Flipped Class Activity: The Ministry of Utmost Happiness

The Ministry of Utmost Happiness

This blog post is a part of Flipped learning Activity on The Ministry of Utmost Happiness given by Dilip Barad sir, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University. 

Teacher's blog

What is Flipped learning?

Flipped Learning Activity is a teaching approach where students learn new content at home through videos, readings, or other resources, and classroom time is dedicated to applying that knowledge through interactive, hands-on activities. This method shifts the traditional model, emphasizing active participation and collaboration during class. Students are expected to come prepared, having engaged with the material independently. The teacher acts as a facilitator, guiding discussions, addressing questions, and supporting deeper learning. By using class time for practical application, problem-solving, and group work, flipped learning promotes critical thinking, fosters engagement, and allows for more personalized instruction.

About the Characters and Summary of the novel 'The Ministry of Utmost Happiness'

Part 1 Khwabgah 

Arundhati Roy’s The Ministry of Utmost Happiness is a story about love, identity, and survival, told through the lives of people on the margins of society. At its heart is Anjum, a transgender woman (hijra), whose life is a mix of struggles and resilience. One of the most touching moments in the story is when Anjum finds a lost child, Zainab, on the steps of the Jama Masjid. Feeling an instant connection, Anjum takes Zainab in and becomes her mother. Despite facing challenges due to her gender identity, Anjum’s love for Zainab shines through, making her story deeply moving. 

Anjum’s journey isn’t easy. She lives within the hijra community, where relationships are both loving and competitive. When Zainab falls ill, Anjum suspects another woman, Saeeda, of using black magic against her. These moments reveal the complex bonds within the hijra community, where support and rivalry often go hand in hand. To protect Zainab and ease her fears, Anjum visits a spiritual shrine, showing her belief in faith even in difficult times.

The story becomes more intense as it explores the impact of the 2002 Gujarat riots. The riots, which followed the tragic burning of a train carrying pilgrims, bring immense pain and loss. Anjum is deeply affected by the violence and chaos around her. She struggles with her identity, abandons her female persona, and adopts a male one to cope with her grief. Feeling disconnected from her community, led by Kulsum Bi, Anjum decides to leave. She finds peace in an unusual place—a graveyard—where she retreats from the world, ready to face her pain in solitude.

But Anjum doesn’t stop there. She transforms the graveyard into something extraordinary: the "Jannat Guest House." This guest house, built around the graves, becomes a haven for people seeking comfort and belonging. It’s a place where the living and the dead coexist, showing how life can bloom even in the face of death. A blind imam often visits the guest house, adding a spiritual touch to the story and deepening its connection to themes of faith and humanity.

Anjum’s journey from loss and rejection to creating a sanctuary for others is a powerful symbol of resilience. Her story reflects the struggles of marginalized people but also their strength to overcome and build something meaningful. Through Anjum and the events surrounding her, Roy beautifully captures the themes of love, survival, and the power of creating a home in the most unexpected places.

Part 2 Jantar Mantar 

In this part of the video, the focus is on characters from The Ministry of Utmost Happiness by Arundhati Roy. One of the main characters, Anju, was born with both male and female genitalia and faces trauma during the 2002 riots in India. She leaves her old life in Quagga and finds peace in a graveyard, which she sees as a place of heaven, or "jannat."Another important character is Saddam Hussein, a worker at a government hospital. He points out the unfair treatment of lower-caste workers, especially those working in the mortuary. Saddam, who is Muslim and from a marginalized background, highlights the deep social divides in the community, where corruption and class struggles are widespread.

Corruption and how it keeps the rich and poor separated. Saddam, whose real name is Jamar, shares that he adopted a Muslim name to survive in a society filled with injustice. It also shows how his family works in the leather industry, where they skin dead cattle, a job that is looked down upon and comes with violence and stigmas, like lynchings against marginalized communities. This violence is becoming more visible on social media.

The video discusses how people, especially from the same cultural background, treat each other harshly, driven by anger and pride. One scene shows a boy witnessing a brutal act and feeling a desire for revenge. It also compares this local violence with the execution of Saddam Hussein, reflecting on dignity and humanity in the face of violence.

The legacy of Saddam Hussein, focusing on his resistance against American power. It acknowledges the wrongs he committed but criticizes the U.S. invasion of Iraq, saying it was more about oil than caring for the Iraqi people. This connects to larger themes of how historical figures shape personal and collective memories, especially in protest spaces like Jantar Mantar in India.

Jantar Mantar, a famous protest site in New Delhi, is discussed, where people gathered in 2011-2012 to protest corruption in the Congress government. The media initially supported these protests but later shifted focus. The video also highlights the struggles of different groups, including mothers in Kashmir looking for their missing children and people in Manipur protesting against unfair laws. Women like Irom Sharmila, who protested with a hunger strike, are shown as powerful voices against injustice. the protest, a baby is found on the footpath, sparking a debate about who should take care of it. Anju wants to help, but a man named Mr. Agarwal, who represents political power, disagrees. As the situation worsens, the baby mysteriously disappears, leaving everyone worried.

it ends with this shocking twist—the baby going missing—leaving the characters in a state of urgency and concern, highlighting the ongoing struggles of marginalized communities and the challenges of dealing with power, corruption, and social justice.

Part 3 Kashmir and Dandakaranya 

In the third part of the discussion on The Ministry of Utmost Happiness by Arundhati Roy, the focus shifts to the changing narrative style and the intertwining lives of characters such as Tilothama and Musa, set against the socio-political backdrop of Kashmir and Dandakaranya.

The narrative style changes from third-person to first-person, allowing for a deeper exploration of characters' personal perspectives. Piglet is introduced, offering a unique viewpoint that adds complexity to the story. 

The story delves into Kashmir, exploring both personal and political struggles. While the region is portrayed through a softer lens, the painful history of the Kashmiri Pandits is notably absent. The character of Tilothama is explored in depth, showing her life in Delhi and her connections to her homeland. The theme of attachment to one’s homeland is central, with some characters willing to make great sacrifices for Kashmir. The narrative also touches on a character recovering from addiction, reflecting personal struggles amid the larger political turmoil.

As the story unfolds, it highlights the impact of violence on individuals in Kashmir. Musa, a character who initially lives peacefully with his family, experiences tragedy when his wife and daughter are killed in a security encounter. This loss catalyzes his radicalization, underscoring the cycle of violence in the region.

The narrative critiques how terrorism is often portrayed in popular media, especially Bollywood, which simplifies the motivations behind acts of violence. Personal loss and a desire for revenge are depicted as common drivers of radicalization. The character of Captain America, a brutal military officer, is introduced, and the tragic story of human rights lawyer Jalal Khadri is shared, highlighting the devastating effects of the ongoing conflict.

A significant twist reveals a tragic event involving Amrit Singh, who allegedly killed his family and then committed suicide. This incident raises questions about the true circumstances, with hidden truths coming to light through a series of investigations. The character of Nagaraj Hariharan, a journalist with a dual role as a government informant, complicates the narrative, reflecting the challenges of information and truth in a politically charged environment. 

The characters’ dreams and aspirations for a separate identity are explored. Some hope for unity with neighboring regions like Pakistan and Bangladesh, while others long to establish a unique paradise, distinct from India, Pakistan, or China. This desire for a separate identity reflects the characters’ personal and collective yearnings for a better future.

The narrative also brings attention to the brutal realities faced by marginalized communities. A woman’s assault by police officers illustrates the systemic oppression present, and themes of motherhood, identity, and the connections between victims and their oppressors are explored. These personal stories are linked to broader movements for human rights and gender equality.

Finally, the psychological trauma experienced by those involved in conflict is examined through the story of an Indian army officer. His fear for his safety and his family leads to severe mental distress, culminating in suicide. The officer’s story highlights the internal turmoil created by his circumstances, emphasizing how personal trauma can be just as destructive as external forces. 

Part 4 Udaya Jebeen and Dung Beetle

The last chapter of the novel is called Guih Kyom, a Dung Beetle. In this chapter, we learn that Tilo has started a new life by teaching children at a guest house. The story also mentions the graves of several people. One of them belongs to Ahlam Bazi. While the characters are talking, it is described how Ahlam Bazi changes her sleeping position in her grave. The chapter also brings back the lines, "How to tell a shattered story, by slowly becoming everybody, no, by slowly becoming everything," emphasizing the idea of connecting with everything and everyone to heal brokenness. 

We also find out that Musa, a key character, was killed in an encounter. One night, Anjum finds herself unable to sleep. To pass the time, she goes for a walk around the city with Udaya Jeneem. During their walk, Udaya feels the need to urinate. She relieves herself while Anjum waits nearby, staying with her for support. On their way back, they see a dung beetle lying on its back, staring at the sky. The beetle looks as if it is ready to hold up the heavens if they were to fall, symbolizing resilience and hope.

The chapter ends with the thought that now that Udaya Jeneem is there, things will begin to improve. There is a strong sense of hope in the final moments, suggesting that even after so much suffering, time will eventually bring positive change. The novel closes with optimism, leaving the reader with the belief that better days are ahead.

Thematic Study of 'The Ministry of Utmost Happiness

The Nature of Paradise

The Jannat Guest House symbolizes a reflection of paradise on earth. It conveys that heaven is not a distant place but something we can create here through mutual understanding and peaceful coexistence.

Ambiguity and Diversity

The novel explores India's diverse cultures and identities, highlighting their struggles. These issues resonate universally, such as dietary differences among vegetarians and non-vegetarians. It also illustrates how food-sharing customs differ across religionsHindus distribute prashad, Christians share wine, and Muslims offer meat, emphasizing inclusivity in their traditions.

Cost of Modernization

Modernization, synonymous with development, often comes at the expense of marginalized communities. Farmers lose land, and slum dwellers are displaced for infrastructure projects. Roy advocates for sustainable and inclusive development to minimize these impacts.

Life and Death Boundaries

Characters like Musa and Revti remain alive in people’s memories despite their deaths. The idea of reburying reflects the continuation of life and remembrance. The Jannat Guest House, named after paradise, redefines this space as a haven for the living and the dead.

Storytelling: How and Why

The novel reflects shattered realities through interconnected narratives, addressing topics like transgender rights, Kashmiri struggles, and Maoist movements. Roy suggests storytelling is a painful yet necessary act, akin to birthing something profound.

Social Status in Modern India

The book paints a vivid picture of contemporary India, tackling themes like urbanization, Kashmir’s turmoil, and the Hijra community. These seemingly unrelated issues converge to critique modern capitalism and the neglect of marginalized groups.

Corruption and Political Violence

The novel critiques the exploitation of the Kashmir conflict by various groups, including the army, militants, and leftist journalists. Roy exposes how these entities prioritize personal gains over moral or religious values, exacerbating the suffering of innocent civilians.

Resilience and Hope

Despite the hardships faced by the characters, hope and resilience remain central. The people of Kashmir risk everything to bury their dead, showing life's persistence. Udaya Jebeen, a symbol of renewal, underscores that even in darkness, hope can prevail.

Gender Identity and Social Division

Through Anjum’s life as a transgender woman, the novel examines societal divisions by gender, religion, and nationality. Anjum’s resilience and inclusive actions challenge traditional binaries, showing the possibility of peaceful coexistence.

Social Hierarchy vs. Inclusivity

The rigid social hierarchy in India fosters violence and isolation, as seen in Biplab’s detached life. In contrast, Anjum’s inclusive community at Jannat Guest House fosters belonging and harmony, demonstrating the transformative power of acceptance.

Religion and Power

Roy critiques how religious extremism, both Hindu and Muslim, fuels division and violence in India. By exposing the dangers of intertwining religion with politics, she warns against the erosion of peace and individual freedoms.

Symbols and Motifs in 'The Ministry of Utmost Happiness'

Hazrat Sarmad Shaheed

Hazrat Sarmad Shaheed, originally from Armenia, traveled to India, embraced Islam, and fell in love with a Hindu man named Abhaychand. Executed for his religious doubts, his shrine today symbolizes unconditional love and unity, welcoming everyone regardless of their identity.

The Old Man-Baby

This elderly man gained recognition for his hunger strike against corruption, reflecting the struggles of the poor displaced from their homes. Thoughinitially seen as a symbol of hope, his movement was later co-opted by wealthy and politically motivated individuals, diluting its purpose.

The Shiraz Cinema

The Shiraz Cinema, initially a representation of Indian cultural outreach in Kashmir, was shut down by separatists and later repurposed by the Indian Army for torture. This shift highlights how conflicts escalate and deepen divisions.

Jannat Guest House and Funeral Parlor

The Jannat Guest House stands as a haven for society's outcasts, showcasing the potential for inclusivity in India. Located close to death, it serves as a reminder of life’s fragility and a metaphorical paradise.

Duniya and Jannat

"Duniya" (world) and "Jannat" (paradise) symbolize the contrast between harsh reality and ideal harmony. The novel challenges these concepts, showing that even paradise can be fraught with violence.

Motherhood

Motherhood is portrayed through diverse perspectives. Characters like Anjum struggle with motherhood due to societal challenges. The theme also critiques the exclusivity of the "Mother India" ideal, suggesting motherhood as an inclusive and universal bond.

Bodies, Refuse, and Internal Organs

Bodies and waste symbolize societal oppression, with Dalits forced to handle the most degrading tasks. The novel connects physical bodies to resistance and inner turmoil, representing struggles against societal control and trauma.

Gujarat ka Lalla

Gujarat ka Lalla, modeled on Narendra Modi, represents Hindu nationalism's rise in India. His association with the 2002 anti-Muslim riots underscores the increasing marginalization of minority groups.

The Color Saffron

Saffron, the color of Hindu extremists in the story, symbolizes the violence and trauma caused by religious intolerance. It reflects the struggles of characters like Anjum, who survive such atrocities.

Vulture

Vultures in the novel signify the harmful effects of modernization on the environment and marginalized groups. Their death due to drug contamination in cattle highlights how societal and ecological challengers are silenced and ignored.

Guih Kyom, the Dung Beetle

The dung beetle, central to the final chapter, embodies resilience and hope. Despite its small size, it plays a crucial role in maintaining balance in nature, symbolizing how even minor efforts can lead to significant change.

References:

Roy, Arundhati. The Ministry of Utmost Happiness. Hamish Hamilton, 2017.

Roy, Arundhati. The Ministry of Utmost Happiness. Hamish Hamilton, 2017.