#haresh sharma

[silkpunk]

I don’t want a silent revolution… I don’t want a nudge-nudge revolution - oh, he’s wearing a rainbow cap, oh, she’s got a rainbow badge, nudge nudge… We’ve been nudge nudging all our lives. We wanna come out, well, let’s come out… Let’s march, let’s change mindsets, let’s change legislation. I wanna be open. I wanna be clear. Silence is over.

Haresh Sharma, “Mardi Gras”, Abuse Suxxx!!! and Other Plays

[silkpunk]

You know, I spend every single moment of my life doing things "by the book". I go to work and I am told to do things "by the book". Read. Follow the auto prompter. Not too happy. Not too sad. And now... I'm involved in this... a celebration... of us, of difference... can we for once in this fucked up, dyke-hating, godforsaken hell-hole... can we for once, NOT do it by the book.

Haresh Sharma, “Mardi Gras”, Abuse Suxxx!!! and Other Plays

[silkpunk]

Labels. Labels, labels, labels. That's all I get from you gay people. Everyone must fit into your categories, your little boxes. Butch, femme, straight-acting, top, bottom... ALL LITTLE BOXES. Well, excuse me, honey, but I am not going to live in any box, let alone a little one. Boys and girls, welcome to the age of PANSEXUALITY.

Haresh Sharma, “Mardi Gras”, Abuse Suxxx!!! and Other Plays

[thesilverveneer-blog]

As far as work is concerned, we have come a long way from the elite of ancient Greece who had held it in contempt (they had an underclass and their slaves to toil for them). . Read more at straitstimes.com.

One of the best things about literature I guess is how it really challenges your worldview and highlights new perspectives. 

Teaching Haresh Sharma’s Off Centre has really taught me to be much more mindful about those who are mentally ill in our society. Which I guess is strange considering that I’m not totally new to this idea of mental illnesses or mental sufferings. But that’s an idea that Sharma does explore as well - that even though with mental illnesses have preconceived notions towards others who suffer too. 

I guess it’s inevitable when you consider the fact that there are many different types of illnesses with different causes and triggers and it’s never ever quite the same for anyone - so it’s extremely complex and very isolating for anyone who suffers from it. 

Our society still suffers from the mindset where we like to keep these things hushed up, anyone with the illness is avoided and seen to be crazy and people still think it’s shameful. How strange, that one this same planet there are people who see their therapists weekly in other countries.

Much more can be done, but at least such articles are a good start and there is a growing awareness. And much more work needs to be done on my own part too, because when will we really be comfortable and well-equipped to interact with those who are vastly different from us?

[sglit2013-blog]

Off Centre by Haresh Sharma

SALOMA: ...they laugh because we are mental patient, off centre...

VINOD: Off centre? Where did you pick that up from?

SALOMA: [points to the audience] They.

VINOD: [to audience] Did you use that word? [to Saloma] No, see, they say no.

SALOMA: OK, not them, but their brother, their sister, their children, father, mother, friend. Maybe they never say, but they also never scold people who say.

VINOD: Saloma, we are not off centre. We are very centre. We are the core. We are right on target, on the dot, the arrow that slices the apple.

Haresh Sharma’s play, Off Centre touches on the issue of mental illness. The characters Saloma and Vinod are regarded ‘off centre’ as they are ex-mental patients, struggling with social stigma, marginalisation and mistreatment. Sharma confronts the audience directly as seen in the excerpt above where Saloma refers to the audience as ‘normal’ people or ‘centre’, drawing a fine line between the ‘normal’ people and the mentally ill. Vinod’s friends also treated him differently when he went to enrol back into school.

The plot follows a non-traditional, non-linear timeline which I felt was important in this play as it provides the audience with flashbacks of the past eg. the factors leading to Vinod’s breakdown in the army and also the high expectations set by his parents and also himself. Today, some parents still put too much pressure on their kids to achieve and succeed in the ever-competitive society. Too much stress will eventually lead to a mental breakdown.

Additional characters in the play are also important in developing the main characters, Saloma and Vinod, and their experiences with mental illness.

MAK: He is mad. He go to Woodbridge.

SALOMA: I also go Woodbridge-

MAK:-You are not mad-

SALOMA: -And try to kill myself-

MAK: -You are not mad-

SALOMA: -And my hand tremble-

MAK: -YOU ARE NOT MAD!!! YOU ARE MY DAUGHTER! You are mine. You are me...

Saloma’s mother is overprotective of her daughter and refused to believe that her daughter is mad. Despite the fact that her daughter has schizophrenia, she did not want Saloma to take the medicine. Family members of the mentally ill tend to experience social stigma too. These social stigmas that people associate with the mentally ill are one of the main reason why they refused to seek treatment. Even ex-mental patients are treated differently in society as job application forms ask for one’s past mental illness history. As a result, Saloma never got several jobs that she applied for. Vinod too got fired from his job when his boss found out that he was an ex-patient.

Local references such as the void deck, which is an important shared space in the play where Vinod and Saloma met and spoke without the stare of normal people, allows the audience to relate. The use of local languages, such as Malay and Singlish, brings the subject more closer to home and highlights the fact the mentally ill are amongst us here in Singapore and are no different. They desire for - love, freedom, safety, the right to work and live their lives, acceptance of loves ones and society - just like everyone else. Despite so, they still struggle with discrimination and stigma.

MAK: Everybody say I am strong. See her husband die so young. Her daughter become mad. But she still so strong. Mak jaga Saloma. Mak jaga bapak Saloma. Siapa jaga mak. Siapa?

Translation: “Who will look after me?” The question asked in Malay had an agonising tone, which I feel might not be as impactful if it was said in English.

Sharma did not portray a rosy picture of ‘happily ever after’ in the play with Vinod committing suicide to produce a larger impact on the audience. I believe that his goal is to give the audience a wake up call on our actions/inactions that may possibly lead to a loss of life. Vinod needed support from his family which he never got. When Razali, the security guard at Vinod’s block, was absent during the robbery, Vinod felt that he could not trust Razali or anyone to protect him anymore. On the other hand, Saloma’s transformation in the play are mainly due to the three characters - her mum, Emily and Vinod. She became more determined to cure her mental illness and have the courage to integrate back into the society. This shows that peer acceptance and family support are important in one’s mental well-being.