Obviously it is their personal option. The reasons or motivations behind this option might be lots of. Some may feel that wearing it is not cool enough or does not complement the attire they are using (particularly if it is western wear). Outfits worn by media, celebrities and influencers characters may likewise pay a role in personal option. I have seen family pictures of a well-known cricketer from Chennai on Instagram and discovered that the partner selected not wear a bindi even with a standard attire.

There are also other aspects at play– for e.g. the imaginative director, art director or stylist may come from an area of the society which has no interaction with or insight into the lives of people for whom the service or product is suggested. During my advertising days, I have actually discovered several creative and production folks whose world just revolves around the affluent individuals of South Mumbai. They d fit right in to the upper crust of the West and would most likely not have the ability to associate with the life and tribulations of an average middle-class household in India. In such a circumstance, this is how they must be attitude takes control of and the customer is made into a caricature.

The missing bindi is a reflection of the tastes of an area of metropolitan ladies in India. In cities, one does see that numerous ladies, even when using conventional attires do pass by to wear a bindi. For some it has actually ended up being an optional accessory rather than an obligatory– a fashion choice than a custom.

For several years now, kids in particular English-medium schools have been told not to wear any forehead marks when going to school. This apparently little diktat has a deep implications and they grow up being averse to using vibhuti or bindi, tilak on their forehead. Among ladies even keeping flowers on braids is an uncommon sight in urban households. So we have a number of generations currently quiting on conventional markers. And lots of moms and dads with teenage children are okay with the non-bindi, non-traditional wear lifestyle. It prevails among the upper-middle and affluent class society in metropolitan India and fortunately not a lot in small-town India. The former sector reminds me of that quote attributed to Thomas Macaulay: Indian in blood and colour, but English in taste, in opinions, in morals, and in intelligence.

In numerous city homes today, the younger and middle-aged will be at a loss to know what requires to be done to perform rituals or celebrate festivals in a standard method. The future generations will know even little as nothing would stay to be passed on. There is a real risk of a rootless society emerging in metropolitan India where traditional festivals are restricted to feasting and wearing ethnic outfits on excellent food.

It is festive season now in India and mass media has plenty of advertisements from retail, jewellery and style brands. Some of the advertisements which included protagonists in traditional Indian wear however without a bindi on the forehead dealt with criticism on Twitter (where else?) and some even tagged the brand name deals with.

The advertisement market considers representation of females– be it as an expert, mother or housewife as a crucial yardstick of matching society. In such representations, the attire worn by the protagonists– saree, salwar or western wear and her look is likewise considered crucial.

Personally, I discover both the above ads absolutely doing not have in celebratory mood and out of sync with celebrations such as Navratri and Deepavali.

Some males too feel odd (I utilized to) wearing a tilak or vibhuti on the forehead and going to office in western formals. Personally speaking, possibly it was a lack of self self-confidence or pride in ones identity. I used to wipe off the mark after my morning sandhavandanam before heading to workplace. Throughout the years, I have actually overcome that doubt and actually feel good in being my own self. In a manner, I stopped being regretful about an identity of mine which I think about essential.

The portrayal of protagonists is likewise a function of the background, frame of mind and outlook of the marketing coordinators and creators. Individuals from the four (various in every way) southern states are clubbed and given a South Indian look (whatever that implies) total with (ironically) vibhuti on the males forehead. They are shown using a veshti and made to ham their method in terms of accent– either in Hindi or English.

It might all look like much ado about nothing, but this is how customs are abandoned– one action at a time. One needs to accept such changes but is all of it a welcome change? I am unsure.

The context of the script, representation of the protagonists, language and the kind of setting and props– all tend to show contemporary customer state of mind and goals.

In the case of the missing out on bindi advertisements, particularly from the premium jewellery brands, I question whether that appearance appeals to or resonates with a majority of their prospective clients. Even with Tanishqs Diwali advertisement in 2015, I composed:

The visual hints (pastel tones, conspicuously missing bindi on women, ethnic fusion sort of attire), the language (English) and the messaging (preaching a particular method of celebrating the festival with emphasis on no fire crackers and lots of feasting and dressing up is likely to interest that wealthy, upmarket audience. Source.

In such representations, the attire worn by the protagonists– saree, salwar or western wear and her look is also thought about essential. In metros, one does discover that lots of ladies, even when using conventional attires do not pick to wear a bindi. Some might feel that using it is not cool enough or does not go well with the outfit they are using (specifically if it is western wear). I have seen family pictures of a well-known cricketer from Chennai on Instagram and saw that the other half chose not wear a bindi even with a traditional attire.

The representation of protagonists is a choice and a prerogative of brands. In a vast, plural nation like India it is difficult to show the subtleties of each area in advertising. Total I believe the market has two techniques: (a) stereotyping– assuming they will be like this and (b) presuming all of India relates to or aims to have the lifestyle of the affluent or English-speaking upper-middle class folks from metro India. The jewellery ads representation definitely give vibes of the latter kind.
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There is a genuine risk of a rootless society emerging in metropolitan India where traditional festivals are limited to feasting and using ethnic outfits on good food.