the courage to persuade the pistol

25.05.2026

S: In ‘To Kill a Mockingbird’, courage is defined as the fight against racism. They say that courage is knowing that you are licked before you even begin to fight racism and still fight nonetheless.

A: You believe that you have this courage?

S: I fight racism with my words. I fight racism with my deeds. With my heart. With my love and my friendship. I have never denied anyone anything because of the colour of their skin or their religion or culture. I have never denied anyone love because of what is wrong.

A: What is your idea of courage? It is something that you write about a lot, this concept of courage and bravery.

S: Do you know what the courage of a Punjabi is? The guru said:

‘Chirion se main baaz turaun,

Tabe Gobind Singh naam kahaun’

It is when I make sparrows fight hawks that I am called Gobind Singh.

‘Gidderon se main sher banaun,

Tabe Gobind Singh naam kahaun’

It is when make I lions out of wolves that I am called Gobind Singh

‘Nichon se main ucch banaun,

Tabe Gobind Singh naam kahaun’

It is when I make the lowly rise that I am called Gobind Singh

‘Sawa lakh se ek laraun,

Tabe Gobind Singh naam kahaun’

It is when I make one fight a hundred thousand that I am called Gobind Singh

Courage is when you have no power and you still fight. Courage is when you are the one and you fight the hundred thousand. When you stand against all as The Tiger. It is a concept shared by both Atticus Finch in ‘To Kill a Mockingbird’ and the Guru. Attitus is one of the powerful. He says it despite the fact that he has power in a white supremacist society as a white man. The Guru? He said it when he was one of the lowly. What the Guru said is the truth, it is the sincere conviction of the true warrior.

A: You believe that you are the lowly?

S: I am an Untouchable. I am The Oppressed, the Dalit. I am the working class. I am an ethnic minority man. We are they who they want to keep low. And yet, I fight. With everything. To the last breath. With my love. With my freedom. With my voice. With my body. I am the one that the Guru called to fight. Because they want us to be lowly but we will rise. It is us that are truly powerful. With all of their might, we are the ones that strike fear into their hearts. Because it is us that are the warriors. And them? They are the cowards. They are the hundred thousand that fight the one. Me. And it is them that lose.

Platform 1 at the Bloomsbury Theatre – Saturday the 23rd of May at 6.30pm

SPOILER ALERT!

Mia Debenham and Marie Saint-Yves: Neptune-Ball AEGAGROPILE & Co v The ANTHROPOCENE WORLDWIDE CORPORATION performed by Arthur Wickham

A lecture from a lawyer about microplastics and how we end up becoming our rubbish by eating it. It could be seen as a combined demonstration of the persuasive arts of our time: medicine, law, environmentalism and science. All executed under the rubric of rhetoric. It is left up to the audience to decide their fate once the legal argument has been completed.

Molly Lau: Eon City

A video installation which showcased an imaginary city that was powered by bioluminescence. An investigation of architecture through light, evoking a European tradition and architectural imaginary of light which dates back to at least Saint Denis and Abbot Suger.


Gabriella Day: The ladder is an A

A video of the performer reading out a script which begins in darkness with a headlight focused on the page and ends with the same vision. First light and then reading. The body emerges out of darkness into the light and the text and then disappears into darkness from the light and the text. Is this an investigation of the before and the after of reading, its construction, origin and ending, its enabling by light and the body?

Beth Simcock

A read piece accompanied by a video of the art of the artist. The drawings drew an expression of admiration from my friend

Arthur Wickham: Bian Lian

A performance in which the artist peels off several masks off his face, does a handstand, dances and wears a building on his face too. There was a mention of the grotesque in art and how it relates to the culture of the spectacle, which perhaps explains the form of the masks. The dynamic appeared to be unveiling and its frustration as each time the mask was removed, there was another mask underneath. Eventually however, we see the face of the artist with the suggestion that under the art, the artist stands exposed, the striptease of the face appropriated to challenge gendered conventions of performance?


Da In Park: Entangled Steps, A Salt Prayer for the Haunted Garden: Reconciling Colonial Legacy and War Memories behind the Beauty of Cherry Blossoms. (For more, Saltprayer.com)

A mesmerising silent protest against Japanese colonialism and the implication of UCL within this with its Japanese garden through Korean ritual. The salt prayer is a ritual to cleanse ‘colonial rot’. The silence of the moment reflects the silencing of the colonised and invites reflection and healing for oppression.


Margot Wilson: Sacrificial Package. With Eva Titherington and Juliet Dodson

Two ladies in red overalls wind shrink wrap around the artist to the sound of some cassette players. Is this about the packaging of the female body and its commodification, the packaging of the artist? Is it about how plastic is reimaging the body in the era of the anthropocene? The two cassette players compete with each other and we see the slow circling of the female body by the two women. Because the artist has told me that she is a sculptor that works with shrink wrap and we see sculpture in the round, maybe this is a reflection on the process of creating sculpture for the round and on its viewing. Also perhaps a reflection on how this is the era of transparency, with plastic and glass, a reflection on its restriction for the human body as the artist tries to walk with the shrink wrap around her and her movement is severely impeded.


Juliet Dodson: Stage Fright

Persuading a large red curtained box to get into the spotlight when it does not want to. And therefore an exploration of visibility and disappearance on the public stage, the coercions of visibility and the association of invisibility with what? Freedom or insignificance and obscurity? The artist’s dilemma.

Rosalind Wilson: Stack

Building things with sticks which keep on falling down. A metaphor for something? The futility of human endeavour? A feminist comment about women in art? The life of the artist? An exploration of construction and destruction? The ephemerality of art?


Lily Hosotani: How old is this ___? With Molly Lau

An oversized tape measure which the performers measure tools with. I get the feeling that there is a sexual innuendo that informs this – the measuring of ‘tools’ by women. At the end of the performance, the performers measure themselves. An element of disruption is perhaps intended. In constructing something, it is usually space that is measured, not the tools that will be used to work on the space. And then why would measuring be extended to the self if there was some work of construction? Of course, the Ancient Greeks might be being invoked in a feminist revision – ‘(wo)man is the measure of all things’?

Eva Titherington: Running for the Hills

A group of figures huddled together with a painting of a red hill attached to them so that they are faceless. They all keep on repeating ‘she is running for the hills’. Seems to be a literal meditation on the repetition compulsion behind language and idoms. These idioms and language itself is created through endless repetition so the performers do it ad nauseum to build up the image of the red hills and insist upon it, highlighting how metaphor and visual imagery is also crucial to the act of repetition itself. So an investigation of the dynamics of language and their intersection with the visual, how we create shared images in our minds and thoughts.


Munaye Lichtenstein: The End is Knot in Sight

We see the performer pulling at the rope and then as the rope takes centre stage, eventually we see what she was pulling – herself. A comment about how we have to pull ourselves along through life, the struggle to get through things, a comment about the burden of the self in the journey through life.

Hannah Stanley: Billy & CO

A composer with an orchestral band that aims to control them but produces the worst music in the entire world. About control and consequence.

the conviction of legacy

21.05.2026

S: Does an artist fear death?

A: Why do you ask?

S: It is always a question with a question for you. There is a reason to think so. The artist attempts to capture that which is fleeting, a flicker in the wind. He will paint an animal or a woman. He will paint a baby or a feeling. He attempts to rescue the moment from death. He attempts to write eternity.

A: But does the artist think this when he works?

S: Surely yes. Surely those portrait painters of the past thought that they were preserving a likeness for all time. Surely their patrons thought that they were preserving a monument to all time. Read the poem ‘Ozymandius’.

A: Ozymandius is about the folly of power.

S: It is also about the corruption of time. The tragedy of time.

A: Only you are the one that I can discuss literature with. But do you worry about your legacy?

S: No. I have produced enough already. I can produce more, much more. What you do not know is how easy everything is for me.

A: You have found everything easy in your studies?

S: Yes. There is nothing complicated in anything that I have studied, law, literature or art history. Or psychology, criminology, anthropology, philosophy, history, any of the subjects I have studied at university level.

A: But you are not read. Your published work, your art, your photography. You are not famous.

S: Yet. I know that I have produced good work. Therefore, I do not worry. You cannot make the ignorant listen to sense. I am the truth. I have produced the truth.

A: Stop these scribbles and these sketches. Do something more substantial.

S: Why? Why do things that you get nothing from? I know that I am a genius. I have nothing to prove to anyone.

A: Remember that your name is the name of the Untouchables. The Oppressed. They need your shine. Don’t forget that. Don’t become selfish. Remember what other geniuses have said. Genius is a gift. You have to give and give and give. It is your duty. For the community.

S: I am listening. I have perhaps forty more years in me. And I will work, don’t you worry. I will work on substantial things.

A: Now, while you have the energy. Do not let this life defeat you.

the drying out of hunger

21.05.2026

S: I am feeling the hunger drying in me.

A: You have just finished four years of study. You are entitled to rest.

S: The biggest challenge to the warrior is not the enemy. The enemy is weak and ignoble, a coward. They are non-men. The big challenge is to keep the hunger for revenge.

A: It has been many years that you have been fighting in this war. You are getting old. How long can anger last?

S: This rage must last for an eternity.

A: Work yourself up. Remember what they have done to you, the Oppressed, and The Mother. It is the duty of the warrior to fight even after the head has been lost.

S: This lonesome war. This spiritual war that will never end. Where the fight comes only from one side, my side. Where there are no worthy companions. This spiritual war in which the warrior has to hold onto his humiliation.

A: This is the reality of war. It takes all. It takes much. And you must take it.

S: In the film Ghayal (Wounded), the hero of revenge watches all of his companions fall about him until he is the last man standing.

A: Even he had a companion at last. You have no one. You are alone. Dharma is to follow the duty of the situation that you are in. There is no one but you. Therefore you are the war and The Revolution. You entirely. That brain of yours has marked you for solitude. You are exceptional. Therefore you are the leader of this movement. You are the Independence. It is for you to do everything and anything. It is for you to create the voice and the vision of The Revolution. Just through your existence you are the fight.

S: You are the one that believes in me.

A: Only they who have felt the wound can believe. You have felt the wound too, intensely. We are one. But it is you that has the talent.

S: This talent is a burden.

A: Life itself is a burden. And still we bear it.

S: Tomorrow, once more, The Tiger will rage.

A: It is the prayer of the people to see this anger vanquish all. It is the time of the demon and the liar. Sin has outweighed goodness in the world. The Mother, they have stripped her naked and they come to rob her of her honour. She has cried out for her son, for the anger of The Tiger. You will not defend your Mother? You are not a man?

S: You are right. For all that they do there will be a reckoning. We count the insults and when the time comes we will devour them. This drying of hunger, it is a sickness that they try to instill in us. Our strength is our anger. Because it is the anger of justice. We have sworn to protect what we hold dearest. The Mother expects and we must meet that expectation. Otherwise, she who is most precious will be lost to those that learn and teach hate and oppression. Warrior duty is the war. Love asks for revenge. The coward cannot be the victor.

who has the right over this body

19.05.2026

S: Have you ever wondered who owned this body?

A: Surely you own your own body? But, then, is it not a false question? Can you sell your body?

S: Many do sell their bodies. But the question then becomes, does the buyer own your body?

A: These are sophistries.

S: With practical results. But to return to the question. Who owns this body?

A: I persist in saying that I own my own body.

S: Untrue. There are many claimants. First, there is the mother, who gives birth to the body. She invests much into our bodies. Therefore, she has a claim.

A: So, as usual, we are talking about the implicit rather than the explicit. We are talking about unspoken claims rather than the spoken.

S: Yes, why not? There are many that look only at the partial truth. Why not talk to one that talks about the total truth for a change?

A: Go on then.

S: Not only the mother, but also the baby. The baby also owns the body of his mother. It is where he gets food and comfort, delight and language, dance and music. It is where he is connected.

A: Any more? Perhaps everyone owns the body.

S: So now you see where I am going with this. Yes, the lover also has a claim to the body. A not undisputed claim, but a partial claim nonetheless. Because the body is the aim of the lover, if this lover has red blood within him. There are more. I come from the warrior culture. Therefore, Punjab owns this body. This body is for Punjab and the earth of Punjab. When they ask for war, they ask for the gift of the body.

A: I have told you many times that you are not a warrior.

S: And I have proved through action and thought that I am. I have fought tirelessly for the honour of The Mother. I know that I am a hero.

A: To add to the list?

S: The community owns the body. The mother owns the body. The child owns the body. The family owns the body. The lover owns the body. Also, as you said yourself, the self owns the body.

A: Theories contrary to the feminists, the Marxists and the whole tribe of scholars.

S: What do they know? Do they even have bodies? They think of themselves as minds – and they are corrupt minds. Selfish. Thinking in terms of selfishness and discrete categories in an interrelated world.

A: And you are not selfish?

S: I am the king. And the king lives for others. Not for himself. That is the difference in the philosophical orientation. This body is not just for the self, it is for others. And that is why death is impossible and there is the duty to live and to prosper. For others. Not just the body is given as a gift, but also the mind. A gift given to justice.

there is always someone watching

16.05.2026

S: Do you know the secret of this life? There is always someone watching.

A: What do you mean? Of course there isn’t.

S: Forget about social media and the surveillance that these status conscious kids put onto each other. Forget about the social pressure they put on fashion and slang and cars and toys and so on. Even if you avoid all of that stuff, there is always someone watching. In the old days, it used to be the parents but also the aunties. They would be spying on the kids, nosing around and gossiping. Do you think that has disappeared? There will be someone there, a friend, family, an acquaintance, a work colleague, whatever it is. They will be spying on you. They’ll be trying to work out what is going on in your life, talking about you behind your back, trying to keep tabs on you.

A: If that were the case, why would that be the case? Why are they breaking a sweat on other people?

S: Idle curiosity for the weak-minded. And that is why I don’t mind writing about my thoughts. Because let’s let these spies have it. Let them have the honest opinion instead of the fake lip service they have and their not so subtle strategies of dog whistle racism as well as every other ism in the book that they are guilty of because they are oppressors and bullies.

A: No one is watching you.

S: That’s where you are wrong. There is a whole army watching me. Waiting for a false step. Waiting to drink my blood. But let them watch. And let them envy my life. No matter how much they tried to keep me down, I am up there. I am a genius. They will study me, my art, my writing, my thoughts and my life. And however much they study me, they will never understand. Because to understand the gifted, you have to be gifted yourself.

A: So this is why you are always performing and bragging. You believe that everyone else is watching you.

S: The audience want to stare at a hero. And who else is the hero but I?

A: They stare also at the villain. How do you know that you are not one?

S: It is time that decides heroism or villainy. And this is my time. The time of The Tiger.

The Rise of the Anti-Mother and Anti-Son Film and Western Law

13.05.2026

SPOILER ALERTS

Coming from a society that worships The Mother, where the duty is to be the son and lover of The Mother, I have written before about how the traditional Indian film has protested against the sexual repression of the West and its law which is based on an Asian Mother phobia. This phobia of the Asian mother reveals that The Mother is the Other to Western law, which is misogynistic and fears maternal or feminine authority. https://cafedissensus.wordpress.com/2022/05/30/there-is-no-bad-mother-beta-and-the-indian-mother-law-against-the-wests-asian-mother-phobia/ 

More and more, as I watch current films and watch current movies, I am learning just how far this misogyny and phobia of the mother goes in Western culture, or its unconscious legal culture. I am currently reading the Skandar the Unicorn books. The author worked in the law. Guess who is the villain in the first two books (I have only just begun the second one)? It is The Mother.

I watched ‘Polite Society’ the other day. Aside from the usual racism in these films about British Asian people – i.e. the British Asian man can never get married in these films because ‘there is something wrong with him’, guess who was the villain? It was The Mother. And the film spent all of its time making the mother/son bond loathsome as well through the eyes of the spoilt and Westernised British Asian female in it that seemed to hate the culture of the older generation.

Today I watched ‘Mardaani 3’, a cop film. Guess who was the villain? You guessed it. The character that was named ‘Amma’, or The Mother. And guess what? The Asian man in the film was also a villain because of the maternal relationship between himself and The Mother.

Mardaani 3 is worth analysing. The Mother comes from a poor family and has a Haryanvi dialect accent which suggests the rural. While no one is saying that she is a good character, because she is a child trafficker, the point is how the law in the form of the film’s heroine finishes her. She is shot in the throat. And then, when she can’t answer back, and the law has silenced the voice of this poor woman, the heroine of the film gives a big monologue. Same with the son. He comes from the poor. And he is also silenced when he is finished. The whole point of these films is to silence the poor Mother and the son that loves her and protects her.

Why am I talking about Indian films alongside British Asian films and British Literature? Because India was colonised and Western law was forced on us. This misogyny comes from the West. However, there are still sons that come from poor mothers. I am one of them. We will not accept this misogyny because we have sworn to protect our mothers. I represent the Indian national movement. I was named after the son that married Mother India. Against the hatred of The Mother and this legal culture, we stand for dharma, the organic law of India. I have modelled myself on my mother, the poor, foreign woman. The poor Indian woman. I am her voice. Even when the whole of this Western culture and its law is against us, wants to silence us. Because as I have written before, the dharma is the Mother-Law. We will never stop worshipping The Mother. Just like The Dark Mother stood as a symbol of Revolution against the Imperialists, so we still stand. We are the rivals of the oppressions and injustices of the Western law, its marginalisations and suppressions. Jai Maa Kaali!

the conceit of the writer

11.05.2026

‘The reason,’ said Alfonso in his engagingly lazy and erudite drawl, ‘that you write so much is because you are supremely conceited. You really feel as though you are the cleverest and most important person in the room. In any room.’

‘And what is wrong with that?’ I growled at him. After all, it was true. I was more intelligent than everyone else. It was just an intelligence that they did not want. Because it went against their agenda of stupidity and racism.

‘In reality, who they want to hear talk are the mindless.’

Was it not true? What sold the most in this society? The endless drivel that the celebrities came out with, those were the top selling books. And the areas that they neglected were all of the interesting areas, science, literary studies, art historical scholarship. They would rather listen to the imbecilic Farage or Trump than someone that could actually talk some sense. Their sensibilities were for hate. For the puerile. For unjust wars.

‘The conceit of the writer is what allows him to write.’

‘You cannot worship the ego as a writer,’ said Alfonso. ‘Learn humility.’

‘By no means,’ I said. ‘Dickens was one of the greatest of writers. And he called himself ‘The Inimitable’. Is that not the writer’s conceit? I would rather think myself great and strive for greatness. I believe that I am supremely talented. That I am a genius. And that is why I produce. You cannot ask The Untouchable, the Dalit, the low caste for humility. Humility is how they have kept us down. I am a prodigy. I have had this talent of writing since I was six years old. I was acknowledged as the best in my school and later on during sixth form too. I am unrivalled.’

‘But in the real world, who is there that reads you?’

‘Whoever does is amazed and even overwhelmed by my work. As I have told you, I am a genius. It doesn’t matter if the cast of villains does not want to read.’

‘This conceit that you are a genius. Where does it come from?’

‘From my knowledge of what I have produced. The knowledge that I can go into any field and make the biggest contributions. Film, literature, art history, the law, history, sociology, anthropology. I am a polymath.’

‘I have been told that the most intelligent are modest. They know the limits of their knowledge.’

‘I have prepared this ego for the hostility of a world that would crush our thoughts, that would keep us as The Oppressed. This ego is an answer to the casteists and the racists. I believe that I am god. I do not just write it. I am the prayer of the people. Nothing is closed to me. I know the secrets of the world, the things that drive this society of oppression and injustice. A genius is forged by his context. The context is the Independence of India, the Revolution. It is a work that has not yet been completed and it has asked for another genius. The intellectual terrorist. The one that will destroy this world of contemptuous thought for it to be rebuilt again. I am the truth. I am the knowledge. This self belief is unshakeable.’

‘The few pennies that you rub together from your writing, do they not teach you humility?’ Alfonso smirked at me while he said so.

‘The genius never sells in their lifetime. They are never acknowledged. I am so far higher and beyond all that I float in the heaven all by myself.’

‘If you are the genius that you say that you are, why then do you not produce and produce and produce?’

‘I could. It could easily be done. But why should I waste my life upon the ignorant? They will never give up their ignorance. They cannot value rightly. They will never value the gift that I give them.’

‘The conceit and the contempt that you have are both abominable.’

‘It is what they deserve, they who imagine themselves to be better than me. In fact, I am the best. Because I am the truth. I am the voice of the righteous. I am the one to whom the things are given. The stories that are thousands of years old that no one knows except for myself.’

‘The academy did not accept you.’

‘I do not accept them. I am too intelligent for them. All they have is dirty politics and favouritism. As well as the falsity of their Eurocentric bias.’

‘You think that only you are talented?’

‘Not at all. I believe that I am the most talented and that they should throw everything my way, every single honour and award. All the marks of recognition. They should recognise my greatness.’

‘You talk for them. You think for them.’ Alfonso pointed his finger at me in an accusing way.

‘Why not? They cannot talk a good talk. They cannot think a good thing. They cannot see or support genius.’

‘What good is it to have nothing and to rail at the world for it not giving itself to you? You want consolation? You want consolation for being clever.’

‘One day,’ I said, ‘You will understand what it means to be Medea, the intelligent foreign woman that is surrounded by the hostile and inferior minds around you, that is jilted and has her love stolen away from her. One day, you will understand this Greek myth. And one day, you will know that all the genius can think of is the revenge of success when his status will be restored as the hero. It is something that Euripides was dimly aware of.’

fake friends and demob happiness

06.05.2026

S: You know, Alfonso, you are a real friend. You are always reliable. There are no wires crossed with you. It is always comfortable talking to you.

A: Is this a buttering up?

S: Not at all. I am comparing you to fake friends. A fake friend is not dependable. There are always wires crossed with a fake friend. And, eventually if not at first, it is uncomfortable talking to a fake friend.

A: Don’t let these fake friends bother you. They don’t care about you. Don’t care about them either.

S: Because I don’t lie, I don’t expect others to lie to me. To pretend that they are friends. I just can’t believe what users these fake friends are. You help them. You give them presents. You look after them and listen to their troubles. And in the end? They betray you.

A: They are not worth your spit. I don’t know why you worry so much about their betrayals and the fact that they are users. You have seen what they are like. Why be upset about them after that? They are not worth it. You are too good for them.

S: A big heart hurts big time.

A: Harbour your emotions and your investment for those that are worthy of it. You have been told by people that love you that you love too freely. You accept friendship too freely. Learn that they have to prove themselves. You cannot trust others.

S: So you yourself are telling me that you cannot trust other people?

A: Trust is earned. Sadly you have seen what this society produces. There are not worthy and honourable people now.

S: Well let us forget these fake friends the same way that they have forgotten us.

A: Tell me about your day.

S: I went to visit the V and A East. I did the upper ground floor. I went to the gym and pushed some heavy weights and did running on the treadmill, so fast that I went dizzy at the end of it. I shopped at M & S and bought some beef udon noodles for lunch as well as some reduced price Cadbury’s Creme eggs at Tesco’s and reduced price chicken and sweetcorn sandwiches to take around with me tomorrow. I finished the first draft of my dissertation for my Art History degree. So I will take a day off tomorrow before I revise it. I went to the park and smelled the scent of the flowers, watched the work of the bees at the flowers, communicated with nature and admired the flight of the birds. Dinner was chicken biryani, one of my favourite dishes that my mother makes.

A: A good day, forget about the troubles. Live life. It is fuller than theirs.

living with profound despair

04.05.2026

S: I woke up again from another nightmare in the supermarket, the supermarketisation of art and culture, the meanness of the philistines in this world. And as I lay in bed thinking over things, this is what came into my head. There is this line in this movie ‘Gadar’ (Rebellion/Mutiny/Revolt) that I think about over and over again.

A: The film goer. Which is?

S: Let me tell you the story of this film. It is based on a true story. A Sikh man fell in love with a Muslim woman. He married her and had children with her. The partition separated them. Her parents broke up the marriage. He committed suicide.

A: He kills himself?

S: In real life. In the movie, he does not kill himself. He wins her back.

A: So, tell me this line that you obsessively return to.

S: The scene in the film is that the two lovers are going to be separated. They have only just fallen in love. They are talking. He is suffering from the pain of separation already. And he says to her, ‘No matter how merciless this life is, you still have to live it.’

A: This is the line that you think about? There is no elegance or poetry to it.

S: Is it not the whole message of the film? The whole point of the film? In the film, he is to live. Whereas in this brutal and merciless world, he is made to die through its hostility to love and diversity, to an interfaith marriage, to the embrace of difference, to harmony and unity across cultures. In the film he is given his happiness.

A: You love the fairy tale even knowing the reality.

S: You live for your ideals. The ideals of India are the embrace of difference. The actor in the film, Sunny Deol, he is me. I have modelled myself upon the hero of Punjab.

A: It is easier said than done to live through despair.

S: When you are the hero, your duty is to live. In this spiritual war, it is our duty to not only survive but to prosper. Even when you dream of death, you make plans to live. Because we are love. And we keep love alive in this mean and cheap world.

A: You that has nightmares every night, you that has separated yourself from every community, you preach love and life?

S: To stomach injustice is to become unjust. To live with those that cheapen life is not life. To live with those that devalue love, that is not life. It takes courage to separate yourself from communities for the ideals of love and life. I have that courage. I can stand all alone in this world. I have lived through profound despair. And despite everything, still I laugh. I make a life. I love. I was born to be a hero. It is what I am named after, this Sikh hero Sunil Dutt that married a Muslim woman and saved her life, just like in the film Gadar. She is Mother India and I was raised to protect her honour. The story of Gadar is the story of my life. Why? Because I am Punjab. I am India. And this film that we are talking about? It is the most watched film in modern Indian history. All of India loves me. Because I am India. I am Punjab. I am The Tiger. I am love.