Nicole T. Walters and Prasanta Verma were both raised in the Southern United States but have ties to South Asia. Nicole fell in love with classical Indian dance and then Mother India herself through social work in the country. She and her family spent two years in Bangladesh working with a nonprofit. Prasanta’s roots are in India. She was born under an Asian sun, and lives in the U.S. now, and her ancestors and relatives come from this region of the world.
Their two very different perspectives converge in their love of South Asia, chai, faith, and writing. Together, they interact with the first ever U.S.-Bangladeshi co-production, the acclaimed film, Rickshaw Girl.
This is a story that helps the audience…
…to Feel the Weight: Nicole
You cannot help but feel when you watch Rickshaw Girl. Through the rich color, grit, and complexity, you feel the full arc of the plot—from the weight of poverty to the grief of oppression and to the hope of new beginnings.
Having lived in Dhaka and feeling all the paradoxes of life in Bangladesh, I was eager to first read Mitali Perkin’s young adult novel Rickshaw Girl and then watch the film adaptation. Watching the movie was like stepping into a memory for me, while also stepping into parts of Bangladesh I could never know fully as a foreigner. It was like pulling back the curtains into what I only heard from friends.
In the movie, you are immersed in the life of a young girl whose father is a rickshaw driver in a village outside of the capital city of Dhaka. The difficulties of poverty send her into the city to find work to help her family and bring her face-to-face with the struggles facing women in the majority-Muslim country that was part of India until the British withdrawal in 1948 left a divided and warring subcontinent.
…to Rise Above: Prasanta
The movie starts with a painting.
The protagonist, Naima, is cheated out of payment for her painting, and her mother tells her to be grateful for what she did receive. Then her father becomes ill, can’t drive his rickshaw, and falls behind on payments. Her mother also loses her job due to an unjust accusation. Naima finds herself surrounded by injustice. How does one break this kind of cycle, when the whole world seems to be scheming against her?
I’ve ridden in rickshaws in India, fully aware that the life of the person pulling the rickshaw bears no resemblance to mine—and the ability to leave such a lifestyle is only available to a few who are fortunate to find a way out. But for the grace of God, it could be me in those shoes, like Naima, with a rickshaw-pulling father, bathing in a river, scrounging for money, and subjected to mistreatment.
The movie feels authentic to the life I’ve witnessed in India—as one who claims a tie through her ancestral roots to that region of South Asia. The scenes looked familiar to me, and if I didn’t know the setting was Bangladesh, it could have easily been in India.
Naima’s only skill is painting—but she is very good at it, painting walls of houses, sidewalks, and rickshaw covers, brightening the dull and dreary days with her colorful scenes. Her vibrant paintings of flowers and birds are a cheerful, stark contrast to the darkness surrounding her, to the broken concrete and fragile dreams, her faded clothes and the never-ending cycle of hardship and suffering.
Her paintings reveal a bit of what’s inside her heart: the desire to dream, to fly, to rise above—the desires that exist in the young where hope resides—that small drop of belief that a smidgen of justice remains hidden somewhere beneath the mounds of desperation of her family’s plight.
CONTINUE READING AT THE MUDROOM
