In Gautam Benegal's hands, however, this scene is turned into a humorous commentary of our contemporary socio-political scenario
Pics/Gautam Benegal
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The setting of Gautam Benegal's A1 Chiken Sope cartoons is largely familiar to those who get their meat from the local market. The air is thick with down feathers, and dismembered bits of chicken scattered about, with butchers being none too fussy about our sensitive nerves. In Benegal's hands, however, this scene is turned into a humorous commentary of our contemporary socio-political scenario.
A1 Chiken Sope series, where we meet a butcher named Salim Bhai and his rather chatty coop of chicken, has been one of Benegal's longest series. The National Award-winning animation filmmaker and cartoon first invented A1 Chiken Sope in 2006 for the supplement of a newspaper, after a bird flu scare, when people had stopped consuming chicken. The poultry business was evidently suffering. A minister smuggled in a tandoori chicken leg into the Lok Sabha, and started eating it to prove that it was perfectly safe. "I drew a cartoon of a chicken shop where one bird boasts to another, showing the headlines, 'Hey guys check this out, my second cousin, twice removed, made it to the Lok Sabha'," says Benegal, 52. In 2009 A1 Chiken Sope found more takers, the year when Benegal joined Facebook.
Having made nearly a thousand cartoons in this series, he says, "On social media, you can post a rough sketch and it becomes a mass pool of conversation with several people contributing to it, which is not the case with mainstream media," he says. The chicken, or chiken as Salim Bhai's shop terms them, play the role of both the naive public and the court jester. In one cartoon, the chicken bid adieu to their former coop-mate, bundled in a black bag, as Salim Bhai hands it over to a customer. "There goes Sonu... recruited into the militia," says one hen. "The chicken's work is to get slaughtered. They are a captive population, but a large percentage is happy at being kept. There is a person who is their benefactor, and is selling them out. We are all chicken," he says, adding, "There is an existential angle to this. The only way to escape is to stop being chicken," he says.
About 35 of these cartoons will be shown at Chemould Prescott Road, Fort, starting May 25, for 10 days. You may want to pay close attention to Benegal's caricatures, where the strength of these cartoons lies. Rather than state the obvious visually, Benegal thrives on allusions and references. Everything is an open secret. "I draw a lot from the earlier part of the century, when cartoons were couched in symbolism and stylised references. The latter is true in my case — it's like guerrilla warfare. You won't be able to put your finger on it, but everybody knows and everybody smiles about what they are seeing," says the cartoonist, whose first brush with the art was as a 15-year-old with Satyajit Ray's children's magazine, Sandesh.
There is a certain rawness to them, with a lack of standardisation that we may see with daily cartoons in mainstream media. And Benegal is not interested in polishing them up either. His taste in cartoons, for that matter, is very James Thurber, the American cartoonist who was featured regularly in The New Yorker, and the late Abu Abraham, whose worked for several publications, including Punch and The Observer. "We are used to a very gentle form of cartooning in India, be it themes or visuals. I wanted A1 Chiken Sope to be very ad hoc, much like how politics in India is," he says.
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