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China Has Changed Tactics, Not Goals. India Must Demonstrate Strong National Power

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China Has Changed Tactics, Not Goals. India Must Demonstrate Strong National Power

Engagement at this scale between the armies of India and China has taken place after more than five decades. The last time the two sides engaged in a violent clash was in 1967 in east Sikkim. The Chinese had objected to the erection of barbed wire fencing along the Indo-Tibetan border and attacked the Indian company commander, seriously injuring him. In a strong retaliation by the Indian side, over 400 Chinese soldiers had been neutralized. The Indian side, too, had suffered 88 casualties. A smaller skirmish broke out between the patrol parties of the two countries in 1975 near Tulung La in Arunachal Pradesh in which four jawans of the Assam Rifles were martyred.

In the clashes in Galwan Valley this week, both sides have suffered casualties. The Chinese side does not disclose the numbers of their casualties anymore. The Indian tradition is to respect the valor and martyrdom of every single soldier. The entire nation mourns the sacrifice of those valiant soldiers who have lost their lives challenging the Chinese aggression in Galwan Valley.

Between 1967 and 2020, China changed its tactics, not its goals. It had ended up with a bloody nose in its border conflict with the Soviet Union in 1969. Waving Mao’s Red Book, PLA soldiers had tried to illegally cross the Ussuri river and enter the Soviet-controlled Zhenbao island. In the Soviet retaliation, the Chinese had suffered over 250 casualties, after which China had promptly entered into a ceasefire with the Soviets. The last war that China fought was in 1979 in Vietnam.

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In the last four decades, China adopted the Sun Tzu formula of “the supreme art of war is to subdue the enemy without fighting”. It has resorted to area expansion and domination tactics using numerical superiority and military aggression. It continued to nibble away at our territories through aggressive patrolling and continuous border violations. In the last decade, more than a thousand such border violations have been recorded.

That there have been no violent clashes between India and China in the last five decades can be partly attributed to India’s insistence on diplomatic engagement and physical disengagement. The result was that the contentious portions of the LAC, like the Galwan Valley and Pangong Tso lake formations, were patrolled by both sides without engaging with each other. During this period, the Chinese side had nibbled away at Indian territory in several places. Traditional grazing areas of the people of the upper reaches in Ladakh have encroached. The latest flashpoint at the confluence of the Galwan and Shyok rivers is one such location where the Chinese had built motorable rough tracks to claim Indian territory.

In a 72-day stand-off at the Doklam trijunction between Tibet, Bhutan and India, the Indian forces together with their Bhutanese counterparts stalled the construction of a road by the Chinese that would have shifted the trijunction southwards, affecting India’s strategic interests. India refused to lower the army presence there, leading finally to the withdrawal of the Chinese forces from the area. Considered a diplomatic victory for India, Doklam highlighted India’s new border security doctrine of “proactive diplomacy together with firm ground positioning”.

In the Arthashastra, Kautilya highlighted the need for deterrent military might to demonstrate strong national power. India is committed to peace with China, but not one of the graveyards. We need Kautilya’s doctrine to defeat the Sun Tzuvian tactics of “war as an art in deception”.

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News Source: TheIndianExpress

Also Read: A ‘500 Years Old’ Temple, Submerged In The Mahanadi In Odisha, Is 60 Feet In Height.

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Tollywood

HT Rewind 2024: Teja Sajja says HanuMan kicking off the year in style is the moment he’d been ‘waiting for’ | Exclusive

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HT Rewind 2024: Teja Sajja says HanuMan kicking off the year in style is the moment he’d been ‘waiting for’ | Exclusive

In conversation with Hindustan Times, Teja Sajja decodes the success of HanuMan and other Telugu films, talks about his upcoming projects, and more.
When Prasanth Varma’s superhero film HanuMan, starring Teja Sajja, was announced to be released alongside big films like Mahesh Babu’s Guntur Kaaram, Venkatesh’s Saindhav and Nagarjuna’s Naa Saami Ranga in January this year, no one expected the underdog to emerge on top. And yet, the film, made on a budget of under ₹50 crore, managed to collect over ₹300 crore at the box office worldwide in 25 days, becoming one of the highest-grossing Indian films for the year. (Also Read: Ranveer Singh met HanuMan actor Teja Sajja, complimented him even after his Prasanth Varma film Rakshas got shelved)

Ask Teja about the moment he realised his film had not just fought against the tide but also risen to the top; he tells Hindustan Times in an exclusive conversation, “Since I returned to acting (as a lead actor after being a child artiste since 1998), this is the moment I’ve been waiting for. When everything from the HanuMan teaser to the songs was grabbing attention, we knew we had hit a gold mine. But I don’t think we imagined it would cross the ₹300 crore threshold. We were so satisfied with the opening numbers; everything else was a bonus.”

‘Success has given me fear of disappointing people’

Teja acted in Zombie Reddy, Ishq and Adbhutham before HanuMan, but they are what you would call ‘critical successes’, adding to his repertoire as an actor who can perform. But things have changed for him now, says Teja, who is being picky about the roles he says yes to. “Success either makes you overconfident or gives you the fear of disappointing people; I have the latter,” he explains.

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Teja admits he wants to chart out his career in Hrithik Roshan’s footsteps, but not in the way you think. “I have such a fondness for Hrithik due to Koi Mil Gaya and Krrish. No matter how well he performed after that, these left a lasting impression on me; I’m sure 90s kids will agree,” he says, adding, “Similarly, I’ve realised that I have an audience in children now. I want to be conscious of that when I pick roles. I want to make films families can enjoy together.”

But despite people in places like Mumbai or Delhi recognising him, Teja says he’s clear that he wants to cater to the Telugu audience first. “I am conscious that I am making films for my playground – the Telugu states. This is the sensibility I have grown up with, and I don’t know if I can cater to everyone else. Will I promote my films in other languages? Sure. But I also can’t be part of films that aren’t authentic to what I know or understand,” he explains.

‘Rootedness has put us on the world map’

And authenticity seems to be the need of the hour. Be it Baahubali and RRR or the recently released Pushpa 2: The Rule, Kalki 2898 AD and Devara: Part 1, certain kind of stories seem to be finding success. “Rootedness and going local is proving to be such a boon for us, be it in Devara or Pushpa or HanuMan. Kalki 2898 AD was our version of a Hollywood film (the sci-fi concept) with actors from across languages in predominant roles; it put us on the world map,” reflects Teja.

However, the actor admits Tollywood went through a phase of Bollywood-inspired rom-coms and family dramas that worked in their favour for a while. “That wasn’t easy to replicate either, but it’s just that these local stories are what the audience seems most interested in now. It can’t just be chalked up to religion, too. It’s about the morals these films are hinged on, the fighting for righteousness, and how an underdog can find their strength. Introducing Mahabharata or Ramayana to a new audience in a cool way is just a perk,” he says.

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And it’s this rootedness that Teja says his next films, Mirai and Jai Hanuman (the sequel to HanuMan), will also have ample of. “Mirai is also a superhero film that caters to kids, but it’s not an origin story like HanuMan. It has a pan-Asian and Buddhist touch because the story is based on King Ashoka’s ideologies. I hope that I will get to deliver something new to the audience again. I will only feel like I’ve arrived if Mirai is equally, if not more, successful,” says Teja.

Rishab Shetty will headline Jai Hanuman, but Teja also looks forward to shooting that. “I can’t wait to be on that set; it’ll be exciting. Now that we know India is ready to watch our films, I want to step it up. I want to shift gears and shoot for at least two films in 2025,” he says. As for what he will do next, Teja says he wants to up the ante. “When I got a SIIMA award for Zombie Reddy as a debutant, I remember telling Prasanth this would be the last award I get. But now that I won a Radio City Cine Award for Best Actor, I hope more awards will follow,” he signs off cheekily.

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