Nirmohi Akhra

Nirmohi Akhara and Ram Lalla Virajaman: Susmita Dasgupta

October 5, 2010

[In this guest post, Susmita Dasgupta throws light on some important aspects of the Ayodhya issue that have been misunderstood. First, she argues that there is an anomaly in treating the Nirmohi Akhara as a “Hindu” group, when in fact historically, akharas (aakhra in Bengali) were gymnasiums associated with sects that were usually opposed to organized and/or textual religions like Hinduism and Islam and claimed themselves to be non-Hindus. More importantly, she points out that the worship of the child-God – Ram Lalla, or Balkishan – was an important ingredient of defiance against organized religion. The Hindu appropriation of Ram Lalla, she argues, is therefore the greatest anomaly in the case, and this is the anomaly, she suggests, that historians should have focused on.]

Archaeologists are divided over the issue of whether a Ram Temple at all existed under the dome of the Babri Masjid and the Muslim theologicians are divided over whether the Babri is a legitimate mosque at all because in Islam if a mosque is built over a heathen’s structure of worship then it is not fit for prayers. Historians from JNU are almost universally concerned that whatever the archaeology is, the mosque should remain intact as a historical monument. The secularists are upset that the fictitious Ram Lalla be accepted as a party to a dispute and every structure of the Muslims could be pulled down on the flimsiest belief that the land archaeologically belonged to the Hindus. Such a judgment would then be a precedent in pulling down every mosque in the land and may even cast aspersions on the continued existence of the Taj Mahal and Red Fort !! I, too share similar concerns.

But historians of such caliber have failed to note the greatest anomaly of the case and which is the confounding of the Nirmohi Akhara as Hindu. The akhara is a gymnasium, a place where people are supposed to do their exercises, train in weights and various kinds of martial arts and athletics. Akharas were somewhat like the youth clubs and became as central to various mystic cults like Sufis, Bauls, Vaishnavs and Rampanthis and even certain sects of the Sikhs. The akhara was the same to these cults as the temple was to the Hindus and the mosque for the Muslims. Important saints like Ramdas, Namdeo, Eknath, Tukaram and others had veritable akharas. These sects were usually opposed to organized and/or textual religions like Hinduism and Islam and claimed themselves to be non-Hindus. They were influenced by Vaishnavism, the Bhakti and even some surviving remnants of Buddhism and Jainism.

These sects also had influences of the yogis, a cult based around the yoga method of exercises, which developed around the 12th century AD. The confounding of physical exercises with spiritual achievements is not new to India because such have been the ways of the Ninja in Japan. In fact, martial arts have invariably been tied to monasteries that were outside the fold of ecclesiastical religions. Nirmohi Akhara as the name suggests was one of the numerous instances of a “non-Hindu” sect.

An important ingredient of defiance against the organized religion was the worship of balkishan and ramlalla, infants or child gods. This is because the child has no sense of social discrimination, and because of its defecation and urination breaks the purity barriers constantly, the image of the God as a child is therefore a profane one. In due course of time, the Krishna worshippers could climb into the Hindu fold because Krishna has a Puranic backing. Unfortunately Ram who was only a fiction hero without a Puranic text to validate him, remained a God worshipped by these marginal sects, eventually the untouchables. Nirmohi Akhara is one such sect of marginals who exist autonomously and with equal mixing of Hinduism and Islam.

The Ramlalla Virajaman as God literally means a star, a fictitious character that evolves, grows, matures, ages and even dies rather than the absolute and fixed God like a Hindu deity or a Semitic God.

Therefore, the Hindu appropriation of Ram Lalla is the greatest anomaly in the case and the cause for the dispute.

The historians should have ideally argued over the Hindu claim over Ram rather than proceed to sieve archaeological evidence of whether there was or not a temple beneath the mosque. One has no idea of how the Hindus could suddenly lay a claim on Ram worship, which typically has never been a God in the Hindu pantheon. There are numerous deities across the country, tasla devi, bhadu, phullara, ashaan bibi and many others who are worshipped by the local persons irrespective of their religion. These deities pertain to sects that do not belong to the mainstream religions. The worship of Ram Lalla at the premises of the Babri Masjid, where the Muslims also prayed together with the Rambhakts have been a vindication of practices in India that are neither wholly Hindu nor fully Islamic.

The anomaly in this case was that a local worship became appropriated and hijacked by interests of the metropolis and this the historians of eminence should have noticed and investigated rather than fall into the trap of having to categorize something in terms of mainstream religions

T T Sreekumar on the 6th of December 2015

നിര്‍മോഹികളുടെ ഡിസംബര്‍ ആറുകള്‍

ബാബറി പള്ളി പ്രശ്നത്തില്‍ ഏറ്റവും കൂടുതല്‍ നേട്ടം കൊയ്തത് നിര്‍മോഹി അഖാരകള്‍ ആണ്. 1853-ൽ നവാബ് വാജിദ് അലി ഷായുടെ കയ്യില്‍ നിന്ന് എങ്ങനെ അവുധിന്റെ ഭരണം തട്ടി എടുക്കാം എന്ന് തക്കം പാര്ത്തിരുന്ന ബ്രിട്ടീഷ് ഈസ്റ്റ് ഇന്ത്യാ കമ്പനി ഷിയാ നവാബ് മാര്ക്കെതിരെ സുന്നി-ഷിയാ തര്ക്കങ്ങള്‍ കുത്തിപ്പൊക്കി അവിടെ കാലുറപ്പിക്കാന്‍ ശ്രമിച്ചിരുന്നു. സുന്നികളെയും ഹിന്ദുക്കളെയും നവാബ് മാര്ക്കെ തിരെ തിരിക്കുക ബുദ്ധിമുട്ടായിരുന്നു.

ഷിയാ നവാബുമാര്‍ ധാരാളം ഹിന്ദു ക്ഷേത്രങ്ങള്‍ നിര്മ്മിക്കുകയും ഭരണത്തിലും പട്ടാളത്തിലും കായസ്ഥ ഹിന്ദുക്കള്ക്കും ശൈവനാഗന്മാര്ക്കും വിപുലമായ പങ്കാളിത്തം നല്കുലകയും ചെയ്തിരുന്നു. അയോധ്യക്ക് ഇന്ന് കാണുന്ന ഹൈന്ദവ തീര്ത്ഥാടന കേന്ദ്രം എന്ന പദവി തന്നെ നവബുമാരുടെ കാലത്ത് ലഭിക്കുന്നതാണ്. അയോധ്യയില്‍ ആരും നോക്കാനില്ലാതെ പൊളിഞ്ഞു കിടന്നിരുന്ന പല അമ്പലങ്ങളും അറ്റകുറ്റ പണികള്‍ തീര്ത്തു ആരാധനാ യോഗ്യമാക്കി തുറന്നു കൊടുത്തത് നവബുമാരുടെ ശ്രമഫലമായാണ്.

ഹനുമാന്ഗാര്‍ഹി ക്ഷേത്രം പണിയാന്‍ അവിടെ പുതുതായി ഉടര്ന്നു് വന്ന ഒരു വൈഷ്ണവ കള്‍ട്ടായ നിര്‍മോഹി അഖാരകള്‍ക്ക് സ്ഥലം സൌജന്യമായി നല്കിയതു നവാബ് സഫ്ദര്‍ ജങ്ങ് ആയിരുന്നു. ഈ നിര്‍മോഹികള്‍ പേര് സൂചിപ്പിക്കുന്നത് പോലെ നിര്‍മോഹികള്‍ അല്ല. യഥാര്ത്ഥ ത്തില്‍ ഇവര്‍ ഹിന്ദുക്കള്‍ പോലുമല്ലെന്നു സുസ്മിത ദാസ്ഗുപ്ത എഴുതിയിട്ടുണ്ട്. യോഗയും മറ്റും പരിശീലിക്കുന്ന, നമ്മുടെ കളരികള്‍ പോലുള്ള, ജിംഖാനകള്‍ ആയിരുന്നു നിര്‍മോഹികള്‍ നടത്തിയിരുന്നത്. ഹിന്ദു മതം അടക്കം ഒരു മതത്തെയും ഇവര്‍ പിന്‍പറ്റിയിരുന്നില്ല. എന്നാല്‍ പതിനെട്ടാം നൂറ്റാണ്ടിന്റെ തുടക്കത്തില്‍ ഇത് ഒരു വൈഷ്ണവ സംഘമായി പുനവതരിക്കുകയും ഹൈന്ദവ സങ്കല്പ്പങ്ങള്‍ സ്വീകരിച്ചു പ്രവര്ത്തിനക്കാന്‍ തുടങ്ങുകയും ചെയ്തു. 1853 -ല്‍ വാജിദ് അലി ഷാ യുടെ കാലത്ത് ബാബറി മസ്ജിദ് നെ മേല്‍ അവകാശം ഉണയിക്കുകയും ചെയ്യുക ആയിരുന്നു. ഇത് മുന്പ് ക്ഷേത്രമായിരുന്നു എന്ന് അവകാശപ്പെട്ടു അക്രമങ്ങള്‍ ആരംഭിക്കുകയും അങ്ങനെ ഹിന്ദു-മുസ്ലീം കലാപങ്ങള്‍ക്ക് അവിടെ തുടക്കം ഇടുകയും ചെയ്തത് ഈ നിര്‍മോഹികള്‍ ആയിരുന്നു.

ബ്രിട്ടീഷ് പ്രേരണകള്‍ അന്ന് പ്രധാനമായും ഹിന്ദു മുസ്ലീം വൈരം കുത്തിപ്പൊക്കുന്നതിനായിരുന്നു. എന്നാല്‍ നവാബ് ഈ കെണിയില്‍ വീഴാന്‍ കൂട്ടാക്കിയില്ല. അവുധ് ഏറ്റെടുക്കാന്‍ കാരണം നോക്കി ഇരിക്കുന്ന ഈസ്റ്റ് ഇന്ത്യാ കമ്പനി പ്രശ്നം വഷളാക്കാന്‍ മാത്രമാണ് തുനിഞ്ഞത്. അവുധ് പിടിച്ചെടുത്തു പള്ളിക്ക് ചുറ്റും കമ്പി വേലി കെട്ടി ഹിന്ദു മുസ്ലീം വൈരം എന്ന സ്വന്തം ചരിത്ര നിര്മിതിക്ക് ഈസ്റ്റ് ഇന്ത്യാ കമ്പനി പ്രതീകാത്മകമായ ചൂണ്ടുപലകയും തീര്ത്തു . നിര്‍മോഹികള്‍ ആണ് കോടതി വ്യവഹാരത്തിലേക്കും ഈ നിയമ സമാധനപ്രശ്നത്തെ വലിച്ചിഴച്ചത്. ഹിന്ദുക്കള്‍ പോലുമല്ലാത്ത നിര്‍മോഹി അഖാരകള്‍, 1720 ല്‍ മാത്രം ഒരു വൈഷ്ണവ സംഘമായി രംഗ പ്രവേശം ചെയ്ത നിര്‍മോഹികള്‍, തങ്ങള്‍ കാലാതീത കാലം മുതല്‍ ആരാധിക്കുന്ന ക്ഷേത്രമാണ് അത് എന്നാണ് കോടതിയില്‍ അവകാശപ്പെട്ടത്!

അലഹബാദ് കോടതി വിധിയിലെ എല്ലാ പോരായ്മകള്‍ക്കും മുകളില്‍ മുഴച്ചു നില്ക്കു ന്നത് വഖഫ് ബോര്ഡിനോപ്പം നിര്‍മോഹികള്ക്കും അവകാശമുണ്ട്‌ എന്ന കോടതിയുടെ തീര്‍പ്പാണ് ! “Whether Nirmohi Akhara, Plaintiff, is Panchayati Math of Rama Nandi sect of Bairagies and as such is a religious denomination following its religious faith and per suit according to its own custom.” എന്നത് കോടതി അംഗീകരിക്കുക ആയിരുന്നു. ബാബറി മസ്ജിദ് വിധിയിലെ ഏറ്റവും നീചമായ വശം ഈ പ്രശ്നത്തെ ബ്രിട്ടീഷ് കൊളോനിയലിസത്തിന്റെ ചട്ടുകമായി, ഹിന്ദു മുസ്ലീം വൈരം കുത്തി പൊക്കി, ആദ്യത്തെ സാമുദായിക കലാപങ്ങള്ക്ക് തുടക്കമിട്ടു, വിശ്വാസികളെ തന്നെ വഞ്ചിച്ചു ഉയര്ന്നു വന്ന ഹിംസാത്മകമായ ഒരു കള്‍ട്ടിനു ഈ വിധിയിലൂടെ സാധൂകരണം കിട്ടുന്നു എന്നുള്ളതാണ്. ഈ നിര്‍മോഹികളുടെ രക്തദാഹമാണ്, കുല്‍സി്തരാഷ്ട്രീയമാണ്, രണ്ട് നൂറ്റാണ്ടുകളിലൂടെ നിരന്തരമായ സാമുദായിക സ്പര്ദ്ധയുടെ കൊലവാള്‍ ഉയര്ത്തി ഇന്ത്യയെ ചോരക്കളം ആക്കിയത് എന്നത് എളുപ്പത്തില്‍ വിസ്മരിക്കാന്‍ കഴിയുന്ന കാര്യമല്ല.

1992 ഡിസംബര്‍ 6-നു കര്‍സേവ നടത്തിയത് ബി ജെ പി യും ആര്‍ എസ് എസ്സും ഹിന്ദു മഹാ സഭയും ഒക്കെ ആയിരുന്നു. പക്ഷേ യഥാര്ത്ഥ വേട്ട നിര്‍മോഹികളുടെതായിരുന്നു. രണ്ട് നൂറ്റാണ്ട് കാലത്തെ ചരിത്ര വിരുദ്ധ രാഷ്ട്രീയത്തിലൂടെ അവര്‍ തകര്‍ത്തത് ഒരു സമൂഹത്തിന്റെ ഏറ്റവും പ്രിയപ്പെട്ട നൈതികസങ്കല്പ്പങ്ങളെ ആയിരുന്നു എന്നത് ഓരോ ഡിസംബര്‍ ആറുകളും അവരുടെതാക്കുന്നു. ചരിത്രത്തില്‍ എങ്ങനയാണ്‌ ഇത്തരം ഭീകരസംഘങ്ങള്‍ ജന്മമെടുക്കുക, എങ്ങനെയൊക്കെ ആണ് അവ വള്ര്‍ന്നു വരിക എന്നത് പ്രവചിക്കാന്‍ ആവില്ല. ഒരു സമൂഹത്തെ ഒന്നാകെ ഒരു ചെറിയ ഭീകരസംഘം എങ്ങനെയാണ് വാള്മുുനയില്‍ നിര്ത്തി ശിഥിലീകരിക്കുന്നത് എന്നത് പഠിക്കാന്‍ ഏറ്റവും നല്ല ഉദാഹരണം ഇന്ന് ഈ നിര്‍മോഹികളുടെ ചരിത്രം തന്നെയാണ്

Leave a comment

Individualism and Voids

Individualism is a difficult proposition for human societies; it offends the sense of human classifications, which is essential to human societies. Social orders and institutions must have classifications for the dispensations of accumulation, distribution and legacies.

Leave a comment

Is Rama Really Purushottam?

Is Rama really a Purushottam? What does the term Purushottam, which denotes the ideal man, or even the ideal human really mean? When was the term Purushottam coined to describe Rama and what would the term meant during the time of its coinage? What are the standards of ideal for an Indian male or a human? Why are those standards known as the ideal? What is an ideal and why and when does something become an ideal? One may attempt an answer to this problem through a wider understanding of the Ramayana and its central hero, Ram. Ram, is an ideal human and in his idealness almost a rank holder as a Divine. He is the perfect hero in the sense he can kill any demon, he can survive any crisis, he is the perfect son who obeys every word of his parents, he puts the needs of the institution before his personal wishes and has absolutely no semblance of anything which is selfish or self centred. He is free of ego and desire and is a perfect player of the roles assigned to him by the society. His agency is exercised only to further the execution of his responsibilities as the incumbent of a social role. In Rama, the social role rather than his personality presides.

Contenders to the Divinity of Ram insist that there are clinks in the hero’s armour precisely in the three episodes of his life viz his treatment of Sita, his assassination of Bali, his murder of Shambuka. The Bengali literati add yet another, namely the killing of Meghnad, Ravana’s son while he was unarmed in his morning worship of his deity. Though Lakshman was the one killed Meghnad with the help of Bibhishan, Ravana’s own younger brother who had crossed over to Rama’s side, yet the murder took place with the full knowledge and acquiescence of Rama and hence can well be attributed to his intentions. Rama’s assassination of Bali and the stealthy murder of Meghnad may be attributed to the theory that everything is fair in war and that ethics which apply to conditions of peaceful conduct of life may be abrogated while the parties are at war. But Rama’s treatment of Sita at the instance of public opinion against a rape victim and his murder of a Dalit boy, Shambuka at the instance of the Brahmins in his royal court. The last two, namely Sita and Shambuka are used to show how Rama is loyal as a king towards his subjects so that he gives into their will even if that involves sacrifice of his own attachments. The more endearing the character of Sita is or more devout Shambuka is, the greater appears the sacrifice of Rama the person to Rama the social role. Such sacrifices are used to extract Rama out of his personhood and establish him as a post, a social role. What is the sociology of this?

Let us take the instance of Shambuka. On a personal level, Rama is open and amiable. He has friends among strange people; Guhak is a good friend, his affections towards Hanuman even at times exceeds his attachment towards Lakshman, his treatment of Bibhishan especially his complete trust towards him is exemplary and his deference and love for Jatayu is legendary. Rama and Lakshman actually perform his last rites as the legendary bird’s sons. Shambuka was a celebrated ascetic born in a Shudra caste who Rama was forced to behead because a Brahmin insisted that his child had died because of the “sins” committed in Rama’s kingdom and identified Shambuka’s enormous talent as the “sin”. Shambuka on his own was allowed to survive and even thrive as an exceptional individual in Rama’s kingdom. Why did Rama listen to the Brahmin? Why did he choose to believe that Shambuka was the sin for which the Brahmin’s child died? Did he genuinely believe in the caste system? Or did he sustain a difference between personal beliefs and community beliefs? He was prepared to sacrifice his personal ideas to the prevailing traditions of his community? Was Rama the ideal because he laid a greater stress on the community values and norms instead of insisting that his beliefs had their way? Rama was no social reformist but a pliable king who inevitably has given in to social conservatism. Here again, Rama the person is sacrificed in the altar of Rama the social role, the king in this case.

Rama’s treatment of Sita was in no measure any more merciful than a veritable murder in which Sita was goaded to commit suicide as the great epic ends. Rama does not have anything to say about his dispensation of Sita’s claims as a loyal wife except that he finds it to be his bounden duty to honour the wishes of his people, the people being always right irrespective of the tragedies these may involve for the royalty. The ideal king must give in to the wishes of his subjects even if that means sacrificing his own attachments, his principles, his personal beliefs and ideologies. The sovereignty of the subjects, rather than that of the king is the ideal sense of the State and it is because of this that Rama is the Purushottam.

Rama is always willing to let go whatever is dear to him; the idea of the Kingdom and his own coronation which is a miss between the cup and the lip, his wife, his friends. Rama is emotionally attached to his father and is extremely pained at the separation between the father and him and has constant nightmares about his father’s imminent death and yet when Bharat says that Dasarath has summoned him back into the kingdom, he refuses to go. Rama splits Dasarath into two, the father who he loves and the father who commands him. He clearly chooses the latter over the former. Sita is split into two as well, the beloved wife who he loves very much and never ever doubts her attachment and loyalty towards him but as the principal queen of a good king, he lets her go as she has been tainted by a crime committed against her! Here too, individuals are sacrificed to social roles and imagined ideas of perfectness.

Rama is born a nice person; he knows no envy, no anger, no greed, and no lust. He is not envious when he hears that Dasaratha has chosen Bharat instead of him as the heir apparent. Rama is more hurt because father has cold shouldered him, not hugged him. He is upset because his father’s behavior appears changed and which it has because Dasarath can no longer face Rama as he is overcome by grief. Rama is not really happy when Sita wishes to accompany him to the forest for he can live the life of an ascetic, he lets Sita tag along since she nags so much. Even as Surpanakha descends upon Rama in the guise of a beautiful woman, he remains unmoved. Rama weeps openly for Lakshman when he gets nearly fatally hit by an arrow in the war and yet mercilessly kills Rakshasa women even as Sita winces at his cruelty. Rama appears to be a set of contradictions; kind and cruel, affectionate and indifferent, attached and detached, he seems to make a clear separation between personal values and morals and the mores and traditions of the larger society. Yet, all of these makes him into an ideal person as is implied by the term Purushottam. Purushottam refers to the ideal human, or the man and not necessarily the king. Interesting why should the person who sets aside his own set of beliefs even if they are kinder and more refined to let the values of the larger community have its way be the ideal human being?

Clearly in the Ramayana, there is an attempt by the society as a whole to prevail over the individual will. The talented individual, the woman especially the learned and the self-assertive ones are systematically snubbed and decried. Karna, Shambuka and Ekalavya are destroyed but also a person like Rama is tortured as well by making him murder Shambuka, assassinate Bali and abandon Sita not before forcing her to walk into the fire. The society is a set of commands by the elders and the superiors and also a source of moral pressure through tongue wagging, scandal mongering ordinary subjects. Rama is a Purushottam because he gives preference to the society than to his own idea of justice, which also means that he prefers the collective will over individual rights an entitlements. What kind of a society did the Ramayana try to promote? One in which the Brahmin dominated over the king; in which age was such a society in ascendance?

The Ramayana is not confident when it discusses Rama’s treatment of Sita, or or Bali or of Shambuka. It is not also confident when it discusses how Rama kills the females among the Rakshasas and especially where Sita is concerned, the Ramayana appears to change its voice from lauding Rama into lolling in Sita’s grief. Ramayana is a composed epic; why did its several versions not eliminate the possibility of Rama abandoning Sita, or Rama killing Bali? One has to understand that the Ramayana is a series of folk tales, recited by folk artists, travelling tale tellers, and of bards and musicians, of players and performers. It is not easy to put forth a legitimate text of the Rama’s tale which does not take into account all the episodes that go to unmake the status of the perfect man, Rama.

Rama’s ideal hood is repeatedly challenged by citing his weaknesses in which Rama as an individual and a human being has been constantly faulted. Rama’s pursuit of greatness as a king has been severely compromised by his emerging into a good human being and in his ambitions to be king, Rama has to repeatedly compromise his values as an individual. Yet, the writers have not dared to weed out the contradictions in Rama’s character and in fact continued to apologize for these pitfalls through elaborate justifications from the Puranas, Brahmanas and a host of other Sanskritic sources by saying that Rama and Sita were bearing the curses of previous lives, or that they were Divinities playing up the part of ordinary mortals and hence trying to make the contradictions more and more acceptable for the sensible and sensitive readers.

To my mind and logical inference the Ramayana speaks of an important moment of conflict and that which is between the institution of kingship and the society of the subjects. The Ramayana is a tale of moralities among members within a patriarchal family set up and between the king and his subjects, also the extension of patriarchy. The family and the king together constitutes one large family; Rama is therefore an imagined king whose is metaphorically subjected to an ordeal by fire by being forced to sacrifice his loved ones. There is a subtext of the Ramayana in which Rama accepts humbly his fate as the most unfortunate son who loses the father, the husband who loses his wife, the father who cannot witness the birth and growing up of his children, the older brother who snatches the happiness of conjugal life from both his younger brothers namely Bharat and Lakshman. He is enticed by Sugriv to kill the valiant Bali, instigated by a Brahmin to kill Shambuka, and because of Sita’s error of judgment he is forced to enter into a battle with the blemishless king Ravana of Lanka who is also a high grade Brahmin. Rama is therefore a man for who everything ends in a net loss. Yet he goes through this and suffers in silence and in complete surrender. Rama’s suffering is the direct victory of the society over the State, the victory of the subjects over the king. Dasaratha the father, Sita the wife, Shambuka the devout all become subjects who through their respective sufferings embarrass Rama.

The Ramayana is a critique of the king as the giver of values, as a social reformers, as a law maker. It is a template for kings to be forever subjected to the subjects and the society. It is the saga of the society’s discipline of the king.

 

 

 

Posted in Festivals | Tagged , , , | Leave a comment

My Own Death Bookless Series

 

 

No, I have not reached Baghdad, I am bookless in my own home in the Delhi suburb. Our small flat sparsely furnished with hostel type wooden plank beds, woven wooden chairs and no sofa, minimalist dining table is infinitely difficult to clear because of the five thousand books it contains. I am a bibliophile, and if I ever wanted to earn money, have a full fledged career, a home of my own and not marry at all was to be able to lead a life all by myself among my favourite books. And today these books were being taken down from their states of ensconce meant in their respective shelves, tied up together in bundles, packed and moved by carts to a warehouse which Madhusree and I have rented for the month for the house jobs to be done.

As the books are dismantled, lain on the floor, ritually classified and eventually tied it gave me the sense of my own death. I felt that I was now a corpse, lying down on the floor, my attendants come in and tie me up to the bier and carry me into the hearse van. As the books are loaded on to the rickshaw van, I can hear my neighbours shriek with dismay wondering whether we were shifting out of the locality, never knew we were popular. I can again see my own death, as my body is moved out of the premises, my neighbours will despair, if for nothing then at least for the electricity complaints I always made for them. Anyway, neighbours were amazed, never before they have known people shift homes for paint and tile jobs!!

Anyway, books are now all gone, the house looks empty, I sit alone watching television. My favourite show the CID is on but without books I sit as if without my body. Is this how it feels on the day of death? Television does not seem as it always is, the door bell rings, the magazine boy comes in with issues of Sananda and Bartaman. I do not seem to relate to these magazines at all in my state of bodiless ness. I am no longer anybody I feel. The living room looks totally empty now, cleared of all furniture, just the way it would look on the day of my final departure. People would come in to pay their respects I suppose and to accommodate so many of them, space would have been created by removing everything. My house manager Suraj is busy handing glasses of cold water to the workers, just the way he would do on the day of my death.

Years ago when I joined a course on past life regression, the life coach asked me to imagine how I died in my past life. I said that I was on a big ship, all white amidst a quiet and calm ocean with azure blue waters and the sky was dazzling bright with golden light. This morning, the sky dazzled with that same light. Only recently I read of the ship of Theseus, the ship that brings death of Socrates. My ship of death fits so well with the Theseus. I wonder whether I could have been Socrates in my other life. May be, possible still have to take a play us quiz to find out.

Georgia was moving about aimlessly, extremely distressed at our things going out of the door. Just the way I try to distract myself with the television, she tries to distract herself by barking at the neighbour’s cat.

Then all is quiet. I sleep off in the afternoon. Madhusree comes home and Suraj returns once more to the house to a quiet dinner and some hot teas afterwards. We sit future less, vapid, aimless, gazing at a tomorrow that promises nothing. Tomorrow the work will begin. The bed has to be dismantled and so the television. But that hardly matters, for we are now dead, and these are only the process of the rituals.

Madhusree crashes down in the bed and sleeps off; she is relieved of the burden of our possessions. She revels in the ashram like atmosphere in the home. Our lampshades are packed too in the warehouse, the vanity of soft lighting is gone and we are left with drab yellow cfl mounted on the wall. The reprints of masters on our walls look lifeless as well without our lamps around them, they appear as actors in the greenwood without make up.

Night has now fallen, our first night in this bodiless state. It is,unsettling, this death of mine, I must plan better for the eventual one. For that d day, I will have to forego my worldly attachments especially to my books. For that to happen, I must read each of my books thoroughly, absorb and assimilate them so thoroughly that it could well have been written by me. Only then will I carry my books in my soul, be liberated from the bodily attachment to them and only then be death ready and really enjoy my cosmic journey to the other world. That is my aim now.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Posted in Bookless | Tagged , | Leave a comment

Leisure Class 2 Bookless Series

My very young but brilliant cousin, Anindita sen has posed an interesting question on my account of the leisure class. There was a time when the zamindars, the ideal case of a leisure class were promoters and patrons of high art and culture and even in some cases of popular culture as well. But why in today’s age and time, the leisure class is so ineffectual and effete? Where goes their patronage? And why?

To the best of my mind, today’s leisure class unlike the leisure class of colonial times are not, in terms of the income hierarchy at the top of the heap. At the top of the pile straddle the Ambanis, the Tatas, the Adanis, relegating the leisure class to various statuses below these. Besides, the leisure class is not a homogenous class in terms of its income for they can be found across a range of incomes. The leisure class today is defined by its source of income, which in unearned in the current period, or may be unearned in the sense of being never earned. Compensation for land acquisition, rentals on ancestral property, shares of proceeds from land, or mere dividends on stocks held in companies as legatees. The modern day leisure class therefore is made up of families, or even individuals within families of people who have “another source of income”. The present day leisure class is a class within a class, and has a relationship to the fortuitous but not to the production relations of the society.

The older leisure class was a producer class, which, had cleverly managed social relations in a manner that tribute by way of goods and services including cash would flow towards them. The unearned income was not random or unplanned; instead it was   Well conspired and managed, orchestrated in consonance with the State power. This is so unlike what it is today since the leisure class is produced only by twists of fortunate sets of accidents.

But more and more people want yo belong to this leisure class since earning incomes has become such a drudgery for all. Bookless in my home, perched upon a heap of cheap Munirka made furniture, all that we could afford after blowing up so liberally on books, I sit at home fighting the noise, the dust and an entire pelt of workmen and an agitated Georgie. I only hope within the deep recess of my mind, with a heroic sense of inner certainty that all this cadaver will eventually end in a beautiful home. That beauty of a tiled floor with shower lights is a state of harmony presently only in my dreams. And I am not a dreamer. So I sit back, blanked out in my mind, vapid in my thought when it suddenly strikes me that I am indeed the leisure class. Everyone in the house seems to be at work, pulling, pushing, lifting, carrying, pounding, rubbing, sweeping and washing and which includes an anxious hyperactive supervision by Georgie, I sit motionless and still. I wonder, what is a leisure class, what are their existential coordinates and what do they do about their thinking?

The leisure class has long been defined as a class of people who need not earn their own incomes, incomes emerge automatically out of nowhere. Nowhere because they do nothing to invest towards an income in the current period. They may have inherited some money, or won a lottery or what is not probable have had some property which by sheer force of time and inflation appreciated to render them with purchasing powers which are enough and sometimes more than enough to give them a dignified lifestyle similar to those who have to pump adrenaline to go to work. The leisure class by the dint of not earning its income is a class that does not really interact with the society at all. It is a class that definitely tries to match its steps with the world as a consumer but because most of our consumption is geared towards earning an income, the leisure class finds it difficult to remain a consumer as well. This is my present state of affairs. I am out of office for the whole of this week, and like a leisure class totally out of work. Sitting at home, I simply do not know what I should consume.

The problem of a society based on the model of consumption, a leisure class is a problem, for even if this class has some money, it knows not what to buy because it has nothing to buy for.  I once visited the home of a family which had graduated to the leisure class in a nearby village in the NCR. They we renovating their home with beautiful marble and tiles but inside the house there was only a single hall with balconies all around, resembling a merchant’s home in Mohenjodaro and Harappa. The women of the house asked Madhusree and me what furniture should suit them best. They of course had a leather sofa in the middle of nowhere and a centre table with a black glass. They were confused and pained in that confusion. They we hopeless where consumption was concerned. At the exit I noticed two large hookah. We were told that these were for the ladies to smoke, a powerful item of consumption while they were peasants but now as a leisure class, that had become illegitimate.

As a producer class, the leisure class knows not where to invest. Massage parlours, restaurants, boutiques, gymns, Kachori franchisee are the businesses which a fairly easy to enter but difficult to sustain. Shops close as soon as they open leading to a colossal waste of capital. When leisure class runs businesses, there is no accumulation, no learning, no technology advancement. This is the way in which economies collapse.

As a culture class the leisure class pursues impressionistic art, abstract cubism, the theatre of the absurd or polemical cinema where emotions are spoken of rather than be conveyed. As artists, the leisure class cannot bring about a change in the consciousness on a wide scale.

The birth of the leisure class in a society comes from a surplus, which rather than be circulated, accumulates like a tumour on the body social, wasting away the health towards myeloma. The existence of the leisure class is not only the failure of the market to work through the invisible hand, but is also a political failure.

Why not some extra cash which would help them avoid the trouble of looking for a job and staying on in there? So we have become a nation of adventure seekers, looking to match make between parties, go between deals, arrangers, Networkers, brokers and speculators. The leisure class today is dependent on every other class for the scums and scrap which they throw. The leisure class is horribly depoliticised, desocialised and above all decultured. No wonder they would rathe live off patronage rather than be patrons themselves.

Posted in Bookless | Tagged , | Leave a comment

The Leisure Class I Bookless Series

XBookless in my home, perched upon a heap of cheap Munirka made furniture, all that we could afford after blowing up so liberally on books, I sit at home fighting the noise, the dust and an entire pelt of workmen and an agitated Georgie. I only hope within the deep recess of my mind, with a heroic sense of inner certainty that all this cadaver will eventually end in a beautiful home. That beauty of a tiled floor with shower lights is a state of harmony presently only in my dreams. And I am not a dreamer. So I sit back, blanked out in my mind, vapid in my thought when it suddenly strikes me that I am indeed the leisure class. Everyone in the house seems to be at work, pulling, pushing, lifting, carrying, pounding, rubbing, sweeping and washing and which includes an anxious hyperactive supervision by Georgie, I sit motionless and still. I wonder, what is a leisure class, what are their existential coordinates and what do they do about their thinking?

The leisure class has long been defined as a class of people who need not earn their own incomes, incomes emerge automatically out of nowhere. Nowhere because they do nothing to invest towards an income in the current period. They may have inherited some money, or won a lottery or what is not probable have had some property which by sheer force of time and inflation appreciated to render them with purchasing powers which are enough and sometimes more than enough to give them a dignified lifestyle similar to those who have to pump adrenaline to go to work. The leisure class by the dint of not earning its income is a class that does not really interact with the society at all. It is a class that definitely tries to match its steps with the world as a consumer but because most of our consumption is geared towards earning an income, the leisure class finds it difficult to remain a consumer as well. This is my present state of affairs. I am out of office for the whole of this week, and like a leisure class totally out of work. Sitting at home, I simply do not know what I should consume.

The problem of a society based on the model of consumption, a leisure class is a problem, for even if this class has some money, it knows not what to buy because it has nothing to buy for. I once visited the home of a family which had graduated to the leisure class in a nearby village in the NCR. They we renovating their home with beautiful marble and tiles but inside the house there was only a single hall with balconies all around, resembling a merchant’s home in Mohenjodaro and Harappa. The women of the house asked Madhusree and me what furniture should suit them best. They of course had a leather sofa in the middle of nowhere and a centre table with a black glass. They were confused and pained in that confusion. They we hopeless where consumption was concerned. At the exit I noticed two large hookah. We were told that these were for the ladies to smoke, a powerful item of consumption while they were peasants but now as a leisure class, that had become illegitimate.

As a producer class, the leisure class knows not where to invest. Massage parlours, restaurants, boutiques, gymns, Kachori franchisee are the businesses which a fairly easy to enter but difficult to sustain. Shops close as soon as they open leading to a colossal waste of capital. When leisure class runs businesses, there is no accumulation, no learning, no technology advancement. This is the way in which economies collapse.

As a culture class the leisure class pursues impressionistic art, abstract cubism, the theatre of the absurd or polemical cinema where emotions are spoken of rather than be conveyed. As artists, the leisure class cannot bring about a change in the consciousness on a wide scale.

The birth of the leisure class in a society comes from a surplus, which rather than be circulated, accumulates like a tumour on the body social, wasting away the health towards myeloma. The existence of the leisure class is not only the failure of the market to work through the invisible hand, but is also a political failure.

Posted in Bookless | Tagged , | Leave a comment

Abdul Kalam – A Joyous Death

My school friend, Debjani told me this hilarious story about her grandfather, a reporter with the Stateman who claimed that Gandhiji knew him. How come Dadu, my friend would ask to which the grandfather replied that once he nearly bumped into the Mahatma when Gandhiji seemed to have exclaimed “Oh Reporter!” Well, this is nearly how I also knew the former President Abdul Kalam.
Once I had the distinction of being invited for a play written by my celebrity friend Shivani Tibrewal, which Mallika Sarabhai performed as a dance drama. Since I was the guest of the playwright I was fortunate to be seated in the VIP enclosure with Mrinalini right beside me. Then Mr President arrived and sat in the seat right in front of me. The dance drama started and frankly, I felt rather disappointed at Shivani’s powerful script being so sullied by depressive stage lights and hackneyed body moves. No sooner than I saw the head of silver tuft move also in disapproval that the President actually turned almost to face me in the row behind him and started whispering that Mallika was only repeated Tagore’s Chandalika which her mother Mrinalini has almost copyrighted. I have seen all of this before, he remarked, nearly within the hearing range of Mrinalini, and despaired why the daughter had nothing new to invent? Mrinalini must have heard Kalam as well for she fell very silent while I stiffened up stoically to such expressed criticism. Then the President turned around once again, are you Bengali? He asked. Yes sir, I replied as silently as I could. You from Santiniketan? He asked again, No Sir, I studied in Jadavpur University and JNU, I said. Someone from the President’s coterie who sat next to him started a conversation and Kalam and my communication was disconnected. This is as much as I encountered him in person.
But I knew Kalam and I think that I knew him pretty well because I know his type and I could immediately connect with him in a strange manner of souls. Kalam was actually Prof Shonku and a bit of Lalmohan Babu, pen named Jatayu, both immortal characters of Satyajit Ray. Kalam was a scientist much later; he was born to be amazed at the wonders of the Universe. For him the world was magic, opening up its treasures to him with every ray of the sun. He was excited with everything, as if he clapped when flowers bloomed and birds flew. But what excited him the most was the activation of the cosmos in the form of intense energy and this made him love the fireworks. His work on the missile was far less an endeavor of weaponry; instead it was the invention of a grand firework, he bringing to life the giant dragon, a contraption that could break barriers and swoosh into the sky, his world of wonderment. This is so like Prof Shonku or Jatayu both of who lived in a world of fantasy, not of make belief, but of ultimate possibilities. Kalam was just this kind; he sincerely believed in the magic, in dreams, in light and motion, in the cosmic energy and longed deeply to be a part of it. I have often noticed, albeit in televisions, how his eyes always bore a strange light, this was the light of a child’s eyes who looked only to gaze at the wondrous illuminations of the Universe. This made Kalam an excited soul, one who forever was in utter enjoyment of the world. The titles of the books he authored, Ignited Minds, Wings of Fire were so much like the title of Jatayu’s novels or Prof Shonku’s inventions. For Kalam, science was play. This was the energy and happiness he brought around him and this is why, even when people were speaking of his death, they were only smiling.
Prof Shonku had died in Ray’s pen but Ray wrote of his death as being his never ending journey into the vast unending Infinity of Space. As Shonku went up along with his cat, Newton, Man Friday, Prahlad and the pet robot, they could only see the strange and lovely lights of the space as if pouring down in a torrential psychedelics. Shonku is imagined around Sukumar Ray, Satyajit Ray’s father who dies while Ray was only two. Sukumar Ray was a scientist at heart, given to experiments around light and motion; like Shonku he too lived in a world of imagination and science for him was a play of his imaginations. As Sukumar Ray lay dying, he penned his last poem ever in which he feels so excited at the prospect of death that his heart beats like a tabla. Death is only the beginning of a new adventure, a renewal of a new kind, an experience to be looked forward to as the revelation of yet another Divine wonderment.
Kalam was a scientist by play, a child of God’s creation and this is why he was so free from issues of ego, power and protocol, of style and status just as a child would be. His world was one of continuous discovery, of constant exploration, of endless journeying into the dance of lights. Death must have excited him much in the way it did for Sukumar Ray and if he had ever read the poet, he would have surely said, “aaj ke amar moner maajhe, dhnai dhopadhob tobla baaje.” I can sense that Kalam’s death is joyous; it is strange that his death bears the same aura of celebrations as every moment of his life did. The voice of the television reporters, the radio jockeys, the celebrities who are invited to speak on the former President and even my mother to who I spoke this morning and who admired and loved Abdul Kalam had the same tone in which I could hear the upbeat rhythm of Sukumar Ray’s line as if all were saying “aaj ke amar moner maajhe, dhnai dhopadhob tobla baaje” (today within in my mind, the tabla beats dhnai dhapadhap)

Posted in Obituaries | Tagged , , | Leave a comment

Myth, Media and Poetry – Jagannath’s Rathyatra

The Rath Yatra of Jagannath is among the grandest sacred spectacle of India and till only recently, which is before the Bengalis discovered the Durga Puja, it was the grandest fair of them all. The rath, or the car festival seems to be a throw from ancient Egyptian car festival and goes to prove the connections between Egypt and Orissa, both major maritime powers in their time. Lord Jagannath is a site of multiple myths and meanings; he straddles between the forest and the city, the mountain and the ocean, the tantric rites and tribalism and has distinct similarities with Tibetan Gods and their representations. The face of Jagannath and Balaram, more so of the latter than the former has bird like features, in costumes akin to the kathakali or the chhou dance, resembling both deities from Tibet and from Sri Lanka and Bali. Indeed, one of the more important festivals of Odisha is the Bali yatra, signifying the seting off of ships on the ocean for trade to Bali, once again hinting at the connection between the two above mentioned cultures. One could then draw a lateral line from Egypt to Odisha and a vertical line from Sri Lanka, through Kerala, Bastar, Odisha and Jharkhand right inside the western provinces of China; zhou and chhou being phonetically similar and perhaps mean the same thing. Jagannath’s geography then draws from the oceans on the three sides of the Indian peninsular and unites China and Tibet in the north and Kerala in the south. One particular myth of Jagannath claims that he is the unburnt body of Lord Krishna which had come floating in the sea. Given the fact that Krishna died in the western coast of India and Puri, the abode of Jagannath is on the east coast, the cult has already united the two coasts of the peninsula. If Jagannath is the corpse of Krisha which is eventually discovered in a secret zone of the forest, then we have the tantric rites of using corpses for gaining access to the occult. The “soul transfer” which takes place at the dead of the night of the nobokolebor is supposed to be sensational, resulting in the death of the senior most priest who does the honours.

In an Internet post http://forum.davidicke.com on the 4th march 2011 by Bibhu Dey Misra tells us of the Opet Festival of ancient Egypt that used to be celebrated in Karnak during the monsoon season of the flood of the Nile. Here three deities, namely Amun, Mut and Khonsu were carried in decorative barques. Amun is a God with blue colours dnning peacock feathers. Karnak and Konarak are similar sounding and both are places of Sun worship. Somewhere icons coincide.
Jagannath is the Lord of the forest. He resides in the dense foliage of the plateau with his older brother and younger sister. In the folk tales of Bengal, the trio, Arun Barun and Kironmala who appear similar to the Jagannath, Balaram and Shubhadra are little children from princely families who are lost in the forests, die and emerge from trees. The trinity is also made out of wood of neem trees, the trees having the necessary properties which are taken as being revelations of the Gods being hidden in those. Jagannath and his siblings have large pupils and podgy faces, their hands and feet are in stubs hinting that perhaps they are children, a possible reason why none among them is married. As children they need to be fed at regular intervals, bathed, tucked away to bed at night and entertained. For seven days in the monsoon month of Sraban or Ashadh, they also go on a vacation to their maternal aunt’s home. The vacationing out is the rath yatra.
Specifically, maternal aunt in case of Jagannath is the mother’s sister. In view of Jagannath’s origin as a tribal and his kidnap and instatement within the patriarchal milieu of the Ganga kings, kinship is problematic. This is largely due to the fact that tribals are often matriarchal and relatives bear different levels of significance in different systems of kinship. But the mother’s sister in either case is a neutral person, in whose home the Lord’s visitation is without any loading of meaning. Also, the mother’s sister has the least possibility of developing any kind of long term legal bonds with her sister’s son and hence the possible retaining of Jagannath into her home may well be ruled out.

While there are diverse myths around the Jagannath, varying from the pantheon being babes in the woods to them being the unburnt carcass of Krishna and his siblings, they are united in one thing and which is that Jagannath and his siblings visit the maashi, or the mother’s sister. Politics may revolve around the myths but kinship structures must remain above board, there must never be any contestation around the structure of the family. This is perhaps the sole reason why Jagannath, despite the unity of the tribal and the mainstream, the Dravidian and the Aryan styles, the Tibetan touch and the oceanic imprints, Lord Jagannath has never tolerated the “non Hindu” which includes the Jains and the Buddhists. Jagannath’s intolerance of the religions derives from the fact that kinship cannot be moderated and to my mind, this is the deepest secret of the myth.
The reign of the Ganga kings was the Golden Age of Odisha during which Indradyumna was supposed to have, through trickery and cheating, stolen Jagannath from the forest and instated him inside the temple.

The forest and temple conflict becomes evident and it is possible that the Ganga kings ravished the dense vegetation to build their boats, cut their paths and establish their suzerainty. Indeed, many a time tribes from the Sambalpur region have come and burnt down the Jagannath deity inside the temple. The grand fair that takes place around the rath yatra is focused on the sale of saplings hinting that the rath is also the time of planting the tree, hinting at the predominance of the forest.
However, built in the 12th and 13th century, Jagannath becomes the first deity among the Hindus to be placed inside a temple for the purposes of worship; before this only the Buddhists worshipped deities and Hindus, though animistic did not worship the human form. The grand processions of Jagannath perhaps is very Buddhist as well because nowhere in the Hindu worship deities are taken out in a rally. There are raths of the various gurus but they are propaganda rather than be the core of a religious ceremony. Jagannath gets the final stamp of authority when Sri Chaitanya Mahaprabhu settles down in Puri and worships the pantheon as Krishna, Balaram and Shubhadra, part of the Puranas and integral to the cult of the Krishna worship of the Vaishnavas.
On the occasion of the rath, my kind and enthusiastic friends on the facebook have posted some poetry around the rath. There are two poems from the early twentieth century, one somewhere in the 1960’s and one written only recently. The first one addresses the incredulity of idol worship by cynically regarding the devotees as they prostrate on the streets in obeisance of the Lord. The poet says that as the devotees prostrate themselves on the path of the rath, the path thinks herself to be God, the rath thinks herself as the Divine and the idols tend to regard themselves as celestial. But, the real God smiles at such mistaken identities, knowing fully well that He is the real one. The poem demolishes the holiness surrounding the entire episode of the rath yatra by taking away its Divinity and rendering the phenomenon as an empty shell. For this poet, the spectacle of the rath is a lie.
The next poem to be posted is the one by Tagore in which he observes that the poor and the down trodden especially the ones from the untouchable castes are not allowed to participate in the festival. Drawing upon the loneliness of one such woman Tagore raises the rath into a metaphor saying that it is the vehicle of Divine manifestation, which for the woman in question happens in the form of two freshly bloomed flowers. The flowers in bloom for this social outcast is the rath of the Divine, for it is through such manifestations that God arrives at her doorstep. The latter is a second layer of meaning which says that if the devotee cannot go to the rath, the Lord appears at her precinct in His vehicle.
The third is a poem of the 1960’s, the time of socialistic sensibilities in Bengal. The poet observes the great enthusiasm around the fair where children are busy gorging on the goodies while the child of the poor parents look on unable to access any of the toys, especially the flute which he so wanted for himself. The flute is an essential accessory of Lord Krishna, whose avatar Jagannath is supposed to be and the poet observes the paradox of the festival in which the image of Krishna is worshipped while excluding the Krishna in real life.
The fourth composition is the recent one by Srijata in which the poet observes the children draw their own decorated replica of the Jagannath rath on the moss lain slippery floors of their terrace and yet two Muslim children are kept out of the laughter and the gaiety of the celebrations because of their religion. Srijato extols the children to play together, saying that let the rath touch the skies to catch the moon of Id, let the semolina of Id be served on the same platter as the papad of the rath. Let the celebrations be a unity of the diversity of religions, let the festivity wipe off differences between communities.
If the above poems are any indications of poetry in general, then one may conclude that the function of poetry is to puncture spectacle. Poetry is reflective and in such reflection sabotages the visual. The spectacle is the visual that belies the event. The spectacle of Jagannath conceals the conflicts around the deity, holds up the pantheon as if the conflicts have already been resolved; spectacles need to be unchallenged by contradictions. Poetry is the enemy of media; if you wish to demolish the myths of the media, then poetry is the weapon. The novel, the cinema, the painting, the sculpture and even music, in short all of those which puts together the diverse parts into a unity cannot challenge the spectacle as well as poetry does. Spectacle can be analyzed and disaggregated but its essence can only be obtained from its unity and this is why, despite the hair splitting semiotics, spectacles must be analyzed in terms of its unity, its coherence.
Media is the modern day spectacle; it uses the principles of the spectacle to conceal the conflictual events that lie within. The ravish, the demolition, the conquest are subsumed inside the spectacle. The media becomes the mainstream, the poet remains the marginal.

Posted in Festivals, Media Sociology | Tagged , , , , , | 1 Comment

Cinema and Partition 2

Well Ms T seems to have made up her mind. She was faking all that euphoria as the theme of displacement in Partition being attached to her own biography. Yes, she feels uncertain and distressed at the possible wrenching out of the path of a career and fall into marriage, the latter being an institution that will confine her into child bearing and cooking for her family. And surely there is dislocation to be sensed in her passing over from her father’s shelter into her husband’s ownership, but she is not intellectually endowed enough to be able to raise all of this into the grand metaphor of the Partition. Hence she was only trying to be in league with me when she appeared to be excited and emancipated with the discovery that the displacements that women face with the Partition is all of a metaphor of the general and rather usual condition of life for this segment of humanity. In order for a person to think in terms of metaphors, I realized, rather late in life is a matter of intellectual training, a certain level of cerebral maturity, an elevated command of language. No wonder then popular cultures especially our formula films, the Bollywood in particular tries to inculcate a sense of metaphorical imagination. In the absence

Anyway, Ms T has sent me her finalish proposal. She is back at the same position where she was before I confused her with my pet habit of the metaphor. She intends to study the films around Partition to get a sense of the different ways in which people have suffered in the west Punjab and East Bengal. She intends to use the cinema as evidence or narrative of such sufferings. She then intends to compare the states of women post Partition to the promise of Mother India which she accesses through the paintings of Abanindranath and other songs of Freedom around the imaginations of India as the Mother. To her, the cinema is a document rather than being another work at an attempt to create myths. To her the truth of cinematic representations are unimpeachable. She intends to use cinema in order to defy and decry the myths built up and circulated through paintings and modern music. Then is there a secret desire to establish the cinema as truth and every other medium, paintings and music in particular as false, or better still falsified. In order to reinforce cinema as truth Ms T then proceeds to extend the medium to establish sociological nuances about the differences in culture of Punjab and Bengal. The differences in cultures as seen through the cinema and cemented as sociological fact will turn around and reinforce the cinema as truth. Ms T wavers about what she thinks about the Partition, but sticks to cinema as the subject of study precisely because she wishes to infer the irreproachability of this medium.

The cinema attracts loyalties from the Indian masses; its spectacle, its wonderment, the largeness of the screen, the high standards of the theatres makes the cinema stand over its viewers as the pronouncements of gospels atop holy mountains. The dramatic form of the cinema, together with its physical dimensions and technological capabilities create a world of truth, which is absolute albeit tautological. This is the cinematic bug that has caught Ms T and not Partition. The Partition merely positions herself in the cinema, having heard stories of gore of the world’s most violent civil strife from her ancestors; and now in a city which is not hers, she intends to draw her identity from her strange history and to etch her boundaries against the variety of her Punjabi neighbours who also have descended from families affected by the Partition at the other end of the nation.

Posted in Media Sociology | Tagged , , , | Leave a comment

Partition and Cinema

Partition and Cinema
.
May 8, 2015 at 8:24am

I will call her as Miss T because I have to conceal her real

identity for purposes of privacy. No, her name does not start with a T, far

from it. But I thought that it would have been rather nice if she were to be

called Tapati, this would have been the right kind of name for her. But modern

girls are not named so poetically. Anyway, the reason why Miss T came to me

this morning is because I am supposed to be her supervisor. Supposed to be

because she had me sign sheaves of paper to the extent and said that she would

revert back to me once her course work got over. She has done so this morning

because tomorrow at forenoon she must submit her research proposal to the

University. And when she rang me up this morning I was somewhat surprised

because she was supposed to meet me on the previous day and not showed up. I,

for my part, actually had quite forgotten her research interest. Her tardiness

irritates me; she said that she did not get in touch with me because she was

very upset with all the politics that happened in her department.

She has not really learnt to work through her way despite

obstacles; she gets distracted when people try to break her concentration. She

is a bright girl but gets easy caught up in social relations. This has

something to do social class; students who emerge from socially dominant

classes do not bother about social relationships and accordingly do not get

caught up in the so-called politics. Such students do not have to depend on

personal gratis, are above favours and attacks, have enough resources of their

own to make their living. Such students are freer to focus on studies. But Miss

T gets caught in politics, she is easy to intimidate, easy to bully and easy to

be smothered under the theories and concepts that are showered on students from

the pulpits of Universities. Miss T is really a victim of her social class,

which is the professional middle class, idealist, upright, principled and yet

conservative and conforming.

Miss T wants to work on the Partition and cinema. Her focus

is on memory and trauma of the Partition. As a Bengali I am a privy to

Partition and its memories. One can safely say that among the middle classes in

Bengal every second family has suffered the Partition. Bengalis are replete

with memories of the Partition but strangely those memories do not have the

trauma. In fact there seems to be a dismemberment of the trauma; except for

writers who speak about the “Other Side of Silence” or the “Bitter Fruit” of

the everyday life in a run up to Partition. The most dominant memory is

nostalgia, of homes left behind with gourds supine across thatched roof and the

lost calf looking for its masters. And of walking, miles and miles into the

sunset. Memories of home, the loss of shelter where one would go to at dusk

fall, and the room with the view of dawn where one would rise with the sun the

following morning.

Such memories are not unique to the Partition but inheres

many other forms of displacements like social harassment as in Dewar,
famines as in Adalat, persecution as in Mahaan, simple disappearance as
in Mother India, or death of spouse or simply rinning way from marriage as
in Aradhana and Kati Patang respectively. These films portray displaced
families in which the structures that offer solace to couples, care to the child,
the old and the sick, support to the weak and draws succour from the
strong are broken leading to enormous suffering to the women and children and longing for the

men. The Bengalis tend to be more attached to the land while the Hindi film

appears to be more wary of the family. Ghatak’s concerns have more to do with

women’s statuses and roles and the loss of land which translates into loss of

livelihood for the men invariably changes the family equations for women. The

pampered eldest daughter of

Meghe Dhaka

Tara, Neeta sets out to become the family’s
only breadwinner while Sita, in Subarnarekha finds her shelter in a

brothel as her brother is unable to protect her from sinking into economic

ruin. Pather Panchali’s tragedy too

is a displacement when Apu and his family are forced out of the village due to

poverty. The changes that Apu faces subsequently can once more be traced to the

loss of precinct.

Despite the differences between the Punjabi and the Hindi

writers and the Bengalis, the former’s concerns with family and the latter’s

with land, Partition is merely seen as displacement. Such displacement from

one’s cultural and social milieu, economic foundations and homeland are

typically the concerns of the property owning male. For a woman, who has no

land, no choice in matters of her social milieu and no right to a homestead

since all of these she loses in a flash as she is married off, these concerns

of the Partition cannot be hers. A woman who is fated to be constantly

displaced and circulated between classes of men with no more dignity than as

chattel, Partition is just another episode. No wonder then when women make

films of post Partition it turns out to be something like the Goynar Baksho, a hilarity of the jealous

and possessive widow who turns, albeit through the grand daughter in law into a

financier of business and then sponsors the Bangladesh nationalism of 1971.

The Partition seems to have given the women of the family

some space to emerge as economic agents and then participate in larger

activities with transcendental political goals. The Partition may have helped

women to fill in spaces vacated by men, now too shocked and too stunned to pick

up the threads of their lives severed from the moorings. Many women hold on to

the more enabling memories of economic independence and an opportunity to enter

the workforce albeit perforce of the economic uprooting that comes along with

geographical displacement. Such memories even today constitute the hidden

support of women for the right wing discourses which are male centred and treat

women as barely tolerated obscenities. The right wing diktats on women’s

clothes, freedom of her movements and other similar comments on her being should

have raised strong feminist forces against these elements. Instead women seem

to be very well inclined towards the right wing especially those whose

predecessors have suffered the Partition. Partition truly cracked through the

family structures, the very same structures which are designed to curtail

feminine agency perhaps across human societies but more so for India. No

thinker seems to have noticed this except perhaps Aparna Sen, the director of

the film Goynar Baksho.

Then what does Miss T do with her thesis, Partition and

Cinema? What is she looking for in these films? How can I say what you are

looking for? I despair. She looks a kind of hurt and blank. Then I slowly try

to delve into her mind, wonder why does she look for such cinema? Why is she

searching through these films on Partition? I have realized through my long

years with research students that topics of their research seem to be connected

to their lives, to the questions which their lives pose for them, the answers

which they seem to be looking for. What could be Miss T’s search? Where could

have been the pilgrimage of her spirit headed to?

I took stock of Miss T’s anxieties and all of these

pertained to her future, a future which she should have been able to command

with her levels of academic attainment but which she may not be able to with

the impending unavoidable doom of marriage that awaits her. She is worried

about her marriage, when, where, with who and how her future will turn over due

to it? She is capable of earning her way through in life, she desperately wants

to help her parents into old age and she is capable of earning for her flat and

a car with the kind of brains that she has. Yet the oppression of the society

may force her into matrimony. Who should she be? Neeta of Meghe Dhaka Tara? Or

Sita of Subarnarekha, the old mother, the wife or the daughter of Garam Hawa?

Shall she meet the fate of Khamosh Pani? Or will she meet the fate of Pinjar?

Her life’s limits are emerging ever clear in her mind, and she regards her

future more with trepidation than with assured hope. She is on the anvil of

being uprooted from the coziness of her caring parental home. Like her thesis,

her life too has the Partition in the background.

What then is her search? Not the cinemas really but to look

into these cinemas deeply and then by some fantasy or escape find a way out of

its frames. Her intention to study the cinema is not to be in the cinema but to

move beyond it, ponder whether through those sad endings, some possibilities of

emancipation were left out? She is not really a cinema person, but a life

person who wishes to travel beyond the cinema. Her thesis uses the cinema as a

starting point but it will not end here, for she is not resigned to fates that

befell the women in the narratives but to create her own story line, create a

new narrative, albeit in the form of the cinema but where the endings of these

films she will draw differently. At least, this is what Miss T’s thoughts are,

to the best of my understanding of her in particular and of young people in

general.

Posted in Film Reviews | Tagged , , , , , , , , | Leave a comment