Friday 30 December 2016

This new year, don't be Coach Kadam from 'Dangal'. Be a real mentor.

Is the era of mentoring over? Does the Wrestling Coach in the Film Represent the Hollow Leadership We See Around Us at Our Work Environment?  'Dangal' hints at how a coach/mentor should not be.


Shambhu Sahu

Besides the much talked about social issues Aamir Khan's latest film "Dangal" raises, there is a much nuanced take on what mentoring has become in recent years. "Dangal" is the story of ex-wrestler Mahavir Singh Phogat who informally trains his eldest daughter Geeta to become state wrestling champ. Thereafter, she has to be 'formally mentored' by a 'professional' coach Pramod Kadam for the national and international championships.

(If you have seen the movie, it will be easier for you to relate to points raised here.)

After becoming state-level wrestling champion, Geeta gets enrolled at the National Sport Academy (NSA), Patiala. Kadam is the wrestling coach at the academy, entrusted with the job of training or mentoring athletes like her, who would then bring laurels to the country. But is 'Coach Saab', as Geeta addresses him in the film, is fit to lead the team and shoulder such a responsibility? Does he represent some of the managers or leaders or mentors we see around in corporate office?

Let's have a look at some aspects of coach Kadam's personality, which might resonate with many of us who work in corporate offices:

1. Background (does it even matter?): It is not clear what this coach saab's background is. Did he play the sport himself? Did he have a successful stint? Film doesn't show anything about it, which in itself is a statement that it doesn't matter. To lead a team or to mentor people in a particular domain, you have to have some background in that specific or allied field. It will certainly help you understand what goes in the mind of workers and what hurdles they may be facing in their day-to-day work.

2. Insecurity: This coach is so insecure that he shouts and uses his official authority to ward off any possibility of 'being challenged' (or exposed). Remember that scene when Geeta's father very politely approaches Kadam with a request to 'nurture her talent'? Feeling threatened by this former wrestler, he snaps rudely at Geeta, to show Phogat that 'he is the boss' now. His sense of insecurity and inferiority is quite evident there.

3. Power without Substance: Well, Kadam was a state-appointed mentor/coach, so he sure had all the powers. Geeta came to believe that he not only had the powers but his techniques were better than her father's. Since Kadam was sitting at 'the official throne' even she forgets that it was only basis her father's mentoring that she could make it to the prestigious sport academy. However, after a series of losses over three years, Geeta reverts to her father's mentorship and techniques. So, what USP did Kadam had as mentor?

4. Taking Credit for Other's Work: The coach, who himself lacked any major accomplishments in life, wanted to use his 'brightest student' to add a few feather in his cap. He wanted to be called a 'successful' coach (and perhaps win a Dronacharya award), on the basis of his pupil's achievements. That's why in the movie he is rushing to take credit at post-match press conferences. Moreover, when he realises that Geeta is not going to credit him for her possible win at the Commonwealth Games wrestling finals, he conspires to lock up her father, who was successfully guiding her from audience stands, in a store room. He wanted to ensure that the world, particularly media, doesn't spot her father; thereby implying that he is the ONE who 'coached' her to victory.

5. Inspiring figures no more? “Dangal”'s wrestling coach is a stark contrast with the hockey coach in "Chak De! India", played by Shah Rukh Khan. In “Dangal”, while training the athletes for international events, and after a series of failures, he tells Geeta, "I want at least one medal from you." (Mujhe tujhse kam se kam ek medal chahiye). In "Chak  De!", SRK inspires his team to achieve it for themselves. His famous "Sattar Minute" (70 minute) dialogue is about inspiring the girls to go out there and give their best for themselves. Before the final match, Geeta's father, says only this much to inspire her: "If you win Silver, people will forget you. But if you win Gold, you will become an inspiration... and people never forget an inspiration".


Geeta, of course, wins the wrestling final against a mighty Australian opponent, following only her father's training and mentoring and ignoring her coach's adverse advices.
Kadam thus become an interesting case study as a (inefficient) leader or mentor of a team. He asks Geeta to "unlearn" all wrong techniques she has learnt in the past. "Unlearning the Past Learning" is a jargon we all have come across quite often in our professional lives. But did his "new techniques" work? No. Did he inspire his team? No (in spite of Geeta being in an awe of him in the beginning).

Did he for even once introspect at his pupil’s failure? No. Do leaders/mentors need not introspect?
No amount of accomplishments or qualifications should stop a leader from introspection; revisiting strategies and playing to the teams strengths.

Finally, the importance or value of a good leader/coach/mentor will never go out of fashion. Youngsters, generations after generations, will need that mentorship to reach new heights. I personally have seen few leaders who have the mantle of being a good mentor.
The leaders at the top or those in the making need to pause a bit, and reflect on the kind of leadership they are offering. Do they inspire people in office (or it's just the position)? Do their words, guidance, mentorship change anybody’s life for real (discounting the personal favours)? Did they help someone really rise from ground? And lastly, who will cry when they die?

PS: Mahavir Singh Phogat may not qualify as a real mentor as he was coaching his daughters for his personal dream.
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Saturday 24 December 2016

Aamir Khan must be really crazy to do 'Dangal'

Shambhu Sahu

If you are one of the reigning superstars of Bollywood with audiences still by your side, you have to be really crazy to do a film like "Dangal". Why would a superstar do a film which doesn't have any sort of typical Bollywood masala and risk his stature and status? It would be crazy, right? Yes, it would be, unless that crazy person is - Aamir Khan!

He doesn't make films, he makes cinema. And there is a notional difference - if you consider my philosophy. A film is a product with or without a good content, often propelled rigorously by marketing. A cinema is essentially a good content which may or may not have a backing of good promotion (or star). Like "Dangal" and "Masaan". Aamir Khan mostly aspires to create fantastic cinema, barring a few mega films in between, like "Dhoom:3". 

His latest, "Dangal", is a brave cinema. There is no quintessential Bollywood 'hero' in the film; and there is no quintessential 'romantic interest' to serenade the hero in half a dozen songs. Not many Bollywood superstars would have dared to touch it, without modifying it to hero-centric plot and adding a romantic angle in it. The film, based on a true story, has an ageing father as the protagonist. An amateur wrestling champion Mahavir Singh Phogat (Aamir Khan), who wants a son to realise his most cherished dream of winning Gold for Indian in international wrestling. After having four daughters, he gives up that dream. One day, two of his four daughters beat up two boys in the village. While he apologises for his daughters' 'mistake', he also realises that they - Geeta and Babita - could win Gold medal for the country. "Gold is Gold; how does it matter whether a son gets it or a daughter," he says in the movie. And thus starts Mahavir's most difficult journey of breaking stereotypes and fighting government apathy, to train his daughters and get them to fight in village 'akharas'. His dogged determination and tireless efforts lead to Geeta winning a Gold in 2010 Commonwealth Games held in Delhi - a first for the country. 

A poster of Aamir Khan's "Dangal" (Image for representational purpose only)
Source: https://en.wikipedia.org/wiki/Dangal_(film)#/media/File:Dangal_Poster.jpg

What surprised me the most is how assured Aamir Khan is, as an actor and the producer of this film. Aamir totally let's himself into the character of the father - the ageing, plain kurta pajama clad Haryanvi Jat - and doesn't impose himself as the hero or even the protagonist. There is just one flashback of his younger days. Just one! He lets the story to be the focus - the story of beating mindsets of ye kaam choriya na kar sakein (girls can't do this); the story of infusing purpose and confidence in his daughters, instead of simply marring them off; the story of changing perception about the game dominated by boys. In fact, Aamir himself breaks a stereotype of a Bollywood blockbuster, with reports of "Dangal" doing well at the box-office. 

I wonder what makes Aamir Khan so assured of his 'content' and cinema in a business world where other superstars easily succumb to adding titillation in their films, citing 'public demand'. He has to be really 'crazy' to go against the tide or public demand. There are many who toe the 'this-is-what-public-want' line. But Aamir is not the one to toe the line. As a line in a song from his mega hit "3 Idiots" goes: 
हमको तो राहें थी चलाती/
वो खुद अपनी राह बनाता/

He surely makes his own roads (and his kind of cinema). Not often you get to see a 'phenomenon' called Aamir Khan and his performances. With Aamir letting the story remain the sole focus, "Dangal" is an extremely engaging and satisfying cinematic experience. Watch it to believe it. Highly recommended. 

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