‘‘Filth is my politics, filth is my life’: Rebuilding queer identity through Pink Flamingoes’ , Jude Jones (2022) chronicles his experience watching John Water’s ‘Pink Flamingos’ “ But it is also a film in which I find an esoteric beauty, a beauty so disgustingly and uniquely and undeniably queer. It is a film that preaches as doctrine a feeling with which I have long toiled — a feeling of filth — and chronicles with camp and crash violence its queer reclamation.” The defiant and vulgar content of John Waters’ filthy cinema provides a slice of queer freedom. John Waters and his movies have exalted filth to mainstream recognition. With Trash and Filth getting recognised as indispensable part of queer iconography in the west, the intent of this thesis is to recognise the role of a trash, camp, and filth as an integral part of Desi queer iconography.
To explain why we need to talk about filth, trash, and camp as important tenants of queer iconography, I’d like to talk about John Waters and his filthy filmography. In his article ‘‘Filth is my politics, filth is my life’: Rebuilding queer identity through Pink Flamingoes’ , Jude Jones (2022) chronicles his experience watching John Water’s ‘Pink Flamingos’ “ But it is also a film in which I find an esoteric beauty, a beauty so disgustingly and uniquely and undeniably queer. It is a film that preaches as doctrine a feeling with which I have long toiled — a feeling of filth — and chronicles with camp and crash violence its queer reclamation.” The defiant and vulgar content of John Waters’ filthy cinema provides a slice of queer freedom. John Waters and his movies have exalted filth to mainstream recognition. With Trash and Filth getting recognised as indispensable part of queer iconography in the west, the intent of this thesis is to recognise the role of a trash, camp, and filth as an integral part of Desi queer iconography.
To explain why we need to talk about filth, trash, and camp as important tenants of queer iconography, I’d like to talk about John Waters and his filthy filmography. In his article ‘‘Filth is my politics, filth is my life’: Rebuilding queer identity through Pink Flamingoes’ , Jude Jones (2022) chronicles his experience watching John Water’s ‘Pink Flamingos’ “ But it is also a film in which I find an esoteric beauty, a beauty so disgustingly and uniquely and undeniably queer. It is a film that preaches as doctrine a feeling with which I have long toiled — a feeling of filth — and chronicles with camp and crash violence its queer reclamation.” The defiant and vulgar content of John Waters’ filthy cinema provides a slice of queer freedom. John Waters and his movies have exalted filth to mainstream recognition. With Trash and Filth getting recognised as indispensable part of queer iconography in the west, the intent of this thesis is to recognise the role of a trash, camp, and filth as an integral part of Desi queer iconography.
Sridevi from a still of the song ‘Kaate Nahin Kat te’ from the movie 'Mr India' (1978)
Sridevi from a still of the song ‘Kaate Nahin Kat te’ from the movie 'Mr India' (1978)
This thesis looks at some of the aforementioned tenants while defining Rakhi as a ‘Desi queer icon’. This thesis uses Rakhi Sawant to illustrate why Filth, Trash, and camp is an integral parts of Desi queer iconography by defining her as a queer icon. Rakhi is an archetype of a celebrity that would be regarded as a ‘Queer Icon’ in the western media. While prestigious Bollywood actresses like Sridevi, Rekha, and Madhuri Dixit are regarded as Desi queer icons, Rakhi isn’t awarded the same recognition. “Her(Sridevi’s) predecessors like Meena Kumari and Rekha too have been widely worshipped by queer men, but for different reasons; and Madhuri Dixit, whose entry into the film industry overlapped with Sridevi’s triumphant stardom, also quickly became a parallel figure of a sensuous dancing star for the queer community.” Kaustav Bakshi writes for the Wire(2018)
This thesis looks at some of the aforementioned tenants while defining Rakhi as a ‘Desi queer icon’. This thesis uses Rakhi Sawant to illustrate why Filth, Trash, and camp is an integral parts of Desi queer iconography by defining her as a queer icon. Rakhi is an archetype of a celebrity that would be regarded as a ‘Queer Icon’ in the western media. While prestigious Bollywood actresses like Sridevi, Rekha, and Madhuri Dixit are regarded as Desi queer icons, Rakhi isn’t awarded the same recognition. “Her(Sridevi’s) predecessors like Meena Kumari and Rekha too have been widely worshipped by queer men, but for different reasons; and Madhuri Dixit, whose entry into the film industry overlapped with Sridevi’s triumphant stardom, also quickly became a parallel figure of a sensuous dancing star for the queer community.” Kaustav Bakshi writes for the Wire(2018)
This thesis looks at some of the aforementioned tenants while defining Rakhi as a ‘Desi queer icon’. This thesis uses Rakhi Sawant to illustrate why Filth, Trash, and camp is an integral parts of Desi queer iconography by defining her as a queer icon. Rakhi is an archetype of a celebrity that would be regarded as a ‘Queer Icon’ in the western media. While prestigious Bollywood actresses like Sridevi, Rekha, and Madhuri Dixit are regarded as Desi queer icons, Rakhi isn’t awarded the same recognition. “Her(Sridevi’s) predecessors like Meena Kumari and Rekha too have been widely worshipped by queer men, but for different reasons; and Madhuri Dixit, whose entry into the film industry overlapped with Sridevi’s triumphant stardom, also quickly became a parallel figure of a sensuous dancing star for the queer community.” Kaustav Bakshi writes for the Wire(2018)
Rakhi Sawant, prominent figure in the Indian entertainment, can aptly be characterised as embodying elements of both filth and campiness within her persona. Her audacious choices, such as adorning a little black dress adorned with photos of conservative Indian Prime Minister Narendra Modi, and transforming into a Desi Spider-Man in front of the Big Boss' house (the Indian spin-off of the reality show Big Brother), mark her as a figure embracing campy and filthy attributes. These instances, among others, contribute to her unique standing in the realm of celebrities and public figures.
Rakhi Sawant, prominent figure in the Indian entertainment, can aptly be characterised as embodying elements of both filth and campiness within her persona. Her audacious choices, such as adorning a little black dress adorned with photos of conservative Indian Prime Minister Narendra Modi, and transforming into a Desi Spider-Man in front of the Big Boss' house (the Indian spin-off of the reality show Big Brother), mark her as a figure embracing campy and filthy attributes. These instances, among others, contribute to her unique standing in the realm of celebrities and public figures.
Rakhi Sawant, prominent figure in the Indian entertainment, can aptly be characterised as embodying elements of both filth and campiness within her persona. Her audacious choices, such as adorning a little black dress adorned with photos of conservative Indian Prime Minister Narendra Modi, and transforming into a Desi Spider-Man in front of the Big Boss' house (the Indian spin-off of the reality show Big Brother), mark her as a figure embracing campy and filthy attributes. These instances, among others, contribute to her unique standing in the realm of celebrities and public figures.
Camp, Filth and Desi Queer narratives
Camp, Filth and Desi Queer narratives
1- Rakhi Sawant with images of conservative Indian Prime-Minister Narendra Modi plastered on her little black dress. 2- Rakhi dressed as Desi Spiderman. (Image courtesy Rakhi Sawant’s Instagram)
Rakhi Sawant with images of conservative Indian Prime-Minister Narendra Modi plastered on her little black dress.
There’s a subculture of queer community that worships the ‘Divas’. Rakhi Sawant fulfils the Diva quota for the Desi community. Sex and relationship therapist Joe Kort, in his article 'Diva Worship and Gay Men' (2012) for HuffPost, writes why the queer community is drawn to Divas. Kort suggests that queer people often live vicariously through these iconic figures who effortlessly captivate heterosexual men, providing a conduit for the imagination to place oneself in their position.
Rakhi Sawant fits into this mould of Diva worship. My introduction to Rakhi Sawant was through her performance in the 2005 ‘Item song’- 'Pardesiya' by DJ Hot. In this music video, Rakhi portrays a secretary who has a crush on her boss, eventually succeeding in making him fall in love with her. Moral ethics aside, Rakhi shoots her shot with the man that was unattainable to her. She was able to make him fall in love with her, despite the odds. For a Desi queer person, Rakhi’s video can be regarded as a medium to project one’s aspirations.
There’s a subculture of queer community that worships the ‘Divas’. Rakhi Sawant fulfils the Diva quota for the Desi community. Sex and relationship therapist Joe Kort, in his article 'Diva Worship and Gay Men' (2012) for HuffPost, writes why the queer community is drawn to Divas. Kort suggests that queer people often live vicariously through these iconic figures who effortlessly captivate heterosexual men, providing a conduit for the imagination to place oneself in their position.
Rakhi Sawant fits into this mould of Diva worship. My introduction to Rakhi Sawant was through her performance in the 2005 ‘Item song’- 'Pardesiya' by DJ Hot. In this music video, Rakhi portrays a secretary who has a crush on her boss, eventually succeeding in making him fall in love with her. Moral ethics aside, Rakhi shoots her shot with the man that was unattainable to her. She was able to make him fall in love with her, despite the odds. For a Desi queer person, Rakhi’s video can be regarded as a medium to project one’s aspirations.
There’s a subculture of queer community that worships the ‘Divas’. Rakhi Sawant fulfils the Diva quota for the Desi community. Sex and relationship therapist Joe Kort, in his article 'Diva Worship and Gay Men' (2012) for HuffPost, writes why the queer community is drawn to Divas. Kort suggests that queer people often live vicariously through these iconic figures who effortlessly captivate heterosexual men, providing a conduit for the imagination to place oneself in their position.
Rakhi Sawant fits into this mould of Diva worship. My introduction to Rakhi Sawant was through her performance in the 2005 ‘Item song’- 'Pardesiya' by DJ Hot. In this music video, Rakhi portrays a secretary who has a crush on her boss, eventually succeeding in making him fall in love with her. Moral ethics aside, Rakhi shoots her shot with the man that was unattainable to her. She was able to make him fall in love with her, despite the odds. For a Desi queer person, Rakhi’s video can be regarded as a medium to project one’s aspirations.
Queer People and Diva worship
Queer People and Diva worship
Left- Poster of the movie ‘Khoon Bhari Maang ‘ with Rakha as the lead protagonist. Right- A still of Rekha after transforming from ‘Aarti’ to ‘Jyoti’ from the movie (Image courtesy- Poster- IMDB, Still- Telegraph India)
Poster of the movie ‘Khoon Bhari Maang ‘ with Rakha as the lead protagonist
In the spectrum of Desi queer icons, another luminary figure that comes to the fore is Rekha. Let’s talk about her movie ‘Khoon Bhari Maang’ to talk about Diva iconography.
Khoon Bhari Maang showcases a strong female lead , who takes revenge from the person who wronged her. The narrative challenges patriarchy and a lead character that transforms from a damsel in distress to a Diva. The story depicts a widowed mother Aarti(Rekha), who transforms into a supermodel Jyoti, after receiving plastic surgery to reconstruct her face that was mauled by a crocodile. The story is campy and larger than life.
Aarti is a widowed mother with a big inheritance. This entices Sanjay, the bad guy, who wishes to inherit Aarti’s estate by marrying her, and then murdering her. Sanjay gains Aarti’s trust and eventually Marries her, just to murder her by shoving her to a hungry crocodile. As the Aarti’s dead-body isn’t found, the court decides to wait out seven years before declaring Aarti dead and handing over Aarti’s inheritance to Sanjay.
Also, Aarti has survived, but she’s disfigured by the crocodile attack. She vows to exact revenge on Sanjay, which she does by executing an extremely dramatic revenge plan. She gets plastic surgery to fix her disfigured face and become ‘beautiful’ and ‘unrecognisable’(She looks the same as before the crocodile incident), Changes her name to Jyoti, joins the same model agency as Sanjay’s lover, becomes a super-model, and makes Sanjay fall in love with her. Eventually, she feeds Sanjay to the same hungry crocodile that she was fed to, and re-unites with her children.
Rekha’s character is campy, over the top, and a strong woman who took charge of her narrative- someone who can be regarded as a Diva. While Aarti’s character is a damsel in distress, Jyoti is depicted as a glamarous, fashion-forward, dancing Diva. While Aarti got slaughtered by the confines of the society, Jyoti, the glamorous Diva took charge of her narrative by enticing the handsome man and then exacting revenge on patriarchy.
Additionally, Rekha’s character arc in the movie can be read as ‘queer coded’. Rekha’s character in the movie faces a myriad of adversities and comes out as a victor. Coming over adversities, denouncing patriarchy, and challenging the dominant narrative makes ‘Khoon Bhari Maang’ queer coded. To examine this tenant further, let’s talk about Rakhi Savant through the lens of the Bollywood movie ‘Mein Madhuri Dixit Bannaa Chahti Hoon’.
In the spectrum of Desi queer icons, another luminary figure that comes to the fore is Rekha. Let’s talk about her movie ‘Khoon Bhari Maang’ to talk about Diva iconography.
Khoon Bhari Maang showcases a strong female lead , who takes revenge from the person who wronged her. The narrative challenges patriarchy and a lead character that transforms from a damsel in distress to a Diva. The story depicts a widowed mother Aarti(Rekha), who transforms into a supermodel Jyoti, after receiving plastic surgery to reconstruct her face that was mauled by a crocodile. The story is campy and larger than life.
Aarti is a widowed mother with a big inheritance. This entices Sanjay, the bad guy, who wishes to inherit Aarti’s estate by marrying her, and then murdering her. Sanjay gains Aarti’s trust and eventually Marries her, just to murder her by shoving her to a hungry crocodile. As the Aarti’s dead-body isn’t found, the court decides to wait out seven years before declaring Aarti dead and handing over Aarti’s inheritance to Sanjay.
Also, Aarti has survived, but she’s disfigured by the crocodile attack. She vows to exact revenge on Sanjay, which she does by executing an extremely dramatic revenge plan. She gets plastic surgery to fix her disfigured face and become ‘beautiful’ and ‘unrecognisable’(She looks the same as before the crocodile incident), Changes her name to Jyoti, joins the same model agency as Sanjay’s lover, becomes a super-model, and makes Sanjay fall in love with her. Eventually, she feeds Sanjay to the same hungry crocodile that she was fed to, and re-unites with her children.
Rekha’s character is campy, over the top, and a strong woman who took charge of her narrative- someone who can be regarded as a Diva. While Aarti’s character is a damsel in distress, Jyoti is depicted as a glamarous, fashion-forward, dancing Diva. While Aarti got slaughtered by the confines of the society, Jyoti, the glamorous Diva took charge of her narrative by enticing the handsome man and then exacting revenge on patriarchy.
Additionally, Rekha’s character arc in the movie can be read as ‘queer coded’. Rekha’s character in the movie faces a myriad of adversities and comes out as a victor. Coming over adversities, denouncing patriarchy, and challenging the dominant narrative makes ‘Khoon Bhari Maang’ queer coded. To examine this tenant further, let’s talk about Rakhi Savant through the lens of the Bollywood movie ‘Mein Madhuri Dixit Bannaa Chahti Hoon’.
In the spectrum of Desi queer icons, another luminary figure that comes to the fore is Rekha. Let’s talk about her movie ‘Khoon Bhari Maang’ to talk about Diva iconography.
Khoon Bhari Maang showcases a strong female lead , who takes revenge from the person who wronged her. The narrative challenges patriarchy and a lead character that transforms from a damsel in distress to a Diva. The story depicts a widowed mother Aarti(Rekha), who transforms into a supermodel Jyoti, after receiving plastic surgery to reconstruct her face that was mauled by a crocodile. The story is campy and larger than life.
Aarti is a widowed mother with a big inheritance. This entices Sanjay, the bad guy, who wishes to inherit Aarti’s estate by marrying her, and then murdering her. Sanjay gains Aarti’s trust and eventually Marries her, just to murder her by shoving her to a hungry crocodile. As the Aarti’s dead-body isn’t found, the court decides to wait out seven years before declaring Aarti dead and handing over Aarti’s inheritance to Sanjay.
Also, Aarti has survived, but she’s disfigured by the crocodile attack. She vows to exact revenge on Sanjay, which she does by executing an extremely dramatic revenge plan. She gets plastic surgery to fix her disfigured face and become ‘beautiful’ and ‘unrecognisable’(She looks the same as before the crocodile incident), Changes her name to Jyoti, joins the same model agency as Sanjay’s lover, becomes a super-model, and makes Sanjay fall in love with her. Eventually, she feeds Sanjay to the same hungry crocodile that she was fed to, and re-unites with her children.
Rekha’s character is campy, over the top, and a strong woman who took charge of her narrative- someone who can be regarded as a Diva. While Aarti’s character is a damsel in distress, Jyoti is depicted as a glamarous, fashion-forward, dancing Diva. While Aarti got slaughtered by the confines of the society, Jyoti, the glamorous Diva took charge of her narrative by enticing the handsome man and then exacting revenge on patriarchy.
Additionally, Rekha’s character arc in the movie can be read as ‘queer coded’. Rekha’s character in the movie faces a myriad of adversities and comes out as a victor. Coming over adversities, denouncing patriarchy, and challenging the dominant narrative makes ‘Khoon Bhari Maang’ queer coded. To examine this tenant further, let’s talk about Rakhi Savant through the lens of the Bollywood movie ‘Mein Madhuri Dixit Bannaa Chahti Hoon’.
To illustrate the significance of Rakhi’s struggles as an important tenant to define queer iconography, let’s talk about western queer icons like Judy Garland. In his Article in Atlantic ‘Queen is dead’ Gross(2000) writes ”Judy was beaten up by life, embattled and ultimately had to become more masculine. She has the power that homosexuals would like to have, and they attempt to attain it by idolizing her.” I believe that Rakhi’s life’s struggles and underdog story creates her appeal to a desi queer audience.
To illustrate the significance of Rakhi’s struggles as an important tenant to define queer iconography, let’s talk about western queer icons like Judy Garland. In his Article in Atlantic ‘Queen is dead’ Gross(2000) writes ”Judy was beaten up by life, embattled and ultimately had to become more masculine. She has the power that homosexuals would like to have, and they attempt to attain it by idolizing her.” I believe that Rakhi’s life’s struggles and underdog story creates her appeal to a desi queer audience.
To illustrate the significance of Rakhi’s struggles as an important tenant to define queer iconography, let’s talk about western queer icons like Judy Garland. In his Article in Atlantic ‘Queen is dead’ Gross(2000) writes ”Judy was beaten up by life, embattled and ultimately had to become more masculine. She has the power that homosexuals would like to have, and they attempt to attain it by idolizing her.” I believe that Rakhi’s life’s struggles and underdog story creates her appeal to a desi queer audience.
Queer Coded Underdog Story
Queer Coded Underdog Story
To illustrate queer coding in underdog story, I’d like to talk about Bollywood movie ‘Mein Madhuri Dixit Banna Chahti hoon’. In the 2003 Bollywood movie, protagonist Chutki wishes to become a movie star, just like her idol- Madhuri Dixit. She leaves her orthodox small town for Mumbai with her best Friend Raja, under the pretence of a false marriage.
Chutki is resolute to becoming a star in the big city. She has to make compromises, like her physical appearance and choice of roles in hopes to make it in Bollywood. One such compromise is her first lead role in a movie, where she is cast apposite famous movie-star look-alikes instead of the real movie stars. It is implied that Chutki is filling in as a Madhuri Dixit look-alike. Chutki Does the movie, and is heart-broken with the unsavoury reception in the big-city. However, the movie does extremely well in smaller towns like her home-village itself. In this bittersweet moment, Chutki rejoices in her small win.
Chucki’s story in the movie can be seen queer coded. Chutki denounces partriarchy, Tires to find her identity in the big city, code switches her identity to be accepted in the big city. Plot points from Chutki’s story has parallels to queer narratives. In a lot of ways, Chutki’s underdog story mirrors the life story of Rakhi’s. Rakhi Sawant comes from humble means and a life of struggle. On Rajeev Khandelwal's talk show Juzz Baat(2019), she revealed how she and her brother would eat the leftovers. "My mother worked in the hospital and used to pick up the garbage strip there. We also had problems with eating and used to find leftover food.”
On Koffee With Karan (2007) she says that her family loves her, but they don’t love how bold(which can mean Vulgar in Indian context) and straightforward she is. Every queer person could relate to that story. Rakhi is, for a lack of a better term a ‘Video Vixen’ of 2000s, which is labelled as ‘Item Girl’ in India. Rakhi feeling that she’s not accepted by her family because of her identity feels like a queer coded narrative that makes case for Rakhi as a Desi queer icon.
To illustrate queer coding in underdog story, I’d like to talk about Bollywood movie ‘Mein Madhuri Dixit Banna Chahti hoon’. In the 2003 Bollywood movie, protagonist Chutki wishes to become a movie star, just like her idol- Madhuri Dixit. She leaves her orthodox small town for Mumbai with her best Friend Raja, under the pretence of a false marriage.
Chutki is resolute to becoming a star in the big city. She has to make compromises, like her physical appearance and choice of roles in hopes to make it in Bollywood. One such compromise is her first lead role in a movie, where she is cast apposite famous movie-star look-alikes instead of the real movie stars. It is implied that Chutki is filling in as a Madhuri Dixit look-alike. Chutki Does the movie, and is heart-broken with the unsavoury reception in the big-city. However, the movie does extremely well in smaller towns like her home-village itself. In this bittersweet moment, Chutki rejoices in her small win.
Chucki’s story in the movie can be seen queer coded. Chutki denounces partriarchy, Tires to find her identity in the big city, code switches her identity to be accepted in the big city. Plot points from Chutki’s story has parallels to queer narratives. In a lot of ways, Chutki’s underdog story mirrors the life story of Rakhi’s. Rakhi Sawant comes from humble means and a life of struggle. On Rajeev Khandelwal's talk show Juzz Baat(2019), she revealed how she and her brother would eat the leftovers. "My mother worked in the hospital and used to pick up the garbage strip there. We also had problems with eating and used to find leftover food.”
On Koffee With Karan (2007) she says that her family loves her, but they don’t love how bold(which can mean Vulgar in Indian context) and straightforward she is. Every queer person could relate to that story. Rakhi is, for a lack of a better term a ‘Video Vixen’ of 2000s, which is labelled as ‘Item Girl’ in India. Rakhi feeling that she’s not accepted by her family because of her identity feels like a queer coded narrative that makes case for Rakhi as a Desi queer icon.
To illustrate queer coding in underdog story, I’d like to talk about Bollywood movie ‘Mein Madhuri Dixit Banna Chahti hoon’. In the 2003 Bollywood movie, protagonist Chutki wishes to become a movie star, just like her idol- Madhuri Dixit. She leaves her orthodox small town for Mumbai with her best Friend Raja, under the pretence of a false marriage.
Chutki is resolute to becoming a star in the big city. She has to make compromises, like her physical appearance and choice of roles in hopes to make it in Bollywood. One such compromise is her first lead role in a movie, where she is cast apposite famous movie-star look-alikes instead of the real movie stars. It is implied that Chutki is filling in as a Madhuri Dixit look-alike. Chutki Does the movie, and is heart-broken with the unsavoury reception in the big-city. However, the movie does extremely well in smaller towns like her home-village itself. In this bittersweet moment, Chutki rejoices in her small win.
Chucki’s story in the movie can be seen queer coded. Chutki denounces partriarchy, Tires to find her identity in the big city, code switches her identity to be accepted in the big city. Plot points from Chutki’s story has parallels to queer narratives. In a lot of ways, Chutki’s underdog story mirrors the life story of Rakhi’s. Rakhi Sawant comes from humble means and a life of struggle. On Rajeev Khandelwal's talk show Juzz Baat(2019), she revealed how she and her brother would eat the leftovers. "My mother worked in the hospital and used to pick up the garbage strip there. We also had problems with eating and used to find leftover food.”
On Koffee With Karan (2007) she says that her family loves her, but they don’t love how bold(which can mean Vulgar in Indian context) and straightforward she is. Every queer person could relate to that story. Rakhi is, for a lack of a better term a ‘Video Vixen’ of 2000s, which is labelled as ‘Item Girl’ in India. Rakhi feeling that she’s not accepted by her family because of her identity feels like a queer coded narrative that makes case for Rakhi as a Desi queer icon.
Left- Antara Mali on the poster of the movie ‘Main Madhuri Dixit Banna Chahti Hoon’ . Right- A still with Antara Mali (Chutki) and Rajpal Yadav (Raja) from ‘Main Madhuri Dixit Banna Chahti Hoon’( Image courtesy- Poster- IMDB , Still- Shemaroo Telugu, Youtube)
Antara Mali on the poster of the movie ‘Main Madhuri Dixit Banna Chahti Hoon’
While Rakhi Sawant is celebrated for her eccentric persona, it's crucial to acknowledge her entanglement in controversies. Her problematic behaviour spans a spectrum, from donning box braids, a protective black hairstyle, to using derogatory terms like 'Eunuchs' to refer to queer individuals, while suggesting the use of her sponsored condoms for HIV prevention (misusing the term AIDS). In a reductive portrayal in the 2000 Bollywood movie 'Masti,' Rakhi depicted a trans sex worker using a male urinal and a deep voice, perpetuating harmful stereotypes. The very qualities that contribute to Rakhi's status as a queer icon can also render her a persona non grata when pushed to extremes.
While Rakhi Sawant is celebrated for her eccentric persona, it's crucial to acknowledge her entanglement in controversies. Her problematic behaviour spans a spectrum, from donning box braids, a protective black hairstyle, to using derogatory terms like 'Eunuchs' to refer to queer individuals, while suggesting the use of her sponsored condoms for HIV prevention (misusing the term AIDS). In a reductive portrayal in the 2000 Bollywood movie 'Masti,' Rakhi depicted a trans sex worker using a male urinal and a deep voice, perpetuating harmful stereotypes. The very qualities that contribute to Rakhi's status as a queer icon can also render her a persona non grata when pushed to extremes.
While Rakhi Sawant is celebrated for her eccentric persona, it's crucial to acknowledge her entanglement in controversies. Her problematic behaviour spans a spectrum, from donning box braids, a protective black hairstyle, to using derogatory terms like 'Eunuchs' to refer to queer individuals, while suggesting the use of her sponsored condoms for HIV prevention (misusing the term AIDS). In a reductive portrayal in the 2000 Bollywood movie 'Masti,' Rakhi depicted a trans sex worker using a male urinal and a deep voice, perpetuating harmful stereotypes. The very qualities that contribute to Rakhi's status as a queer icon can also render her a persona non grata when pushed to extremes.
Problomatic Queer Icons
Problomatic Queer Icons
Azealia Banks is a celebrity who is hailed as a queer icon in the western media regardless of her problematic behaviour. on November 8th 2023, Azealia Banks shared instagram stories that made some unsavoury comments about queer pop-star Troye Sivan that can be deemed as hate speech against a queer person, or homophobic. In his video on Spotify's official TikTok account, Sivan(2023) mentioned his “go-to pregame banger” is “Probably 212 by Azealia Banks. ” This seemingly benign comment irked Azealia Banks, who proceeded to berate him with homophobic comments and extreme remarks on her instagram stories.
“And your a late condescending expired Twink anyway bitch. We’ve been past 212. Trying ur hardest to old on to the fucking weak ass pedophilia x incest aesthetic - perpetuating that underlying double standard that somehow pedophilia practiced amongst men is somehow okay… that fuelled ur trash ass music in the first place.” Azalea Banks’ comments as reported on Out.com by Mey Rude(2023) on her article “Azealia Banks Attacked Troye Sivan Online After He Praised ‘212' ”. With comments this seemingly Homophobic and crass, why is Azelia Banks deemed as a queer icon by some people ?
Jacob Gamble(2022) in Sydney Morning Herald article “Why Azealia Banks is the toxic lover I keep returning to” Opines on why do queer people hail Azealia as a queer icon, regardless of her problematic behaviour. “ Part of Banks’ appeal comes from her unique sound, never prone to trends and unable to be boxed into a single genre. For someone who has expressed views that are openly homophobic and transphobic, her music has been a surprising staple of queer party playlists. Its crude discussions of sex, snappy lyrics that fly effortlessly off the tongue, and a beat that makes you feel viciously powerful resonate with a promiscuous and unashamed culture. Her references to high fashion and luxurious living embody the aspirations of many queer people. “
The parts of trash, camp and filth that make Azaelia Banks a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits. She serves as an archetype of a person that would be recognised as a queer icon in the west, regardless of her problematic behaviour in past. Having said that, imbibing stature of a queer icon to a celebrity doesn’t absolve them from their problematic behaviour.
Azealia Banks is a celebrity who is hailed as a queer icon in the western media regardless of her problematic behaviour. on November 8th 2023, Azealia Banks shared instagram stories that made some unsavoury comments about queer pop-star Troye Sivan that can be deemed as hate speech against a queer person, or homophobic. In his video on Spotify's official TikTok account, Sivan(2023) mentioned his “go-to pregame banger” is “Probably 212 by Azealia Banks. ” This seemingly benign comment irked Azealia Banks, who proceeded to berate him with homophobic comments and extreme remarks on her instagram stories.
“And your a late condescending expired Twink anyway bitch. We’ve been past 212. Trying ur hardest to old on to the fucking weak ass pedophilia x incest aesthetic - perpetuating that underlying double standard that somehow pedophilia practiced amongst men is somehow okay… that fuelled ur trash ass music in the first place.” Azalea Banks’ comments as reported on Out.com by Mey Rude(2023) on her article “Azealia Banks Attacked Troye Sivan Online After He Praised ‘212' ”. With comments this seemingly Homophobic and crass, why is Azelia Banks deemed as a queer icon by some people ?
Jacob Gamble(2022) in Sydney Morning Herald article “Why Azealia Banks is the toxic lover I keep returning to” Opines on why do queer people hail Azealia as a queer icon, regardless of her problematic behaviour. “ Part of Banks’ appeal comes from her unique sound, never prone to trends and unable to be boxed into a single genre. For someone who has expressed views that are openly homophobic and transphobic, her music has been a surprising staple of queer party playlists. Its crude discussions of sex, snappy lyrics that fly effortlessly off the tongue, and a beat that makes you feel viciously powerful resonate with a promiscuous and unashamed culture. Her references to high fashion and luxurious living embody the aspirations of many queer people. “
The parts of trash, camp and filth that make Azaelia Banks a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits. She serves as an archetype of a person that would be recognised as a queer icon in the west, regardless of her problematic behaviour in past. Having said that, imbibing stature of a queer icon to a celebrity doesn’t absolve them from their problematic behaviour.
Azealia Banks is a celebrity who is hailed as a queer icon in the western media regardless of her problematic behaviour. on November 8th 2023, Azealia Banks shared instagram stories that made some unsavoury comments about queer pop-star Troye Sivan that can be deemed as hate speech against a queer person, or homophobic. In his video on Spotify's official TikTok account, Sivan(2023) mentioned his “go-to pregame banger” is “Probably 212 by Azealia Banks. ” This seemingly benign comment irked Azealia Banks, who proceeded to berate him with homophobic comments and extreme remarks on her instagram stories.
“And your a late condescending expired Twink anyway bitch. We’ve been past 212. Trying ur hardest to old on to the fucking weak ass pedophilia x incest aesthetic - perpetuating that underlying double standard that somehow pedophilia practiced amongst men is somehow okay… that fuelled ur trash ass music in the first place.” Azalea Banks’ comments as reported on Out.com by Mey Rude(2023) on her article “Azealia Banks Attacked Troye Sivan Online After He Praised ‘212' ”. With comments this seemingly Homophobic and crass, why is Azelia Banks deemed as a queer icon by some people ?
Jacob Gamble(2022) in Sydney Morning Herald article “Why Azealia Banks is the toxic lover I keep returning to” Opines on why do queer people hail Azealia as a queer icon, regardless of her problematic behaviour. “ Part of Banks’ appeal comes from her unique sound, never prone to trends and unable to be boxed into a single genre. For someone who has expressed views that are openly homophobic and transphobic, her music has been a surprising staple of queer party playlists. Its crude discussions of sex, snappy lyrics that fly effortlessly off the tongue, and a beat that makes you feel viciously powerful resonate with a promiscuous and unashamed culture. Her references to high fashion and luxurious living embody the aspirations of many queer people. “
The parts of trash, camp and filth that make Azaelia Banks a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits. She serves as an archetype of a person that would be recognised as a queer icon in the west, regardless of her problematic behaviour in past. Having said that, imbibing stature of a queer icon to a celebrity doesn’t absolve them from their problematic behaviour.
Left- Still of Azealia Banks from music video ‘212’. Right- Troy Sivan in the album art of his 2023 album ‘Something to give each-other ’(Images. left- Azealia Banks- 212 music video, YouTube. Right- ‘Something to give each-other’ Album art )
Still of Azealia Banks from music video ‘212’
The parts of trash, camp and filth that make Rakhi Sawant a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits. She serves as an archetype of a person that would be recognised as a queer icon in the west, regardless of her problematic behaviour in past. Having said that, imbibing stature of a queer icon to a celebrity doesn’t absolve them from their problematic behaviour.
The thesis built case for Rakhi Sawant as a queer icon. We started by analysing the camp and filth in Rakhi’s life and career. We illustrated why queer people are drawn towards Divas like Rakhi Sawant. We showcased why Rakhi’s struggle and underdog story makes her relatable to the queer community. We also looked at how Rakhi taking her trashy and filthy behaviour too far can possibly allude you from the pedestal of a queer icon.
The thesis also showcases how all of these tenants that define a queer icon have inherent proclivity and proximity to camp, filth and trash. The thesis wishes to open a conversation about role of filth, camp and trash in Desi queer iconography. The intention of the thesis isn’t to exhaust Rakhi Sawant as a Desi queer icon, but to provide with a toolkit to identify a desi queer icon. Thus, the thesis advises to not discount trash, camp and filth when looking for Desi Queer Iconography.
The parts of trash, camp and filth that make Azaelia Banks a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits.
The parts of trash, camp and filth that make Rakhi Sawant a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits. She serves as an archetype of a person that would be recognised as a queer icon in the west, regardless of her problematic behaviour in past. Having said that, imbibing stature of a queer icon to a celebrity doesn’t absolve them from their problematic behaviour.
The thesis built case for Rakhi Sawant as a queer icon. We started by analysing the camp and filth in Rakhi’s life and career. We illustrated why queer people are drawn towards Divas like Rakhi Sawant. We showcased why Rakhi’s struggle and underdog story makes her relatable to the queer community. We also looked at how Rakhi taking her trashy and filthy behaviour too far can possibly allude you from the pedestal of a queer icon.
The thesis also showcases how all of these tenants that define a queer icon have inherent proclivity and proximity to camp, filth and trash. The thesis wishes to open a conversation about role of filth, camp and trash in Desi queer iconography. The intention of the thesis isn’t to exhaust Rakhi Sawant as a Desi queer icon, but to provide with a toolkit to identify a desi queer icon. Thus, the thesis advises to not discount trash, camp and filth when looking for Desi Queer Iconography.
The parts of trash, camp and filth that make Azaelia Banks a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits.
The parts of trash, camp and filth that make Rakhi Sawant a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits. She serves as an archetype of a person that would be recognised as a queer icon in the west, regardless of her problematic behaviour in past. Having said that, imbibing stature of a queer icon to a celebrity doesn’t absolve them from their problematic behaviour.
The thesis built case for Rakhi Sawant as a queer icon. We started by analysing the camp and filth in Rakhi’s life and career. We illustrated why queer people are drawn towards Divas like Rakhi Sawant. We showcased why Rakhi’s struggle and underdog story makes her relatable to the queer community. We also looked at how Rakhi taking her trashy and filthy behaviour too far can possibly allude you from the pedestal of a queer icon.
The thesis also showcases how all of these tenants that define a queer icon have inherent proclivity and proximity to camp, filth and trash. The thesis wishes to open a conversation about role of filth, camp and trash in Desi queer iconography. The intention of the thesis isn’t to exhaust Rakhi Sawant as a Desi queer icon, but to provide with a toolkit to identify a desi queer icon. Thus, the thesis advises to not discount trash, camp and filth when looking for Desi Queer Iconography.
The parts of trash, camp and filth that make Azaelia Banks a queer icon are the same that make her problomatic when taken to extreme. Just like Azaelia Banks, Rakhi Sawant can also be placed under the same magnifying glass and questioned for her past actions and problematic behaviour. The intent of this thesis is not to Absolve Rakhi Savant of her flaws and problematic behaviour. The intent is to recognise how camp, filth, and trash are integral parts of Desi queer iconography, and how Rakhi Sawant happens to be the embodiment of all those traits.
Conclusion
Conclusion
Acknowledgements
This thesis was written as part of Gaurav Sharma’s 2023 Graduate Showcase for MA Illustration and Media at London College of Communication, UAL. Special thanks to MA IVM Tutors- YiMiao Shih . Juliet Sugg . Harriet Hedden . Hamish Cohan . Emily Woolley . Alice Wilson . James Irwin. Damien Roach.
Acknowledgements
This thesis was written as part of Gaurav Sharma’s 2023 Graduate Showcase for MA Illustration and Media at London College of Communication, UAL. Special thanks to MA IVM Tutors- YiMiao Shih . Juliet Sugg . Harriet Hedden . Hamish Cohan . Emily Woolley . Alice Wilson . James Irwin. Damien Roach.
Acknowledgements
This thesis was written as part of Gaurav Sharma’s 2023 Graduate Showcase for MA Illustration and Media at London College of Communication, UAL. Special thanks to MA IVM Tutors- YiMiao Shih . Juliet Sugg . Harriet Hedden . Hamish Cohan . Emily Woolley . Alice Wilson . James Irwin. Damien Roach.
To illustrate how Camp and Filth are an integral part of queer iconography, one could to talk about the movie ‘Joyland’. Joyland is an art-house drama that uses ‘Filth’ to provide context for the queer South-Asian narrative.
To illustrate how Camp and Filth are an integral part of queer iconography, one could to talk about the movie ‘Joyland’. Joyland is an art-house drama that uses ‘Filth’ to provide context for the queer South-Asian narrative.
To illustrate how Camp and Filth are an integral part of queer iconography, one could to talk about the movie ‘Joyland’. Joyland is an art-house drama that uses ‘Filth’ to provide context for the queer South-Asian narrative.
"Joyland" (2022), a Pakistani film directed by Saim Sadiq, delves into the realms of Diva culture, Filth, and sexual identity within its narrative. The storyline centres around the protagonist, Haider, and his heteronormative joint family residing in Lahore. Haider's life takes a complex turn when he falls in love with the Trans Starlet, Biba. This complicates Haider’s sexless marriage with Mumtaz. The backdrop of this affair is Mumtaz’s yearning to be desired by a man. The movie showcases Haider’s lack of sexual attraction towards Mumtaz, Haider’s Dad’s unmet sexual desires in his old age, Haider’s wife unmet sexual desires resulting her to voyeuring men, to Haider’s own sexual discovery. The movie is a tapestry of unmet needs and repressed sexual identity of Haider’s family.
The narrative of sexual awakening and identity is speckled visuals that can be described as ‘Filth’ in Desi context. By ‘Filth’ I wish to refer to non- prestige forms of Desi media.
This can be an ‘Item song’(Sexually suggestive music videos),a ‘B-Grade movie’(vulgar, explicit or sexual suggestive movie) or a reality show. These forms of media might not be regarded as filth in western media, but are seen as filth in Desi media.
In the movie, Biba, the starlet who dances in the theatre wishes to create a performance. She takes Haider’s advice to do a dance number that mimics western music videos. Biba’s rival also performs a number where she’s wearing a costume with a heart cut-out on her behind. The movie seems to be self aware when it uses ‘Filth’ in its storytelling. It uses ‘Filth’ as motif to provide context for the queer South-Asian narrative.
To understand the the importance of filth in Desi queer context, let’s talk about queer relevance of filth and trash in western media, particularly John Waters’ 1988 movie Hairspray. “ Growing up in South Africa in the ‘90s, it was that perfect meld of racial integration and camp, that a gay boy like me could just eat up. But his filth, absurdity, and sense of seeing things from a different perspective felt ever-present in my smutty way of being in the world. And ever-commenting, like Waters, I was also a “minority who cannot fit in with their own minority.” Daniel Scheffler(2022) chronicles his experience watching Hairspray for Spin.com in his article ‘The Elder of Filth: Our John Waters Interview’.
'Item songs’ and filth getting recognised in a an art-house movie like ‘Joyland’ can be seen as reclamation of filth and camp in Desi queer narratives. Rakhi’s celebrity and career does encapsulate these campy and filthy tropes, which help us build Rakhi’s case as a Desi queer icon.
"Joyland" (2022), a Pakistani film directed by Saim Sadiq, delves into the realms of Diva culture, Filth, and sexual identity within its narrative. The storyline centres around the protagonist, Haider, and his heteronormative joint family residing in Lahore. Haider's life takes a complex turn when he falls in love with the Trans Starlet, Biba. This complicates Haider’s sexless marriage with Mumtaz. The backdrop of this affair is Mumtaz’s yearning to be desired by a man. The movie showcases Haider’s lack of sexual attraction towards Mumtaz, Haider’s Dad’s unmet sexual desires in his old age, Haider’s wife unmet sexual desires resulting her to voyeuring men, to Haider’s own sexual discovery. The movie is a tapestry of unmet needs and repressed sexual identity of Haider’s family.
The narrative of sexual awakening and identity is speckled visuals that can be described as ‘Filth’ in Desi context. By ‘Filth’ I wish to refer to non- prestige forms of Desi media.
This can be an ‘Item song’(Sexually suggestive music videos),a ‘B-Grade movie’(vulgar, explicit or sexual suggestive movie) or a reality show. These forms of media might not be regarded as filth in western media, but are seen as filth in Desi media.
In the movie, Biba, the starlet who dances in the theatre wishes to create a performance. She takes Haider’s advice to do a dance number that mimics western music videos. Biba’s rival also performs a number where she’s wearing a costume with a heart cut-out on her behind. The movie seems to be self aware when it uses ‘Filth’ in its storytelling. It uses ‘Filth’ as motif to provide context for the queer South-Asian narrative.
To understand the the importance of filth in Desi queer context, let’s talk about queer relevance of filth and trash in western media, particularly John Waters’ 1988 movie Hairspray. “ Growing up in South Africa in the ‘90s, it was that perfect meld of racial integration and camp, that a gay boy like me could just eat up. But his filth, absurdity, and sense of seeing things from a different perspective felt ever-present in my smutty way of being in the world. And ever-commenting, like Waters, I was also a “minority who cannot fit in with their own minority.” Daniel Scheffler(2022) chronicles his experience watching Hairspray for Spin.com in his article ‘The Elder of Filth: Our John Waters Interview’.
'Item songs’ and filth getting recognised in a an art-house movie like ‘Joyland’ can be seen as reclamation of filth and camp in Desi queer narratives. Rakhi’s celebrity and career does encapsulate these campy and filthy tropes, which help us build Rakhi’s case as a Desi queer icon.
"Joyland" (2022), a Pakistani film directed by Saim Sadiq, delves into the realms of Diva culture, Filth, and sexual identity within its narrative. The storyline centres around the protagonist, Haider, and his heteronormative joint family residing in Lahore. Haider's life takes a complex turn when he falls in love with the Trans Starlet, Biba. This complicates Haider’s sexless marriage with Mumtaz. The backdrop of this affair is Mumtaz’s yearning to be desired by a man. The movie showcases Haider’s lack of sexual attraction towards Mumtaz, Haider’s Dad’s unmet sexual desires in his old age, Haider’s wife unmet sexual desires resulting her to voyeuring men, to Haider’s own sexual discovery. The movie is a tapestry of unmet needs and repressed sexual identity of Haider’s family.
The narrative of sexual awakening and identity is speckled visuals that can be described as ‘Filth’ in Desi context. By ‘Filth’ I wish to refer to non- prestige forms of Desi media.
This can be an ‘Item song’(Sexually suggestive music videos),a ‘B-Grade movie’(vulgar, explicit or sexual suggestive movie) or a reality show. These forms of media might not be regarded as filth in western media, but are seen as filth in Desi media.
In the movie, Biba, the starlet who dances in the theatre wishes to create a performance. She takes Haider’s advice to do a dance number that mimics western music videos. Biba’s rival also performs a number where she’s wearing a costume with a heart cut-out on her behind. The movie seems to be self aware when it uses ‘Filth’ in its storytelling. It uses ‘Filth’ as motif to provide context for the queer South-Asian narrative.
To understand the the importance of filth in Desi queer context, let’s talk about queer relevance of filth and trash in western media, particularly John Waters’ 1988 movie Hairspray. “ Growing up in South Africa in the ‘90s, it was that perfect meld of racial integration and camp, that a gay boy like me could just eat up. But his filth, absurdity, and sense of seeing things from a different perspective felt ever-present in my smutty way of being in the world. And ever-commenting, like Waters, I was also a “minority who cannot fit in with their own minority.” Daniel Scheffler(2022) chronicles his experience watching Hairspray for Spin.com in his article ‘The Elder of Filth: Our John Waters Interview’.
'Item songs’ and filth getting recognised in a an art-house movie like ‘Joyland’ can be seen as reclamation of filth and camp in Desi queer narratives. Rakhi’s celebrity and career does encapsulate these campy and filthy tropes, which help us build Rakhi’s case as a Desi queer icon.
A still of Haider and Biba from the movie (Image source- Amazon Prime)
A still of Haider and Biba from the movie (Image source- Amazon Prime)
A still of Haider and Biba from the movie (Image source- Amazon Prime)
Gaurav Vikalp
Gaurav Vikalp
Gaurav Vikalp
A physical folding pamphlet designed as a takeaway for anyone to read. The pamphlet folds out into a Rakhi Sawant poster. Print your's from here
A physical folding pamphlet designed as a takeaway for anyone to read. The pamphlet folds out into a Rakhi Sawant poster.
Why Is Rakhi
Sawant a Desi
Queer Icon
Why Is Rakhi
Sawant a Desi
Queer Icon