India that is Bharat – a call to wake up!

 

India, that is Bharat, a phrase carefully selected from the constitution of India is a book on Decoloniality - a topic at the heart of the author – J Sai Deepak, already a popular orator and debater on matters of law that pertain to India, nay Bharat and its cultures and traditions. 

              Split into three sections Coloniality, Civilization and Constitution, the author delves deep into the idea of each as they evolved in the minds of Colonizers – European in general and British in particular. It takes some time to get into the mind of the author as he uses impeccable research around the world to drive the concept and tongue twisters – Colonialization and Decoloniality vs the common colonization and decolonization. As the author introduces us to the concept, he also tells that hardly any work has happened on this in the context of India and its subcontinent. A quick google search for the books on this subject, gave a list of books on Decolonization when it comes to India. All other results are from Africa or Americas. In that sense, it is a path breaking book.

              Written in a lawyer like fashion, this book uses monumental research to gather evidence and presents them one after the another, lest any doubt remain in the mind of the reader. When one would think one line quote is sufficient to make the point, the author uses one page. When you would think, a paragraph extract from the original quote is sufficient, he provides three pages. Sai Deepak does this chapter by chapter to the extent that the reader may give up sooner agreeing to assertions. But the author, a practicing professional advocate, prosecutes his case carefully leaving little to chance, his own commentary is small as he notes key takeaways and builds the case. If you buy this book to get more of his oratory and fluency in one place, you would be disappointed like me.

This is not about what the author believes, but rather the books already written, words already spoken that shaped the European project of coloniality and civilization and finally the constitution of India, that is Bharat. Ultimately, the object is to understand how we got here and why we should believe the author’s word. He is no historian or a well-known academic! Indeed, he is at the risk of being called a right winger spreading his sensational ideas. Sai Deepak, fully aware of this, stays away from sensationalism and instead employs dispassionate tone even as infamous quotes from Macaulay of producing “a class of persons, Indian in blood and colour, but English in taste, in opinions, in morals, and in intellect” are noted.

The author contends that that coloniality was not a random occurrence, but a diligent project rooted in Christianity, specifically Protestantism and so the European world view. “Coloniality reshaped the very concept of history and time through the creation of constructs as ‘modernity’ and ‘rationality’, terms which are loosely used…without the knowledge of their colonial origins.”, asserts the author. He tells us the word “Modern” was first used in northern Italy in 6^th century CE and it simply meant ‘different’ without a positive or negative value attached to it and as late as 14^th century in Dante’s The Divine Comedy, it was a synonym for contemporary but used as a veiled criticism of the present. It was not until 15^th century that the word was used to show the past in poor light. This probably refers to Europe coming out of their Dark ages where they disowned its past and Modern suddenly became symbol of reformation.

Similarly, the idea of ‘civilizing’ comes from Christianity, as evangelization and taking good news to others are central to the Bible and Gospel. Even as the author takes us through fascinating narrations, he makes no attempt to call the European project a mala fide one or one displaying ill will, full marks to author for not getting carried away. In contrast, the point that India is one civilization is made by quoting Sir Herbert Risley - “ Beneath the manifold diversity of physical and social type, language, custom and religion, which strikes the observer in India, there can still be discerned a certain “underlying uniformity of life from the Himalayas to Cape Comorin”. There is in fact an Indian character, a general Indian personality, which we cannot resolve into its component elements.” 

Finally, before closing the first book of three part gigantic project, Lala Lajpat Rai is quoted extensively showing the birth of democracy and the idea of nation all rooted in India much earlier than the Europe. Indeed, Sir Henry Maine said that “the idea of Nationality was first derived from India, and it travelled westwards”. Lalaji said eloquently in his 1917 letter demanding the right of India’s freedom - “There is less antagonism between the creeds of India than there is between the various sects of Christianity in England. There are hundreds of such sects in England, but there are five religions in the whole of India…Politically, the whole of India is now practically united and had been so also in the past, notably in the days of Asoka. But the ancient Emperors of India, more liberal than the modern Tzars and Kaisers, never used force to standardize language, culture, creed or caste, but left each group to self-development suitable to its environments….To require races of India to coalesce into a nation with one religion and one tongue, is midsummer madness. It would revive the idea of medieval idea of one Empire, one people and one church…A century ago, the percentage of literates in India was about the same as in England. Today 95 percent can read and write in England, while in India scarcely 6 percent can do so….But this is no fault of theirs. It is a grievance against the Bureaucracy. It was their duty to teach them to read and write and write during the past 150 years of their rule”

While the author quotes extensively from writings around the world, several discussions are from British Parliament demonstrating the Christian foundation of the English idea of civilization that they propagated. While this was a consistent refrain, going by these debates, a large part comes from the members of parliament who were Bishops and Archbishops. Naturally, it is difficult to fault churchmen for their passion towards evangelization or bringing more to the fold of Christianity and its civilization. As much as this book is a recommended read, there is opportunity to make it more readable. Initial 20-30 pages may look like meandering and in some part repetitive compared to the Introduction, but they are not, just stay with the author and you would soon be enjoying the ride. This book must reach the nooks and corners of India, and this may require simplification.

Read this book for the foundation of Spanish and Portuguese expedition, read it for the remarkable work happening in Africa and Americas on Decoloniality – mostly baptized, read it to find about the scholars that inform this debate and to do your own study. Read this book to start recognizing the idea of Coloniality that is likely sitting in your mind and realize that you are not alone. As the author succinctly puts it, it is like the movie Matrix. Once you see the Matrix, it is difficult to unsee it.

Lyrics and Music

Physics tells us that all objects have a wavelength and a frequency and resonate given the right environment. I say all objects have a music of their own, a frequency and a rhythm that reflects their composition(pun intended). This refers to non-living objects not tuned yet, musical instruments waiting to be tuned or played, living beings - humans, non-human animals, insects, plants and trees and the super living - planetary objects. And as such anything that exists has a music - common creation that is closest to music is a poem. 

   A poem is born with a music of its own, driven by the expression it manifests. It is no surprise then that poets and poetesses sing their poems and not just read it. Most compositions especially in the west are written and composed by the same person. In fact, it is a bit odd that some poems are not composed by their creators but a composer like in Bollywood, or may be they are? Is it the case then that Musicians really adorn the inherent song in the poem, make it in tune for the instruments that would get played.
    

   Is it a corollary then that well written poems result in better songs and vice versa and reflect the reason the evergreen quotient of Bollywood songs continues to be on the decline.

A tale of two movies – The Kashmir Files and Shikara

Why would one review two movies together when reading one is task enough. Well, multiple reasons but primarily because I saw both over the same weekend and the Kashmir Files(TKF) is being talked a lot and Shikara is not.

TKF begins with Hindu kid getting beaten by Muslim kids and adults and ends with the killing of Kashmiri Pandits. There is no time for what led to the exodus or genocide in 1990 or what is happening to them today. Director, also a co-writer, is clear that the movie is about what happened in Kashmir in that period and how it seen by the people present then and today.

Shikara on the other hand starts with the hope the refugees in their own country are clinging on to and ends with the hope of reconciliation. The tragedy of the situation is summed up by a scene at the end of the movie where the protagonist Shiv Kumar is back in Kashmir to tutor children. Several children enter the house, and they keep staring at him. When Shiv asks the reason, the boy innocently says, “Isne kabhi Kashmiri Pandit nahi dekha”. Shiv smiles but it is enough to tear one’s heart apart.

Director of Shikara, Vidhu Vinod Chopra is a Kashmiri, born in Srinagar and his mother could never return to the valley. In contrast, Vivek Agnihotri does not have a direct connect, of course he feels strongly and differently about the story and incidents. But is his take superior to Shikara, or he is just pure lucky that his movie arrived after Covid has mostly settled. Can someone who never lived in Kashmir can have more authentic take on Kashmir than the director who was born and brought up there and had a living member who was forced to live in exile.

When I came out of the theatre after watching TKF, I was like “Why, why has there been the story of Kashmiri Pandits not told. How can natives of one own country become refugees and then continue to be.” First question is soon answered as I watched Shikara the same evening, probably the first authentic take that was released in 2020. It is still 30 years after the event, but earlier than the TKF one can argue. TKF tries to answer the second question as it shows the helplessness of the police and the administration, and the media was either not telling the story or they were being filtered to not reach the people’s homes. Frustration is so widespread that the movie shows how representatives from each of these get into a small fight, even though that fight, and the explanation stays inconclusive.

TKF keeps hammering on the violence that pandits of Kashmir were made to bear. If you believe the film, no other group were harmed. It does not show that even some Muslims bore the consequence of what happened in that period. We know that, even today Kashmiri Muslims continue to be targeted by militants or terrorists.

Let us contrast the movies more closely. Both the movies show the mayhem that unfolded in that period. Both show how the terror had taken over the Pandits, how they initially would not believe it’s coming to them and could happen to them and their own. They trusted their neighbours, their friends, and their network among the who’s who. Pushkar Nath in TKF is relieved when he says, it’s good to be friends with senior officers of the government.  In Shikara, Shanti calls the milkman crazy when he tells her that they would have to leave and go to India and Haji saab will take their house. It is deemed so innocuous that she does not even mention it to her husband Shiv Kumar.

Both show how they were shocked to see the fire in their neighbourhoods including the posh ones. Both tell us a list of targets was created. TKF is in a hurry here, but Shikara shows the scared and terrorized faces as they read their names in the list. They assure each other, even joking if their favourite news reader is killed who would read the news every night on their TVs. It tells soon enough that the news reader is no more along with several others.

Both tell us the hardships refugees face in Jammu camps. TKF shows the hunger and the killer diseases, counting several thousand deaths owing to the arrangement(or lack of) in the refuge. This figure is comparable to those of deaths in Kashmir by terrorists as per the film. Shikara on the other hand uses cinema to show the helplessness. For instance, on arriving in the camps, people run after a trolley full of tomatoes that is being offered by a right wing political party(name not like BJP!). It shows the walls created by people using their own clothes mostly sarees in the refuge hall. TKF shows how Pushkar Nath would always skip the dinner as the food is in short supply and would go out to take a solo biscuit from his tiffin and lick it to tease his hunger. They show us hundreds even thousands of letters are written to the head of states – PM in case of TKF and President of the United States in case of Shikara.

While there are similarities, the contrast is starker. TKF is in your face, based on a set of incidents, some very uncomfortable ones and it shows them as is. It is no surprise then people who suffered see this as a fact based movie, even though not everything in the movie is about facts. Shikara on the other hand is mellow, it shows the same betrayal, deceit and helplessness but does not shake you. TKF holds the audience by both their arms and shakes them vigorously. Shikara leaves you helpless like the protagonist and makes you cry, whereas TKF does not stop there, it brings your emotions out and very successfully.

Most fundamentally, the treatment of the subject is different from start to end. TKF is about three things – deceit, violence, and anger. And to do that it relies upon darkness, the chilly winter and the brilliant actors. The movie was so dark that one wonders why the director couldn’t use more light. Probably that’s part of the story teller’s message. There is nothing beautiful about Kashmir then and thereafter. Most things happened in the night or night equivalent light.

Shikara on the hand is so much more realistic even though TKF is more real being research based. I say this as the story develops, it shows layers of characters, how things change, story builds on it and then there is climax. TKF just goes shoot, shoot, and shoot except when it comes to the political commentary where it asks you questions and makes you to think and ponder.

Shikara leaves you tricked, frustrated and helpless, but does not leave you hopeless. TKF shows the treachery(neighbours included), but the helplessness does not strike you so much, it is the anger. It leaves you hurt and angry! Pushkar Nath says in a scene – “Inke to surname bhi hamare diye hue hain” reminding that Kashmiri Muslims are firstly a Kashmiri and then a Muslim.

Shikara’s protagonists are two lifelong lovers who are shown in beautiful times just a few years before the exodus. It makes us fall in love with Kashmir for the beauty it is known for. Cricket is popular among all and so are films as they get shot in the valley. When Shiv starts to build his dream house, father of his friend (a Muslim and Ranji Cricketer) brings building material for the foundation and the house gets built. It tells that people did live in peace and harmony so much so that a trained doctor returns from England to practice in Kashmir.

The movie also demonstrates the build up to the gruesome events. Some would call it apologetic or attempt at justification of genocide. But the movie gives its reasons even though not fully satisfactory to many, of why things happened i.e., easy availability of guns including AK47 from the war in Afghanistan and the neighbor nation looking to create trouble. Of course, there were local separatist people who actively participated and led the movement. But it is the root causes, the movie spends more time on.

It also gives the multitude of events that unfolded until the D-day and takes us through the layers that are peeled as people finally see the light and accept the harsh reality that they have to leave their homes. TKF on the other hand is monotonous when it comes to pogrom events and spends an equivalent time on the political statement i.e., the whitewashing of issues. It shows that the mastermind is welcomed to Delhi and his interview is telecast on National channel where he accepts charges of killing several people.

Shikara makes no specific commentary on either Muslims or individuals. It is obvious it makes room for reconciliation howsoever elusive it may seem. It depicts life in refuge to a greater detail, how even living in the camps children are focused on better life and continue to make strides there.

On the question of return to Kashmir, TKF shows us Pushkar Nath is back to Kashmir in a strange village where his grandson and daughter in law are killed in cold blood. And finally, it shows that Pushkar Nath’s ashes are spread in his house in the valley, even though no one lives there. It is still unoccupied!

Shikara on the other hand is the story of hope, it starts with hope as the hero is shown to be writing letters and that he would have a meeting with POTUS soon. Very rewarding for the wait of 30 years!

Throughout the tumultuous journey involving one setback after another, Hope doesn’t die ! It shows how his dream house in the valley is occupied by Haaji saab as predicted at the beginning and it has been fully rearranged. To know what this means, just go back to a place you built and lived and then sold it to, except if you are a Kashmiri then you have occupiers in your house anyway. It’s strange then that Pushkar Nath’s house in the dreaded, dark valley per TKF remains unoccupied.

Even though the hope of meeting the US ends up being a lie, Shiv Kumar is back in Kashmir at the end of the film teaching to the kids who have never seen a Kashmiri Pandit.

If you want to watch a set of facts and the doubt that continued to be spread until today whether it happened, go see TKF. It is not so much a movie, even though it uses cinema as a medium and for this reason I believe it is named the Kashmir ‘files’. TKF ensures you leave the theatre with the sound of bullets and the faces of Nadimarg victims when it shows every single of 24 bullets fired and the faces of each victim including one child. But if you want to join a Kashmiri family and watch the color of Kashmir and their life changing it is Shikara! It is indeed made like a movie; it is multilayered and talks of the detailed writing and depiction. I for instance could not miss the various musical instruments played at the wedding, the long, beautiful earing accompaniment wore by Shanti throughout the movie.

On looking up, one reviewer criticized the makers of Shikara for trying the balance. I wonder since when did trying a balancing act became a bad thing. Don’t we hear all the time, avoid extreme, attempt balance. Hindi language has an equivalent phrase. Probably the country has seen too much watering down of one type of events trying to be politically correct that people are fed up with white washing and before we go to balancing acts again, can we say things without too much qualification. And this is where the Kashmir files minces no words. It strikes the chord with the viewers and people who suffered. And this is where TKF gives the heavy weight punch to Shikara and knocks it out.

 

A mobile cover's musings (एक मोबाइल कवर)

     मैं और मेरी तन्हाई अक्सर ये बातें करते हैं तुम होते तो हम मुंबई की बारिश देखते - खिड़कियों से नहीं, खुले आसमान के तले | सोचता हूँ तो लगता है जैसे कल ही की तो बात है जब हम मिले थे, आदमी के हिसाब से कुछ महीने, पर मेरे लिए तो जैसे कल ही की बात है| तुम नए चमकते श्याम श्वेत आवरण में आये और सीधे मुझमें समां गए थे. तुमसे पहले मैं किसी और से नहीं मिला था, मेरा रंग भी तब ऐसा पीला न था, कोई भी फ़ोन मुझसे मिलने को तैयार था, पर नियति को मुझे तुमसे ही मिलाना था |

   कहते हैं मैं चीन से हूँ, पर मुझे ये बताये की कौन नहीं है चीन से, मानता हूँ तुम नहीं हो, पर रिश्ता है हमारा बहुत पुराना ही सही| मुझे याद है जब हमारे मिलने के तुरंत बाद ही मालिक ने तुम्हे २ हफ़्तों तक बंद कर दिया था और मैं सांस रोके तुम्हारा इंतज़ार करता रहा | कितने ही हसीन पल हमने साथ काटे | कितनी ही तस्वीरें तुमने मुझमें झाँक के ली थी., मुंबई की बारिश अभी शुरू ही हुई थी जब काले घने बादलों को हमने एक साथ निहारा था और तुमने बिना पलक झपकाए एक के बाद एक कई चित्र ले डाले थे | कहते हैं तुम्हारे मायके में अभी भी वो तस्वीरें हैं| मालिक कभी कभी उनको देखते हैं तो अनंत में निहारते रह जाते हैं, मुझे उनका दुःख देखा नहीं जाता तो मैं भी बच्चो के साथ घर के दुसरे कोने में चला जाता हूँ | 

    बारिश अभी रुकी नहीं है, रह रह के बरसती बूंदे मुझे कंपा जाती है | वो दिन मुझे खूब याद है जब मेरी जगह किसी और को लाकर मालिक फूले न समाते थे, और फिर देखते ही देखते उन्होंने मुझे तुमसे अलग कर दिया | मानता हूँ वो खूबसूरत था पर क्या हुआ वो तुम्हारा ख्याल न रख सका ! मेरे होते मुझे कोई तुमसे जुदा न कर पाता, उस बुरे दिन, जब तुम रिक्शा में रह गए और फिर गलत आदमी के हाथ लग गए मैं हरगिज़ न ऐसा होने देता | सुनता हूँ तुम्हारा अंग भांग कर के, तुम्हारे कितने ही टुकड़े कर दिए गए होंगे, क्योंकि अगर ऐसा न होता तो मालिक तुमको ढूंढ ही लेते। और फिर मैं पास से नहीं दूर से ही सही, तुमको देख पाता, तुम्हारी आवाज़ सुन पाता |

   सच कहूँ - मालिक का तुमसे दिल लग गया था, कितना मानने लगे थे वो तुमको | जब देखो "ओके गूगल " करते , मैं सोचता की ऐसा भी क्या लाड की पहले ही ओके बोल दिया, पहले बात सुनले, समझ ले, फिर ओके बोले| बाद बाद में तो "हे गूगल " बोलने लगे थे | उसके पहले मालिक ने "हे" केवल ईश्वर के पहले ही लगाया था | मैंने कभी नहीं सोचा था की मालिक धर्म बदल लेंगे, शायद ईश्वर की ही सजा है जो तुम्हारा ये हाल हुआ |

पर मुझे तुमसे कोई भी शिकवा नहीं, तुमने अंग दान दिया, भले ही स्वेच्छा से नहीं, पर कितने ही लोगो और मोबाइल का इससे भला होगा | समाज कल्याण में तुम्हारा योगदान सुनहरे अक्षरों में लिखा जायेगा | 

   ये सब बाते हैं पर फिर भी मुझे लगता है की तुम किसी भी दिन आ जाओगे और मुझसे गले मिल जाओगे, बिछड़े दोस्तों की तरह | और मैं सोचने लगता हूँ की तुम होते तो ऐसा होता, तुम होते तो वैसा होता | मैं जानता हूँ की तुम नहीं हो कही नहीं हो पर मेरे जहन में लगातार ये बात है की तुम यही हो यही कही हो |

   - एक आम मोबाइल कवर

Aurangzeb Road or Abdul Kalam Road: A road treaded a bit too far

   Recent renaming of Aurangzeb road to Abdul Kalam road by New Delhi Municipal Corporation has caused uproar among a section of society including mainstream media and political class. I would not go into whether it is right or wrong. They could well have avoided it. What is funny is the kind of points being put forward in both print and internet media to criticize the action, justify Aurangzeb's actions and to prove greatness of the last prominent Mughal ruler.
   A close look at a few articles is in order. This mostly well balanced article compares Aurangzeb's destruction of temples with that of Vasundhara Raje Sindhia, present CM of Rajasthan and almost justifies the act.  
   This article tells us that Aurangzeb "is like the kuttichathu of Malayalis—responsible for anything that went wrong." The author contends that Aurangzeb was made responsible for all wrongs. And what wrongs are being cited - that the last mughal was a bigot, fanatic, imposed excessive taxes and destroyed temples in every nook and corner of India.  
   Now lets take a look at the very popular TOI and Mumbai Mirror. A very prominent journalist in this informative article(picture below) in Mumbai Mirror puts Aurangzeb in perspective with other Mughal rulers Babar, Shah Jahan, Akbar, Jahangir and Humayun. He tells us that Shah Jahan and Jahangir were nobodies, that Akbar was no less cruel than anybody else. He further goes on to tell us the greatness of Aurangzeb declaring with the ending line that "Aurangzeb was certainly great".
   As for his shortcomings, we are told that "The action against temples came in three stages: no new temples, no renovating old ones, break old temples" and that, "this order was followed indifferently, probably because of the emperor's lack of enthusiasm". So two points are to be noted, one, destruction of temples was done indifferently. So the thousands of temples were destroyed with no "specific interest". Two, author would like to attribute this indifference to Aurangzeb's lack of enthusiasm. One should consider this along with the fact that Aurangzeb stopped listening to music because one of the hadiths said so as per the same author. To conclude, Aurangzeb was ardent follower of Islam so much so that he stopped doing what he liked, but he had no particular interest in destroying temples which he did in countless numbers.
   This TOI article (picture above) tells us that Aurangzeb was the only Indian that Britishers could not beat. Isn't it a matter of pride for all Indians? But it would like us to forget that Aurangzeb was the emperor of India and Britishers were nobodies then. And Gujarat had its "tangible achchhe din" under him. A historian is quoted that ban on music was really economic in nature. I have no problem with this explanation except that it doesn't tie with the Mumbai mirror article quoted above. It also safely ignores the war on temples that Aurangzeb waged across India as it would like us to believe that the Mughal emperor is being victimized and shall remain alive among historians.
   While these articles have brought a lot of hitherto not known facts about Aurangzeb and other Mughal rulers they have gone a bit too far to twist the picture they would like readers to see.