&#39;RAMU&nbsp;RAMANATHAN&nbsp;does not have an&nbsp;Aadhaar&nbsp;card. He has not applied for an&nbsp;Aadhaar&nbsp;card and, as of the time of this story, he has written and published&nbsp;three poems to suggest that you&nbsp;shouldn&rsquo;t either. &ldquo;I hold this job as an editor of a print magazine [PrintWeek&nbsp;India], it gives me an opportunity to travel across the country and to smaller&nbsp;centres&nbsp;of India,&rdquo; he explains. &ldquo;Just as a curious exercise, I would ask people if they had an&nbsp;Aadhaar. And these would typically be people who would be around in a sort of local hotel, attendants at petrol pumps or&nbsp;tapris, at industrial units. Generally the [answer] would be &lsquo;No,&nbsp;nahin&nbsp;hain&nbsp;humare&nbsp;paas.&rsquo; And on the other hand [there is] this whole official bombardment that you keep hearing that we have x number of people registered. Not that one was doing it as an authenticated data exercise, but I was curious: If most of the people I&rsquo;m meeting, if none of them seem to have a card, then who does?&rdquo;&nbsp;Ramanathan&rsquo;s illustrious&nbsp;portfolio &mdash; Comrade&nbsp;Kumbhakarna, 3&nbsp;Sakina&nbsp;Manzil, Kashmir Kashmir and Cotton 54 Polyester 86 &mdash; embodies a passion for socio-political commentary and a tendency to bring&nbsp;marginalised&nbsp;characters, including&nbsp;millworkers, war victims and&nbsp;Naxalites, to&nbsp;centre&nbsp;stage. As his discomfort with the biometric ID system grew, he started digging into the arguments against it. &ldquo;I am troubled by what I see and hear. There are so many agencies, service providers and private corporations who are involved, and they&rsquo;ve deliberately kept it opaque; they&rsquo;ve deliberately kept it murky. When you sit and have a conversation with a fellow artist or actor or&nbsp;writer, they may not be able to understand.&rdquo; So instead, he picked up his pen.The first poem was informally premiered at the&nbsp;Prakriti&nbsp;Festival in Chennai. Following positive reviews from students and teachers, he went on to publish a few more on the pointedly named website&nbsp;aadhaar&nbsp;fail, run by activists&nbsp;Vidyut&nbsp;Gore and&nbsp;Raghu&nbsp;Godavar. The poems are also available as narrations by longtime colleagues such as&nbsp;Denzil&nbsp;Smith, Joy&nbsp;Sengupta&nbsp;and Yuki&nbsp;Ellias. They feature minor characters from the Mahabharata and the Ramayana &mdash; characters that existed on the periphery even in the original narratives, much like the individuals he believes to&nbsp;be most exploited by the system today. A piece on the cursed&nbsp;Ashwathama&rsquo;s efforts to cut through red tape echoes the trials of&nbsp;Rachna&nbsp;Khaira, the Tribune journalist who reported on a&nbsp;UIDAI&nbsp;data leak, only to have an FIR filed against her. In another,&nbsp;Chiranjeev&nbsp;(immortal) Yama, stands at death&rsquo;s door, but is unable to enter as he does not have an&nbsp;Aadhaar&nbsp;card: &ldquo;We sit outside the deathly gate/ We wait to find out Yama Ji&rsquo;s fate/ His skin turns green, his robes are bloody red/ Copper eyeballs, they pop out of his head/ Time ticks/ No one is in a hurry/ Such is life/ When things are binary&rdquo;. The poems join a wider movement by artists speaking out against theMurugan,&nbsp;Sheetal&nbsp;Sathe&nbsp;and Sofia&nbsp;Ashraf); a&nbsp;baul&nbsp;folk song (by actor and writer&nbsp;Jayant&nbsp;Kripalani) and shows by stand-up groups (Aisi&nbsp;Taisi&nbsp;Democracy and East India Comedy). On&nbsp;Ramanathan&rsquo;s part, he has always been vocal about an artist&rsquo;s role in political education and agitation. &ldquo;The battle ultimately will have to be fought legally. But the main concern is that the state is really powerful, and when it&rsquo;s coming down with such might, you have to confront it. You&rsquo;re saying you&rsquo;re distributing power to people, but really what you&rsquo;re doing is making the government more and more potent.&rdquo; By weaving stories around characters already familiar to the audience,&nbsp;Ramanathan&nbsp;hopes to pass on some of this information in a personal and relatable manner. &ldquo;If I start telling the stories of&nbsp;Daku&nbsp;Devis&nbsp;(a 90-year old widow declared dead and struck off the pension list, her only source of income) and even&nbsp;Surjomati&nbsp;(an elderly woman with no family, who had to sacrifice her rations, as she was too ill to visit the shop in person and provide her biometric details), if I start saying these names, people switch off.&rdquo; In a system that reduces citizens to numbers, and a society that consigns people to news reports,&nbsp;Ramanathan&nbsp;is roping in mythology to tell the stories of living. Are you listening?

Ramu Ramanathan

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