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BY VINOD MIRANI
When the bollywood film industry started in India, the best and the safest theme to draw audience was to make mythological films or films with a religious story to tell. Dada Saheb Phalke, the founder of the film industry in India, made his first film, “Raja Harishchandra”. The first Indian talkie film, “Alam Ara”, also dealt with a religious theme.
While the religious/mythological films held sway as it had a captive audience that was familiar with the stories told on screen, the narrative soon shifted to family socials. That again was a subject everybody identified with in the joint family era.
During the 1940s, the freedom struggle reached its peak and, as an alternate way to build up on patriotism and promote the freedom movement, films were used as a medium to promote these fervour.
The censoring of bollywood films was rather strict, and the patriotically fired up filmmakers had to take recourse to surrogate promotion of patriotism. Patriotism was the flavour, all pervading and all over India. And, we had some great films promoting patriotism.
This mood lived on till, say, the end of the 1950s. It waned gradually all over except on the streets of the cities. Every August 14 and January 25 — on the eve of Independence Day and Republic Day, respectively — patriotism blurted out of microphones on the streets of every city and town.
As the films gave up on patriotism, so did the street celebrators. Patriotism took a break from films and, hence, also from public life. This was till it was revived momentarily following the 1965 war with Pakistan, and the ensuing Indian victory that revived patriotism in films, but only briefly.
Since the wars of 1948 and 1962, India had, for the first time, outcomes that were emphatically in the nation’s favour. Taking cue from the slogan ‘Jai Jawan Jai Kisan’, coined by the then Prime Minister Lal Bahadur Shastri, Manoj Kumar scripted a perfect film, “Upkar”.
Dara Singh, the wrestler-actor, and some others were also inspired to follow patriotism as the theme. But, patriotism in India and, hence, in Hindi films, seems to be a seasonal trend.
After the 1962 India-China war, the feeling was that of delusion. India was humiliated and the limited patriotism that followed was that of self-pity. So, what we had in the aftermath was the depiction of how a badly ill-equipped India lost in the war in the film “Haqeeqat” and the song “Aye Mere Watan Ke Logon” rendered live by Lata Mangeshkar. None of the two were inspiring for the masses.
Today, people even feel that the song should not be played anymore because it has a depressing narrative about a losing nation.
“Haqeeqat” failed despite entertainment exemptions from various state governments. Its music lived, not the film. Another attempt by the director with “Hindustan Ki Kasam” also did not work.
Patriotism resurfaced one again post the Kargil operation. Producer-director J.P. Dutta, who has this bend towards war films (his brother was an Air Force pilot who died in action), directed “LOC: Kargil”, immediately after India regained the peak.
The film was screened for the leading financiers and diamond merchants of Mumbai along with other trade leaders a few days before its theatrical release. It was unanimously declared a boring dud. May be, their observations were on the merit of the film, but they failed to read the national mood. The film emerged as a hit.
As mentioned earlier, patriotism is a seasonal trend in India. Because, after its first run, when “LOC” was released in cinemas as a gap filler (when a cinema hall has no new film listed, an old hit is repeated as a gap filler), it could not even recover the theatre rental. Dutta followed up with some more patriotic films, but to no avail.
Over a period of time, a lot many patriotic films have been made like “Jeevan Sangram”, “Saat Hindustani”, “Shaheed”, “Vijeta”, “Border”, “LOC: Kargil”, “Swades”, and “Mangal Pandey”.
People were not quite aroused and remained indifferent to most of these films. The one hit was “Shaheed” after which the man behind this film, Manoj Kumar, established himself as the best filmmaker of patriotic films as he followed it up with movies like “Upkar”, “Purab Aur Paschim” and “Kranti”, after which his expertise stopped working.
Things have changed. Patriotism has now broadened its scope and is described as nationalism. And, this seems to be in tune with the people’s state of mind. We have had a line-up of films in recent years that promote nationalism and many of them met with a favourable response. There are films that are event based. These are: “A Wednesday!”, “Airlift”, “Uri: The Surgical Strike”, ” Mission Mangal”, “Parmanu: The Story Of Pokhran”, “Raazi”, “Manikarnika: The Queen Of Jhansi”, “The Ghazi Attack” and, this year’s biggest hit so far, “Tanhaji: The Unsung Warrior”.
In fact, one of last year’s biggest hits also happens to be one such film, “Uri: The Surgical Strike”. Another way to inspire nationalism is through films that make the nation proud. These are films like “Dangal”, “Gold”, “Dhoni: The Untold Story”, “D Day”, “Rang De Basanti”, “Padmaavat”, “Mary Kom”, “Kesari”, “Bajrangi Bhaijaan”, “Ek Tha Tiger”, “Super 30” with many more in the offing.
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As they say, reel life is a reflection of real life. Post-Independence, all kinds of films were made, and romance and family socials with music worked well till early 1960s. During the mid ’70s, the trend was of anti-establishment films. This was followed by a period of uncertainty when nobody knew what will work. Only making romantic musicals was considered safe.
But the decade that just got over has rekindled the spirit of nationalism. It is all about how the nation is made to feel. (IANS)
Each year Diwali is celebrated on Krishna Paksha Chaturdashi, the 14th lunar day of the dark fortnight in the Tamil month of Aippasi. Ancient scriptures of India advise people to worship Yama, the deity of death on the days of Dhantrayodashi, Narak Chaturdashi and Yamadwitiya. People light an oil Diya or 13 oil diyas made of wet wheat flour in the evening. They are kept facing southwards just outside people's residences. These lamps which are traditionally dedicated to Lord Yama are known as Yama Deepam.
It is believed that placing a Yama Deep in the evening of Trayodashi of the dark fortnight of Kartik month prevents any untimely death in the family. The legend of Skanda Purana says that the lighting of Yama Deepams with faith and devotion by the devotees can get the lord to bless them with grace and long and healthy life. Yamadev, the lord of death himself gave assurance to his attendants that even though death is inevitable and cannot be avoided those who perform this Deepdan on Dhantrayodashi will not suffer an early death.
The ritual Yama tarpanam can also be performed early in the morning on Diwali day as a form of worshipping Yama.
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Story of Origin of Yamadeepadana
A 16-year-old son of King Hima was destined to die on the fourth day of his married life due to a snake bride. A girl agreed to marry the unlucky prince despite knowing his ill fate.
She wanted to save her husband; on the fourth day of their marriage, the young bride didn't allow her husband to sleep. She lit the palace with innumerable Deepas, and gathered all her ornaments, jewellery and coins, and placed them in a heap at the entrance. When Lord Yama, guise as a snake reached the palace, his eyes were blinded by the dazzle of deepas, preventing him from entering the room. He waited near the ornament and coins for the prince to approach them. He sat there all night listening to the songs and tales narrated by the young bride. Soon, the sun rose and Lord Yama had to return empty-handed. The wife had saved her husband from the mouth of the death. Since the day of Dhanteras was named Yamadeepdaan and this tradition was celebrated by burning lamps through the night dedicated to Lord Yama.
When Lord Yama, guise as a snake reached the palace, his eyes were blinded by the dazzle of deepas.Unsplash
Elements of Yamadeepadana
To perform the ritual of Yamadeepadan one requires sandalwood paste, turmeric, vermilion, flowers to offer to the god, consecrated rice in the ritualistic pattern. For achaman (purification ritual) a cooper platter, tumbler, and a spoon are required. The lamp is placed in a copper platter to be taken out of the house. Most importantly, you need to prepare 13 lamps made of kneaded wheat flour mixed with turmeric powder.
Significance of wheat flour lamps
On the day of Dhanteras, the Tama-dominant (negative) energy frequencies are active in a higher proportion which causes untimely death. The lamps made of wheat flowers neutralize these energies and protect you from any unfortunate death.
Why "13" lamps?
- 13 lamps are offered to the lord as the frequencies coming from Lord Yama stay only 13 moments of Hell. Hence, 13 Deepas are lit to appeal to the lord this is known as Yama-Tarpan.
- The number '13' has the power to impress Yama; therefore, on the day of Trayodashi, prayer is made to Yama by offering 13 lamps to escape from death.
- The period of death of an embodied soul is 13 days long, during this period a black covering of death occurs around the soul and slowly it succumbs, in the next 13 days the souls penetrate through subtle boundaries of time to go to other 'loka' from earth aka bhoo-Loka. Untimely death occurs by crossing over these 13 wheels of time. To avoid such untimely death in the subtle 13 wheels of time, 13 'Deep-Daan is performed.
Diwali is one of the most auspicious festivals celebrated in India with utmost dedication, happiness, enthusiasm, and passion by the people. By performing Yamatarpan, the sins of the entire year are cleansed.
Keywords: Diwali, Dhanteras, Lord Yama, prevent untimely death, Yamadeepadan, diyas ritual, wheat flour lamps
South India is renowned for many things that elicit culture and tradition. One of the things normally associated with this intricate and impenetrably tradition-bound group of people is their immense love for gold. Their temples, sarees, utensils, and sometimes even food are coated in gold. Their jewellery, while stunning, often bears social implications within their own family hierarchies. One of these traditions is upheld even during Deepavali.
A practice followed usually in wealthy households, Thalai Deepavali is the first Deepavali celebrated after the daughter of the house is married off. During her wedding, the father of the bride would have put up a spectacle, no doubt, but on this occasion as well, he has to host his son-in-law with all the splendour he can afford.
A gold ring studded with diamonds Image credit: Wikimedia commons
The newlyweds come to the bride's house to celebrate an elaborate week of festivities. During their stay, no work is required of them. They are pampered and fed with the best food, choice delicacies, and clothed in beautiful adornments. The son-in-law is taken very good care of and is looked up to as the one who takes up responsibility for the welfare of his bride.
Thalai Deepavali is an intimate celebration while it lasts, but its success reflects only when the groom goes back home. As tradition requires, the bride's father is supposed to present the groom with a ring made of gold. Ideally, it is supposed to represent his worth in the family. Based on the prosperity of the bride's family, and the social standing of the groom's family, the ring is also set with precious stones. It is believed that the pure and unchanging nature of gold will rub off on the wearer. It is every father's wish that his daughter is well-placed in the in-laws' house. When the groom returns home, if the ring does not meet the expectations of his family, it is likely that the relations between both families are soured for a long time.
Deepavali celebrations in Chennai, Tamil Nadu Image credit: Wikimedia Commons
As enduring as gold is in the southern states, it is a symbol of their culture more than anything else. On the occasion of Deepavali as well, gold is the light that shines on a girl's marital life and the blessing to her husband's family.
Keywords: Thalai Deepavali, Family Celebration, elicit culture and tradition.
Deepavali or Diwali is the name given to the Festival of Lights (deep-lamp, vali - array) and is celebrated by Hindus, Jains, Sikhs, and certain Buddhists. The celebration lasts five days and is held during the Hindu lunisolar month of Kartika. Diwali represents the spiritual winning of light over darkness, good over evil and knowledge over ignorance.
During Diwali, people dress in their best clothes, decorate their homes with diyas and rangoli, hold worship ceremonies for Lakshmi, the goddess of prosperity and wealth, light fireworks, and gather with their families for family feasts during which sweets and gifts are exchanged.
Diwali is a joyous festival in the Jammu and Kashmir Province, just as it is across the rest of India. The whole city of Jammu comes to life during Diwali, and there is a palpable sense of excitement in the air. In preparation for the festival, many begin decorating their homes several months in advance. While some people paint their houses, others meticulously clean their homes.
Diwali is a joyous festival in the Jammu and Kashmir Province, just as it is across the rest of India. | Photo by Umesh Soni on Unsplash
On Diwali, people put on new clothing and proceed to temples, where they buy large quantities of sweets to distribute to friends and family. To light their homes and places of business, people also purchase earthen lamps, candles, and electrical accessories.
But, Kashmiri Pandits do not celebrate Diwali with great zeal since they adhere to Shivaism, i.e., they follow the Hindu God Shiva in particular. On this day, however, they perform Puja, which is a religious ceremony.
Many people are seen during the evening hours when devotees flock to temples in Srinagar and elsewhere to offer special prayers and light lamps to commemorate the occasion. The sweet stores in Srinagar bustle with customers as Muslims exchange sweets with their Hindu friends and acquaintances.
Keywords: Diwali in Jammu, Kashmiri Pandits, Diyas, temples, Srinagar, Muslims, Lakshmi- Shiva,