Kashi Viswanath

It was getting a bit too much that Madhusree was yet to see the Viswanath Temple of Benaras. So, braving the hot and humid weather, we set afoot in the city, booked a day taxi travelled across its lanes and made a visit to the temple just as it opened for the devotees to pour yet another bout of water on the Lord’s head. We were sweating buckets, so was our driver and the heat made him so irritable that he drove the guide out of our way, leaving us to make sense of the relics all by ourselves.

I realized, especially after reading B.C.Bhattacharjee’s book, Sarnath published by the Pilgrim’s Press in 1942, that essentially Sarnath is the ancient city upon which the city of Kashi came up only in the early medieval era. Sarnath was originally called as Mrigadaya, renamed as Sarnath during the medieval era after a yogi turned minor God, called Saranginath; possibly because he played the sarangi. This was the place where Buddha first became a religious leader and a small sangha was formed with five disciples among who one was named Bappa. Since this name is very common among Rajasthanis of the time, it is possible that he was a Rajasthani; of the rest, one sounded a Sinhala, but the rest were Sikkimese or Tibetans. Interestingly, one wonders that during the time of Buddha, what were so many ethnicities doing in India? I read in Niharranjan Ray, that after the Aryans, the next stream of migration, and indeed a heavy were the Sino Mongolian races, and this may have had something to do with those who gathered around Buddha as he preached peace.

Buddha is clearly against the Vedic Hinduism of the Aryans that involved sacrifices and war. He seems to belong to a culture that belonged to India before the Aryans came in, invaded or migrated, or just flowed in, whatever and had a lot also to do with the fire, were essentially violent people. And these kings also hunted a lot and such a lot that they killed the innocent as well as the intended prey. The Ramayana too started with the killing of an innocent boy by King Dasarath who came on a deer hunt. The great epic, for all practical purposes ended with a deer too when Sita made Ram run after an exquisite looking golden foal. Mrigadaya suggests that the place originally was a land grant to the deer, which means a protected forest. Buddhists who do not believe in killing life and did not know yet that plants had life too, were ones to protect and nurture forests.

The layout of the monasteries at Sarnath are so like the construction and architecture of the Buddhist monasteries and temple of Thailand and burnt brick is the material. The burnt brick was the foundation of the Indus Valley civilization, it has braced the Buddhist sites of Sarnath and the temples of Thailand, it has been found in many sites of Bangladesh, Myanmar and Sri Lanka. The pieces of architecture added during the Gupta period were stone works. Would that mean there is a connection between the burnt brick economy and Buddhism? What could that be?

We visited three temples of the Chinese, Japanese and Tibetan; architecturally these followed the architecture of the different cultures. But most interesting were the icons; for the Japanese, it is a Buddha lying on his side, emaciated and wasting away. Buddha is in his death bed, facing his end which is also a conclusion and a signing off his life. The Japanese celebrate death for it is only in the ending that the whole life becomes evident. I can’t help but notice out of my incorrigible habit that this is also the motif of many of Amitabh Bachchan’s films where the hero dies in the end, bringing the adventures of the hero to a philosophical home. Japanese novelists desire lissom beauties only to discover that they were ghosts. Japanese have a problem with concrete bodies; they love fine airy essences instead. The Chinese create the Buddha out of white marble, perhaps of porcelain in their land. Here he is a teacher, filled with gold, surrounded by disciples and students, the insignia of royal patronage, well looked after, well respected, well fed. In most cases, he is potbellied and all smiles, the laughing Buddha. For the Tibetan, he is a remote deity, endless in stature, all bronze and gold when one can afford it. Dalai Lama is the avatar and the temple really is dedicated to the Dalai Lama. The campus contains hostels and there seems to be an active teaching programme in the temple. Buddha is like Shiva here, remote and yet all pervasive, distant and yet all controlling and always too big to be gauged wholly through senses. The statue of Buddha is in bronze and is huge.

Interesting are the frescoes on the wall containing the images of Tibetan Gods. There was a figurine that looked like Kali fierce and most terrible but around her were three deer and a hermit, looking totally assured and rested. Whoever had to fear her would be the oppressor and not the ordinary mortal in the ordinary business of life. There was a figure which resembled Vishnu with someone who could be Naradmuni; then there was someone who could be Shiva or even Brahma. Tibet has a lot to do with Indian religion, its idea of Gods and Goddesses, iconography and classification of life, death, dangers and godsends.

Benaras seems to have been originally a Buddhist site, gained its importance as a Buddhist headquarters of the Sangha. It remained a major nadir of a grand loop of the Buddha trail that started from Darjeeling through Sikkim, ran through Benaras, went up to Punjab, Kashmir, Central Asia, Mongolia, China, Tibet and back through to Darjeeling. Indeed, in Bishkek, which is the abode of Lord Shiva according to the local mythology, because Bishkek means the staff which is used to stir the elixir to separate the venom out of it. Lord Shiva, known mainly in present day Kyrgyzstan was most probably brought by Kanishka. Buddhism was the reigning religion of its times and all kings had to pay tribute to the Sangha. Hence the Kushanas did pay obeisance to the monastery at Mrigadaya, but it is he, who encouraged the worship of Shiva at Benaras. During the Sungas, Hinduism revived through the revival of the sacrifice, for those were more closely associated with the Vedic Brahminism rather than the worship of Shiva in a temple. It was more towards the end of Harsha’s reign that the Pratihara kings, especially King Bhoj seemed to have pampered Shiva. Notwithstanding its rather secondary status, the temple of Shiva must have made some mark because Mahmud of Ghazni and Qutubddin Aibak demolished the same. The Pratiharas seem to be in control over the land because the last ruling dynasty to lose the privy purses were Pratiharas, namely the Narain Singhs. Benaras, with religion its core business, seems to be a business hub; in medieval days it must have been something like Bombay.

Our driver was a die-hard Modi fan, never finding enough words to praise him. The real reason for his praise were the clean, wide and cemented roads that led from all sides to Benaras. He was a youngish person with fair skin and sharp features, very tall and lanky and looked the right kind to be an RSS pracharak. He praised Modi for converting the ancient city to a modern one though all that we could see that the city was shorn of its ancient pride to emerge into a tacky wannable class III town that could be Muzaffarnagar or the outskirts of Meerut. Benaras was an ancient city but it had a sophistication. But now in the anxiety to belong to the mainstream of modernity, people constantly run after chimera images while all the time hating themselves. The self-hate becomes a hate for traditions, hate for parental authority, hate for the familiar and a strange attraction for an unattainable state of being. I saw Benaras exactly in this sleepwalking state of inebriated desire to be someone else and to belong to some other time.

So gone were the paan masala and achaar shops, the glass bangle stores, the sari shops, shops for shawls and blankets, of upholstery and fabric, of brass curios and utensils used in puja rooms; there were mobile shops, T shirts, sequined suits for women and that’s about all. I wanted to buy Banarasi paan masala; I found none. Even eateries were conspicuous by their absence and talk of public toilets and drinking water, I found none throughout the city. So much for the toilet movement. I was stunned at the state of “fall” of a great city.

We drove through something called a weaver’s village and our driver became very conscious of its Muslim inhabitants. He seemed almost embarrassed at the prospect of our eyes seeing so many Muslims with burqas and skull cap, more so because it was a Friday and people were out because of the prayers. Weaving, Banaras’s principle industry lies in shambles now; though the purchasing power of the people have increased, demand for the textiles increased as well, size of the market expanded and yet there is a problem of extreme poverty among the weaver community in the city. This is typically the problem of overproduction. This syndrome affects all industries; steel, cement, sugar, in short everything else. Once overproduction sets in bringing in its onset recession, incomes, occupations, after that communities and societies collapse.

We drove through the BHU premises only to find that in terms of spaces, buildings, road networks, colour schemes of the buildings, signages and even the vegetation, the campus was a mirror image of Viswabharati University. I think that Viswabharati was not only the benchmarked standard for academics but for design and architecture as well. The structure and the organization of the space and the nature of academic discourses are somehow connected perhaps through the Kantian ideas of the concepts of the mind.

We arrived at the temple precincts when it was about 1 pm. One had to park the car quite a way before the temple from where we walked with our guide, the petite young Brahmin boy. I had been to Benaras a year before I graduated and now, I visit again, just a year before I retire, with my entire working life as an interlude. During this period, I am supposed to see India grow, steel production has grown over twenty times, so have the number of cars on streets, almost the entire country has electricity, many more have access to health care and education but the city of Benaras has been stunned and stunted by modernity into looking like a pathetic and a nowhere mofussil trying to imitate the world and yet unable to clear the exams. In every which way we see, Benaras is a failed city. Modi has been here for the past five years, but there are no toilets, no drinking water, hardly any shop from which one can buy a bottle of water. Yes, the roads are clean but not walkable because the traffic is chaotic, traffic control is non-existent as ever before.

In a bid to reposition Benaras as an international tourist destination, the government has mowed down the quintessential maze of lanes known to all Bengalis as Biswanather Goli. The labyrinth of narrow streets of the temple premises have always held magic to the Bengali mind; not only do we have Biwanather Goli as a figure of speech, but Satyajit Ray seems to have permanently etched the images of these lanes into our minds. But Modi’s idea of development has razed over 300 homes in these lanes, crushed markets and shops under the bulldozers and with heavy earth movers, dug out houses from the plinths extracting out over a thousand temples from homes. In all more than 2000 families are displaced and while the owners have some compensation, the tenants are devasted. Gone are the kachuris, the jilipis (jalebis), the rabri, the flowers, the bangles, the cloth, the condiments, churans, paan masalas and even the electronic markets, earlier this used to be calculators, radios and small cameras, imported from Singapore. There is a Singapore shop selling purses, key chains and some sundry stuff outside on the main road. The maze of lanes that was the magic of Satyajit Ray’s Joy Baba Felunath now lies in debris like Mukul’s Sonar Kella. A township of 600 years is wrecked in order to make way for the VIP car parking and a road that connects the temple straight to the river.

There were protests, but the water and the electricity were cut off, soil dug around the plinth of these houses, protestors jailed and fined. No one took the matter up, it was too small a scale to be of notice. When the males refused to part with their homes, the girls were brought in, promised money and asked to give consent. Since even married women have legal shares in ancestral property their rights were used to gain access to homes in the temple campus. This has created an intense hate of brothers towards their sisters; women are seen to have betrayed men in joining hands with Modi; the triple talaq seems to have worked in this way as well. No wonder then that the streets of the city are now invaded by hawkers, parked cars which serve as shops, the city looks quite dead, a ghost of its former self without the lights, the smell, the flavours and the sounds of these small lanes. The core of its beauty, the temple township is gone forever; the road to the temple is now by boating through the river, then climbing up on a rampart and then viewing the God which is in the form of a linga sunk into the earth.

The locals are upset at the community of the temple town being so displaced but finding the State to be too powerful have paradoxically voted for the very party that inflicted such a pain on them. This is perhaps called the Stockholm syndrome; victim’s love for the oppressor, for that love is the only way to overcome one’s victimhood. They were all echoing the same thing; one must forget Gandhi, one must forget the past, one has to change, one has to evolve and for this icons must be broken just as their own temples over generations and crumpled into ruins and loaded on to trucks as garbage. In this helplessness, in this forced submission to change, humans are emerging as intolerant hatemongers; the very promise of development of infrastructure is searing through our social and national fabric.

A sail on the river by the ghats is so revealing of the power structures of the city. The city and the temple as we know it today was built by the Holkars, Ahalyabai Holkar to be specific. Hers is the massive ghat, tall, broad and majestic. Then there is the Scindia ghat, elegant and tastefully done up. There is the Bhosale ghat, the descendants of Shivaji, bare, minimalistic and barbaric, much like the persona of the Chhatrapati. As the Marathas are ascending, the Rajputs are declining. The ghats of the Rajput princes are modest while there are wannabes and nouveau rich from Bihar and Bengal who squeeze in their ghats as well. The Manikarnika Ghat, the Assi Ghat and the Dashaswamedh seem to be ancient ghats which perhaps predated the Marathas and were more concerned with ablutions and cremations in the river Ganges rather than obeisance to the linga of Shiva. As the sun goes down resplendently costumed Brahmins choreograph an arati to the Ganges. Sanskrit has always been a poetic language and lends itself beautifully to the metres of the mantra, the chime of the bells and the swirl of the lamps made for quite a heady experience.

With the decline of its heritage and the death of its galis, kachauris and jalebis no longer taste the same. The potato stew is tasteless though the service is as cordial as ever before. The thick sugary and milky tea is tolerable, but the crockery of tacky stainless steel is reprehensible. Back to the hotel, we rejoiced over a buffet of the most resplendently cooked kebabs; Benaras has little competition where Mughlai non vegetarian food is concerned. The following morning, we hit the highway again, the very system of highways on which India’s fleeting growth depends on. We reach the airport much before time with ample opportunities to blow up money on yet another round of shopping. I buy a liberal pile of books among which is Roerich’s travels in the Himalayas where Varanasi is an important node in the circuit of trans Himalayan transactions of ancient times. They say in Kyrgyzstan that since Bishkek and Kashi are on the same longitude, the Ganges starts to flow back towards Bishkek in Benaras. That flow back is thought to be an attempt of the Ganges at connecting with the original stream which ended in the Lake of Issykul before the Himalayas rose out of that tectonic shift taking the Ganga with it. Bishkek is imagined to be the abode of Lord Shiva, who looks so much like Buddha as well as Ganesha in Central Asia. Iravati in Myanmar is yet another arm of the Ganges which rises again from the Arakans after it is hived off by the rise of the Himalayas.

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All Wrong With Arong

Arong has been in the news ostensibly because it arbitrarily raised the prices of its products just as the Id shopping was heating up. The consumer affairs officer was called in, who inspected and closed the retail outlet. However, in a short span of eight hours only not only was the shop reopened but the officer was transferred as well. All the above showed the disproportionate power of a monopoly capital. The social media went agog with posts to boycott Arong, and attacks on the government started. It seems from the posts that the PM was visiting Finland and when she was informed of the catastrophe promptly reversed the transfer order of the officer. What she did to Arong we do not know, not many cared to report as well, but one infers that business carried on as usual, unfazed and in all probability with the continued steep graph of the prices.

I see four things that are central to the story. People were happy with the revoke of the transfer order of the officer and no longer bargained for the closure of the shop. That Arong is a monopoly, that Arong prices stuff so high and that Arong has no competitor. The fourth anchor in the story is that monopoly capital and the fate of nationalism are closely connected. I will address the above aspects not necessarily in the order that I have listed.

Arong is the retail outlet of BRAC, a countrywide movement by Fazle Hasan Abed which started in 1972 right after Independence in 1971 based wholly on the idea of micro finance. Around the same time, Md Yunus too started the network of microfinance which led into the Grameen Bank. Abed’s efforts created BRAC, also grew into a money lending body and in its early days, villagers called it as BRAC Mahajan. Grameen became a model for micro credit banking and was largely followed by BRAC. BRAC expanded its scope and developed numerous levels of enterprises but where BRAC stood out over Grameen was the grand integration of a long and almost open-ended value chain. While Grameen was a scalable banking model, BRAC diversified to create an entire range of bottom up economy based wholly upon a pool of poverty! Arong is an outlet that showcases products brought over a long chain of value integration.

As part of economic development, Bangladesh with its hard working and determined people could set up a mind-boggling edifice of outsourced garment factories. Jeans, T Shirts, formal and casual wear, cotton, linen and knitwear across the world stood on the toiling masses of pathetically exploited Bangladeshis. It is not unusual to find volumes of published papers on the immorality of exploitation of Bangladeshi labour, especially women in this huge garment business driven by the greed of global capital. Notwithstanding the exploitation, employment in the garment factories gave workers a much higher level of wages than what could be ever earned in any other occupation. A problem with all developing countries is that there is little scope for labour to move into more lucrative sectors from agriculture. Investments into the garment business made this movement possible. But textile weaving, especially the sari, lungi and gamchha were the lean hour activities of the peasants. Very soon, labour and hence skills moved out of the traditional textile sector into the garment factories due to higher relative wages, leaving the traditional weaving sector bereft of labour, time, skills and after a few decades, also the memory and knowledge. Since economics of textile weaving was so suboptimal, wages had to be artificially higher in order to bring weavers to the loom.

Now we cut to West Bengal. Since we did not have investments into the garment business on the scale that it was in Bangladesh, our weavers stuck to weaving cloth. Village after village, the sari, lungi and gamchha model prevailed. The proliferation of retail business in smaller towns and mofussils, the explosion of hawkers and the multiplying door to door sellers of saris created and sustained a huge market for cotton cloth for the looms of West Bengal villages. Soon, a international specialization took place, weaving became largely a business of West Bengal while hosiery and stitched garments, the preserve of Bangladesh. It is not surprising to see the patented brands of Bangladesh of the jamdani woven in West Bengal and sold in shops of Chittagong at a fraction of the prices of those originating in Bangladesh. Similarly, almost all our desi brands source products of lingerie and garments from Bangladesh.

The interregional specialization, as usual has benefitted the consumer in terms of competitive prices. Much of fashion is available cheaply; only brands are priced high. It is a rule of humans that as soon as the basic needs are satisfied, they look out for new conquests; it is really Maslow all the way. The Bangladeshi is now very well dressed and there is a worldwide consensus about the ravishing looks of Bangladeshis. Naturally, with the mirror at hand and the selfie at arm’s length one can only legitimately aspire for even better clothes and brands. Hence the desire for Arong. Even a few years before now, a middle-class citizen did not perhaps dare to enter into an Arong store; besides Arong exists in Europe and the USA and sells in Euros and Dollars; it has never been oriented to a BD taaka market. Yet, due to the pathologies of our times, we imagine that the world is within our reach, rarely reckoning the fact that we are really not as rich as we are made to believe through the television ads, easily available consumer goods, food within our reach and so on. We miss out that there is something that is beyond our reach; unfortunately, the products of Arong fall in that category of the superrich. In nationalisms as strong as that of the Bangladeshis, in a rising democracy as that of Bangladesh, inequality is intolerable especially if that is about the unattainable consumable for the rising middle class, for the rising and the aspiring are sociologically the one and the same only. Hence, there is a deeper resentment against Arong. The construction of the company as corrupt, influential and the contagious call of boycott reeks of populism in which the middle-class anger gets directed at the aristocrat and Arong is indeed one with its international designers and exclusive veneer.

To my mind, the problem is not so much a matter of Arong as it is a lack of competition. It is difficult to imagine a brand in India to be castigated in as consensual terms as Arong has been. This is because the high prices of Arong products would have served as an opportunity for many junior brands to rush in. Cottons, Killol, Sabhyata and even Westland are brands those which entered into the side margins of Fab India not only forcing it to bring down prices but also creating a scope for both investments as well as innovations for the rest of the brands. Monopolies can survive in atmospheres of low capital and social mobility; in societies where capital can move fast, monopolies are natural to be weaned out. The crisis in Bangladesh is therefore in the mobilization of capital and of labour to create competitors to Arong. Herein lies an enormous scope for profits as well as creativity and hence, in the very same model of BRAC and Grameen, an opportunity for yet another round of microfinance networking.

Monopoly capital can puncture national cohesion just as micro finance can constitute a foundation for its nurture. The Arong is a very slight hint at the dangers facing a fragile nation which is just about looking up and alighted the highway of growth; the capital has to be infused and fused with local creativity and enterprise for the country to remove the minute hint of a malignant cell.

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BJP and the Twilight of the Idols

In the early thirteenth century, says Richard Eaton, one Mr Ikhtiyar bin Bakhtiyar Khiljee overran Bengal with merely forty horsemen. Lakhhan Sen, the then ruler of Bengal was having his dinner and upon hearing the marauding Afghans, quietly fled without his footwear. Hence started, one of Islam’s most successful territorial saga in Eastern Bengal, from where it spread successfully to the southeast and even travelled up to southern China. A possible reason why Islam did so well in Bengal, according to Eaton was that people here never really had a structured religion and Islam was a structured discourse. According to me, Bengal was very familiar with Arab culture and because much of Arab pagan beliefs and rituals were part of Islam, the religion could establish itself well. Islam as a religion and the Muslim as a rule however had little parallels, because the Muslim rulers were hardly Islamised. However, they established their powers through crass street violence when Hindus at random and Muslim musclemen clashed repeatedly as and when they met in public spaces. Later, Vaishnavs too used street violence to get their way through and the kirtan was nothing but the blaring music which lumpens play on trucks and tempos as they show themselves off publicly. Violence is thus not new to Bengal and its politics. Why this is so is a matter of sociological investigation though.

When the BJP broke Vidyasagar’s bust, I thought of the Taliban and the Bamiyan Buddha, I thought of Kalapahar and I of course thought of Ikhitiyar Khilee. Hindutva is a Semitisation of the Hindu religion and aims exactly what Semitic religions did, namely, to attain a borderless kingdom of morality. Unfortunately, for all religions of such kinds, violence has underlain the call for morality. Nothwithstanding the philosophy and the grand metaphysics that these religions have emerged into, Semitic religions, at the level of their DNA are licenses for barbarians to attack civilizations. The promise of a dictator, the promise of endless territory or Lebenstraum as in Nazi Germany, the rule of morality as opposed to law, the utopia which is far removed from anything possible on earth are instruments of the barbarians overcoming civilizations. Christianity was a great thing for the barbarians when they tore down the defences of Rome against the rest of Europe, Islam was brilliant when it raised and consolidated armies from the nomadic Turks and vestigious Mongols on the Ulan Bator plateau. BJP’s idol breaking is its instrument to power; it was very important cue communicated to the barbarians that here is my whistle, go and take Bengal.

Whatever is there to modern India is basically an extension of Bengal. It will not be very wrong to say that the modern Indian civilization is a Bengali civilization. Apart from the National Anthem and the National Song and Saratchandraization of National Sentiments, Bengali ethos of metro sexuality, its abilities to attain high notes in political discourses and the ease with which high culture naturally comes to a Bengali has been a point of envy for rest of India. Mano ya na mano! When politics is around the ideologies of the State, left, right or centre, issues of caste, development and unemployment can become rallying points. But when the point is the barbarian claiming an entire civilization as in case of the BJP, idols must be broken. Here comes in Neitzsche with his Twilight of the Idols, where the philosopher carries a hammer to break down all that symbolizes civilization. The iconoclasm of the BJP in Bengal must be understood in this light.

For almost a decade now, hate for Bengal among the non-Bengalis in the state has been rising rapidly. The Bihari drivers are misbehaved, and this is perhaps a reason for the popularity of the Ola and the Uber. The hate speech of the black and yellow taxi drivers are sheer invective; they claim in one way or the other to have a right to rape Bengal. I am glad that I don’t own a car in Kolkata, otherwise this side of the secret history would have been unknown to me. The Gujaratis and the Marwaris are as bad too. The cream of the troublemakers list is of course the Bengalis themselves. Mamata Banerjee has always got a bad press; she is not good looking, does not look to men for sex, independent, unmarried, with no male chaperon, and very homely. This is all the wrong type for a woman to be, or shall we call her a girl? Despite everything on the ground and most visibly so, Bengalis have often, in a manner of self-destruction that both Tagore and Nirad Chaudhuri have commented ad nauseum, oozed out self-hate and embarrassment at being ruled by an unmarried kanya at home! How I think of Ghatak’s Meghe Dhaka Taara. This is the same girl who the family could not marry off, and now she has done so well for herself, what greater shame can she be for her family? It is this psychology that braces Bengal today most sickeningly and which is why Bengal should fall to the barbarians.

Day in and day out, out of our guilt we have devalued and discredited this brave girl, who has tried to revive the Renascent culture of the doyens, build bridges between rural Bengal and its cosmopolitan city, Kolkata, tried to create harmony among communities, languages and migrants, and raised administration to a level we have not had in years since the late 1960’s. Yet it is because of her simplicity, her accent, her address that we want to heap lies upon her, discredit her and debilitate her. And why would Vidyasagar not be attacked, when the very girl child he wanted to create is here as our CM, why would Tagore not be erased when the numerous little girls of the Golpoguchho have coalesced into this girl whose punishment is to catch your ears and do sit ups as a Didi to the naughty brothers? Why would Saratchandra not be humilaited when Bordidi is demeaned?

I look forward to Amit Shah ruling Bengal, for that will be the right lesson for the Bengalis. I think let us all stamp on the Lotus.

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Vinci Da

This is quite a joke among our girls Ghalib gang that we the single women on the wrong side of the 50’s is increasingly finding ourselves marginalized even if we have a room of our own. Ghalib becomes our reference point because he lived and wrote during a time which was materially and hence logically not suited to give him the sustenance that a poet of his stature needed. In times when the means of livelihood are against your craft, art, skill or even proficiency, what does the endowed do? Maybe s/he seeks revenge. This is the revenge of art turned into a graceful art of revenge in Srijit Mukherjee’s recent film, Vinci Da.

The system has relinquished the need for art and for that matter anything that needs the creativity of the brain as human innovation is highly dispensable in a system which merely produces more of the same thing. The system has also little flexibility to accommodate brilliant minds who run it and hence we have the self-trained lawyer who fails to get a formal professional degree. These two occupy the two ends of what constitutes the middle-class intelligentsia, created and yet crushed by the capitalist system. And they seek revenge on the order; though the capitalist class can defend its position through power and violence, it is the intellectual who really knows the ways of how the world goes who can undo the sceptre of capital. The two categories of intellectuals, namely the artist and the lawyer seek to avenge the system that marginalises them. But then the two clash.

The lawyer personifies instrumental logic, universalistic ethics without caring for how the generalizations are going to harm the subjects of the objective law. The artist is empathetic, his ethics are compassionate and not rule based. The lawyer turns hegemonistic and oppressive while the artist turns to a selfless compassion; the holder of the universal justice is unforgiving; the compassionate artist is humanistic. Who wins? That is the drama of the film.

The artist’s temptation is an opportunity for work, the lawyer’s temptation is the scope for control. The former is about creativity, the latter is about seeking to order. The question is whether art will lend itself to be used for purposes of the ordering of the world? Art is shocked at the absence of empathy; law that seeks order has none of art’s compassions. Art is self-absorbed and self-fulfilling; law is other directed and external to those which it orders. Art’s reward is spiritual, law’s success depends on what it attains in terms of material gains.

One must watch VinciDa in order to understand what a competent singer Noble is. He debuts as a play back singer in the film. Noble sings in the backdrop of the artist emerging from a mood of determined revenge, to a doubt and then towards a moral tremor. Soon the artist transcends his basal instincts, the limitations of his ego and reaches for the superego where his revenge has dissolved into forbearance; and clemency and not reprisal redeems him. Anupam’s song moves in when the artist is finally free, in a tone that has found an uncompromised freedom, perhaps an escape from all the demands of the system on him, beyond the reach of all kinds of ordering principles of the world on the individual. This is why, all of Anupam’s songs are various versions of the one single song that says Amake Amar Moto Thaakte Dao..

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Sorrow in Spring a.k.a Basanta Bilap

Aniruddha Rakshit posted Late Chinmoy Roy’s photo with the caption Basanta Bilap. This caption is the inspiration for this modest post. Chinmoy Roy was the star in my spring; interestingly he had also a strange appeal for our more girly moods. He was as thin as a reed, dark, medium height, crooked teeth and could look downright ugly, chugged about in body hugging clothes and wore his hair long. He looked less of a being from the film screen and more of a wasted guy from the streets. He was a breathless Godardian.

As a stereotype he had the typical look of the young men of Kolkata, politically charged with the dreams of revolution only if that was out of hormonal energy left unchanneled due to the chronic unemployment for the uneducated. Instead of seeking comedy through the characters contained within the film, Chinmoy’s comedy seemed to target the very youth of the Bengali society; it was as if the cinema was satirising the angry youth of its times. As a comedian he rose to the stature of a hero in Noni Gopaler Biye where he also had a double role in the form of his successful twin brother. Indeed, his striking presence on screen came in the form of Basanta Bilap, a multi-starrer in which he had to stand as a side hero to the doyen, Soumitro Chatterjee. He shone through that galaxy of Anup Kumar, Robi Ghosh, Tarun Kumar, Bankim Ghosh and others. Among his last was the character of Tenida, once again a social satire of an age just before the one that Chinmoy had so long addressed and laughed at.

Chinmoy died long before his death; the cause of his virtual death was the death of comedy of the Bengali cinema, in its literature and of laughter in the Bengali life in general. An inwardly competitive society that thrives on envy and jealousy instead of focussing on its strength, a society that produced more parasites than entrepreneurs and made progressively more and more inward looking and wallowing in self-pity and excuses, is not exactly one that can laugh at itself.

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Bollywood vs Bangla Rock

Much to the disappointment of hundreds and thousands of his fans, Mainul Ahsan Nobel, or just Nobel did not get his usual Golden Guitar in the rendition of R D Burman’s song, Tumi Je Koto Dure. He sang it technically right, he sang it mellifluously and sang it powerfully but then there was something that did not quite connect him and his listeners. I can vouch for this because I have gone through the various versions of this song by many singers and must have heard Nobel sing the song at least twenty-five times. Every time I felt that there was something going against Nobel in the song.

Nobel is an aspiring singer from Bangladesh who follows closely legends like the Late Ayub Bachchu and James. He turned twenty-one during the Sa Re Ga Ma Pa show in 2018. Largely self-taught and self-cultivated, Nobel expectedly ruined his parents dreams of a career in the usual professions of the middle class and entered into the high-risk zone of music, where only a few can ever reach the top while for the many other aspirants it is the oblivion. What guides Nobel’s spirit is thus largely a maladjustment with his family, the mutual pulling apart of a need to make his parents happy and a need to pursue his dreams. No wonder then the rendition of the Bollywood song, Papa Kehte Hain sounded much better than the original sang by Udit Narain. This was acknowledged by both Udit Narain and Jatin, the composer of the song. Unfortunately, in case of R D Burman, Nobel could not connect with the spirit of the undying soul of RD.

The genre of the rock music has its defined style because it starts from a base, hits on the centre and then gathering momentum zooms past the core to scatter into an openness. The Bollywood song is just the opposite. It surrounds a chaotic material and like the spider spinning the web, weaves closer towards a centre and ends by rounding off the song material. The movement of the rock and the Bollywood song are thus contrary to each other. Rock is the music of loss, Bollywood is of gain, of accumulation. Rock can end in death and dissolution, Bollywood asserts life through regeneration and rejuvenation. Therefore, despite the lyrics of the song Tumi Je pronouncing a loss, the tune finally turns in to reconnect with the hope of life, literally of resurrection. The female voice, Asha Bhonsle in the original version and now the female chorus, performs the task of wrapping up the song from its outward journey towards its centre as a reassertion of life. Looked at carefully the song is a duet though it sounds like a solo number for it is only through the female voice the song gets complemented and completed. Typical rock music is never a whole, it revels in its incompletion and sense of loss.

For Nobel whose voice is one of despair, of annihilation, of shooting out beyond limits into a point of no return, metaphor of both the genre of the rock as well as of his life so far, can hardly be expected to sit right for a Bollywood song, especially of R D so absorbing of life, so much soaking in the regenerative force of youth. I guess something similar happened in Nobel’s duet with Snigdhajit in the song Dil Chahta Hai for here too, Nobel sounded out of sorts with the Bollywood genre. However, for Papa Kehte Hain, he could extract the tears in the song and present it in his own way into a point of a no return and thus drew the song into his own genre of rock.

Nobel’s star performance is undoubtedly his rendition of Khwaja Mere Khwaja, the devotional song from Jodha Akbar. When Rahman, the composer and the original singer of the song sings it, it feels as though an Emperor is in a meditative mood, asking the Divine for peace of mind and guidance. Here both entities of the King and God are intact despite the intimate communion with each other. When Nobel sings it, it becomes the despair of one who has lost all, surrenders completely to the Divine beseeching the Great One to absorb him in his unconditional devotion of Him. Nobel dissolves the song material and the song like the rock genre loses its centre and shoots right up to what the judges of the show say, the Divine connect.

His rendition of Pathe Ebar Namo Saathi, the immortal IPTA number by Salil Chowdhury is perhaps historically the ever best. There was self-annihilation and martyrdom in the rendition; as a Bangladeshi he takes upon himself to express the nation, that final limit that defines the politics of the modern person. Hemanta Mukherjee sang it as a song of the spirit and the IPTA as an ideology; the spirit that guided these songs were sectarian and partial and fell short of Nobel’s reach at the outermost limits of his existence.

Nobel sang Amaro Porano Jaha Chay also as never before. I have searched long enough in the YouTube to be able to say this with some certainty. This song too has a climax at its moment of giving up with the lines those imply a final parting of ways. Once again, the song offers a possibility of self-dissolution and Nobel laps up the opportunity to make perhaps the finest ever rendition.

I have observed that Nobel lays a lot of stress on the lyrics of the song. This may be an important thing to do in case of rock music in which the lyrics generate, accumulate and eventually push forth the music. Unfortunately for other kinds of songs, the music merely rides on the lyrics; understanding the web of notes become important and not the poetry. I think that this is what the judges said to Nobel when they said that the way he sung the number of R D Burman missed out on the play of the tunes.

The Bollywood genre is a difficult genre because it must return to the regenerative centre no matter how nihilistically it starts off. The rock is nihilism itself, cynical of an order whose structure seems oppressive. Bollywood is of the home, rock is of the world. Bollywood is media circulated but enjoyed individually, rock is presented individually but consumed as a member of the collective. Rock gets created in the ears of the listener as it rolls out. It cannot be a finished product that can be poured out in a new bottle, the newness of the renditioner being its newness. Therefore rock singers must choose Bollywood songs with care and vice versa.

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Koffee With A Bad Taste

Hardik Pandya and K.L.Rahul are out of the Indian cricket team for the time being because they are facing charges for inappropriate conversations in the recently aired television talk show, Koffee with Karan. This is not the first time that people have got into trouble through the show but this time, because it concerns members of the Indian cricket team, that the play has gone bad. Karan Johar eggs on his guests to reveal their worst side; he creates a strange competitive atmosphere in which the participants fall into the trap to gossip about their peers and make socially inappropriate conversations. Karan has carefully crafted an image of himself as the gatekeeper into an elite society where he poses as the judge of who gets to go into the inner circle of celebrityhood and who remain the pariahs. Young people with some measure of success often get drawn into a competitive game playing atmosphere and drop their social defenses and sometimes even play stupid in their eagerness to get included in the haloed portals of celebrityhood, a space which Karan pretends that he manages. Controversy is Karan Johar’s way of keeping people under his control.

In his characteristic manner, Karan Johar called upon Hardik Pandya and K.L.Rahul, two young cricketers of the Indian team and veered them over the ledge of socially appropriate behavior. He played upon their recently won successes and lured them entry into a world of entitlements and privileges, of the upper stall of the society. Inebriated by Karan’s acceptance of them as his inner circle, these men were eager to fall in line with what they imagined would be the culture of the more entitled. And in this they said what they said. Hardik Pandya spoke about his irreverence towards women as if success grants him the liberty to do so. Rahul too showed off profligacy as a measure of his success as he bragged about partying through the night. These comments do not merely reek in misogyny, but these shows how misogyny is intricately related to a feeling of power and how success in India has come to mean the liberty to disrespect and disregard all social norms and morals rather than hard work.

The punishment meted out to the two young men is the harshest of the available options. The BCCI is clear that it has taken these casual remarks in dead seriousness. Virat Kohli has issued a public statement distancing the cricket team from the offenders, Harbhajan Singh, a senior cricketer has gone as far as to say that he will never bring his wife and daughter in the company of these two men and the Mumbai Police has hailed the punishment as exemplary for such attitudes towards women. The probe headed by the retired captain of the Indian woman’s team, Diana Eduljee has called for a lifetime ban. Advertisers have moved away from the two brand prospects. In every which way, Hardik and Rahul suffer the death sentence, metaphorically being hanged by the neck until dead.

Hate for women seems to have emerged as a measure of masculine wellbeing. Recalling the episode of Nirbhaya murder, the offenders were in a state of feeling high after some good money came their way with which they had good food and celebratory alcohol, took out the bus on an unscheduled trip in order to “hunt” girls. Girl hunting becomes game hunting, a leisure sport, a mark of economic, social and cultural surplus. This too happens because of the way the society construes success. In India especially, success is looked upon as a product rather than as a process in which the individual becomes freer not of her immediate and material needs but of those social rules that bind her. This may be a fall out of the caste system in which rules of social behavior are tied to the hierarchy; you obey rules because you are supposed to be of a certain rank. Expectedly then emancipation means anomie and the Indian society has not been able to develop adequate rules of appropriate social behavior. We dirty our streets, we have pathetic sanitary habits, we hardly know how to behave in crowded spaces including the public transport and we have little manners when dealing with outsiders. In short, India does not have a well defined and comely public behavior. Misogyny is part of the lack of civic awareness and public behavior.

Why is it that when men feel powerful, they want to insult women? For this we must understand how the feeling of power works at the level of the body, social structure, economic power and even in the mind. Misogyny is an outcome of the combination of all the above. At the level of the body, the male who feels powerful wants to feel a sense of command over female bodies, at the level of money power he feels that he can “obtain” women by offering them fine dining and other fineries. At the level of the mind, he feels that he can do without women, he can be emotionally free of them. The sense of power brings in a sense of hierarchy in which women are constructed as the lesser and the dispensable entity of existence. To be nice to women, to need them and to seek their companionship is looked down upon as weakness. The moment the male achieves, he projects himself as one who can disregard women. Such thoughts are ubiquitous across the human society though not so openly profligate elsewhere with a higher level of civic culture than in India. In other words, misogyny is almost a social instinct of the human society. High culture often can mask this instinct and the fact that Hardik and Rahul did not mask theirs it clearly shows their station in the relatively lower echelons of the society.

Media was once reserved for people who were genuinely exceptional but today its proliferation as technology has led to a hunger for content. The content famine has created spaces for prejudices and ignorance to fill in the place for genuine inspiration. Misogyny, among others gets a new legitimacy as content of the media. The episode of the cricketers is not an isolated event but is a general trend of the media which seeks excitement through digging into privately held superstitions and biases and setting them forth as public discourses. Such is also the symptom of an ever-growing fascist trend of the society when all that which lie concealed within humans suppressed by discourses of reason and tolerance, universality and common good bursts forth with vengeance to establish the personal over the public. This is perhaps why misogyny is so closely associated with fascism. The rise of the personal over the public, the particular over the universal, identity politics over liberal public sphere within which lie embedded biases like misogyny.

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