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– Amulya Ganguly
November 21st, 2017:
At the root of the controversy over the release of the Hindi feature film “Padmavati” is, first, the saffron brotherhood’s interpretation of history with a pronounced anti-Muslim bias and, secondly, the Bharatiya Janata Party’s overt and covert attempts to whittle down institutional autonomy.
Even if the BJP’s seemingly political use of the Central Bureau of Investigation (CBI) is a continuation of the practice of its predecessor which made the Supreme Court call the CBI a “caged parrot”, the party can be said to have broken new ground by letting vandals of the Hindu Right vent their anger against Padmavati and, thereby, undermining the authority of the Central Board of Film Certification (CBFC).
In this case, too, there are precedents as when the Congress objected to the film, “Indu Sarkar,” because of its focus on Indira Gandhi. But the saffron offensive against Padmavati is making a greater impact because of the clout which the Sangh Parivar affiliates enjoy in view of their proximity to power.
It is obvious that if they are not checked, not only will the authority of the CBFC be diminished, but also the board will be wary in future of clearing films dealing with history or issues which are close to the Parivar’s heart. Politics will, therefore, virtually take over the board’s functioning.
What is more, the filmmakers themselves will be dissuaded from touching subjects which may be deemed sensitive and deal instead with safe, insipid topics. Such a state of affairs will be unfortunate at a time when Bollywood has been breaking away from the earlier productions with their song-and-dance routine and predictable storylines which were far removed from reality, except in a few exceptional cases which came to be known as the parallel cinema.
Not long ago, it was expected that the directors and producers will be able to breathe easily after the previous censor board chief, Pahlaj Nihalani, was unceremoniously removed so that he could no longer run amok with his scissors in accordance with his saffron whims, as in the case of reducing the duration of a kiss in a James Bond film or ordering 89 cuts in “Udta Punjab” or not clearing “Lipstick Under My Burkha” at all.
But any hope that the new board will be allowed to exercise its judgement in peace with the support of the Information and Broadcasting Ministry has been belied if only because the opponents of the idea of letting the artists pursue their craft unhindered are far too influential politically.
The decision about what the audience will be allowed to see is being taken not only by the self-appointed guardians of culture but also the ministry which has banned two films — “S Durga” and “Nude” — from an international festival in Goa apparently because the letter “S” in “S Durga” stands for “sexy”, which is too strong a word for bureaucratic ears, and “Nude” is out for obvious reasons.
While the rewriting of history books is proceeding apace with Rana Pratap winning the battle of Haldighati against Akbar on the pages of the textbooks printed in Rajasthan, the Hindutva storm-troopers are laying down the rules on how historical events are to be shown on the screen.
India has already seen the exiling of a reputed painter, M.F. Husain, who was hounded out of the country by saffron vigilantes who were displeased with his depiction of Hindu deities.
It will be a sad day if filmmakers, too, have to leave the country or shoot their films elsewhere, as in the case of Salman Rushdie’s Midnight’s Children, which was shot in Sri Lanka.
The standard explanation for demanding cuts in the films is to ensure that the sentiments of the people are not hurt.
It was for this very same reason that Galileo had to disavow his thesis about the earth moving around the sun since such an assertion offended the feelings of the church and the laity in medieval Europe.
It took the church 350 years to apologise. There is unlikely to be anyone in the ruling dispensation or even in the opposition who will be courageous enough to say that the question of whether religious or cultural sensibilities are being hurt cannot be settled on the streets but should be left to the institutions to decide or, as a last resort, to the judiciary to determine with the assistance of scholars.
The saffron ire against “Padmavati” is apparently over the belief that the film will be unable to do justice to the heroic reputation of the queen of Mewar, a legendary beauty, who killed herself rather than be captured by the invading army of Alauddin Khalji.
Although no one, except the censors, has seen the film, the Hindu Right is patently unwilling to take the chance of an erroneous presentation. So the group has donned battle armour to save the fabled queen (real or fictional) 700 years after her death — this time from filmmakers — and is issuing blood-curdling threats against the director and the leading actress.
If accurately presented, the turbulent period of early 14th century Rajasthan can be the subject of a riveting drama. But whether cinema-goers will be able to see the film is still uncertain. (IANS)
Diwali is arguably one of the most auspicious and celebrated holidays in South Asia. It is celebrated over the span of five days, where the third is considered most important and known as Diwali. During Diwali people come together to light, lamps, and diyas, savour sweet delicacies and pray to the lord. The day has various origin stories with the main them being the victory of good over evil. While the North celebrates the return of Lord Rama and Devi Sita to Ayodhya, the South rejoices in the victory of Lord Krishna and his consort Satyabhama over evil Narakasura.
Narakasura- The great mythical demon King
Naraka or Narakasur was the son of Bhudevi (Goddess Earth) and fathered either by the Varaha incarnation of Vishnu or Hiranyaksha. He grew to be a powerful demon king and became the legendary progenitor of all three dynasties of Pragjyotisha-Kamarupa, and the founding ruler of the legendary Bhauma dynasty of Pragjyotisha.
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Narakasura was created, grew up to be strong and powerful but he was not satisfied with it, so he decided that he would worship Lord Brahma. He performed severe penance and was driven by the power of his penance; Lord Brahma appeared before him. Narakasura knew his mother loved him dearly so he asked Lord Brahma to grant him a boon that he would only die by the hands of his mother, Bhumidevi. Lord Brahma smile and ultimately granted him the boon.
Narakasura burst out laughing as Lord Brahma vanished. He thought no mother would kill their child so Lord Brahma had made him immortal. Drunk and maddened by his own power Narakasura brought all the kingdoms under his control and targeted Swargalok (Heaven). Even Indra (King of Gods) and demi-gods had to retreat in front of Narakasura. He kidnapped and took 16,000 women from the palaces as prisoners. Troubled by Naraksura's deeds the gods rushed to Lord Vishnu for a solution.
Lord Krishna and Devi Satyabhama were born to kill Narakasura
Lord Vishnu was born as Lord Krishna and Narakasura's mother Bhumidevi took the avatar of Krishna's wife Satyabhama. As Satyabhama, Bhumidevi was unaware of the knowledge of Naraksura being her son. Aditi the mother of all gods approached Satyabhama crying for help with bloodied ears as Narakasura had torn off the glowing earrings from the ears of Aditi.
Satyabhama was furious on gaining the knowledge of Narakasura's atrocities she asked Krishna to fight the demon king while she fights alongside him. Krishna agreed and they attacked the great fortress of Narakasura, riding his mount Garuda with his wife Satyabhama.
The furious battle unleashed. Krishna defeated Narakasura's general Mura and came to be known as Murari (the killer of Mura). Narakasura used several divine weapons against Krishna, but Krishna slew all those weapons effortlessly. The demon hurled a shakti towards Krishna, which mildly hurt Krishna and he fell unconscious. Upon this sight Satyabhama was enraged, she furiously pulled out a weapon of her own and hurled it at Narakasura's chest. Anxious Satyabhama turned to her fallen Lord, Krishna got up with a smile and he was completely fine. He was only playing his part. It was Satyabhama who was an incarnation of Bhoomidevi, whose hands were destined to slay Narakasura.
ALSO READ: Choosing Environment-Friendly Diwali
Lord Krishna and Goddess Satyabhama had put an end to the Narakasura's kingdom of evil. As Narakasura lay on his deathbed he realised that Satyabhama was no one but an avatar of his own mother. He requested a boon from his mother, for no one to mourn his death. Instead, he wished for people to celebrate it with light and colours. They freed the 16,000 women who later married Lord Krishna to restore them of their honour in society, retrieved Mother goddess's earrings. This day is celebrated as 'Naraka Chaturdashi' popularly known as Choti Diwali - the day before Diwali as the triumph of good over evil.
Keywords: Diwali festival, goddess Laxmi, demon king, Lord Krishna, Satyabhama, the festival of light, Naraksura, Narak Chaturdashi
For all the great inventions that we have at hand, it is amazing how we keep going back to the safety pin every single time to fix everything. Be it tears in our clothes, to fix our broken things, to clean our teeth and nails when toothpicks are unavailable, to accessorize our clothes, and of course, as an integral part of the Indian saree. Safety pins are a must-have in our homes. But how did they come about at all?
The safety pin was invented at a time when brooches existed. They were used by the Greeks and Romans quite extensively. A man named Walter Hunt picked up a piece of brass and coiled it into the safety pin we know today. He did it just to pay off his debt. He even sold the patent rights of this seemingly insignificant invention just so that his debtors would leave him alone.
Anyone wearing safety pins that were visible began to be associated with the rock movement in the 70s. Image credit: Wikimedia Commons
Later, he even invented the sewing needles and a couple of other important inventions but never kept any of the patent rights.
When the punk rock tradition took over in the seventies, safety pins became a fashion rage. They were used as piercings and to patch clothes together. Anyone wearing safety pins that were visible began to be associated with the rock movement. In some cultures, the safety pins have become symbols of good luck.
Keywords: Safety-pins, Punk Rock, Brass, Accessories, Walter Hunt
In South India, Deepavali marks the end of the monsoon and heralds the start of winter. The festival is usually observed in the weeks following heavy rain, and just before the first cold spell in the peninsula. The light and laughter that comes with the almost week-long celebration are certainly warm to the bones, but there is still a tradition that the South Indians follow to ease their transition from humidity to the cold.
Just before the main festival, the family bathes in sesame oil. This tradition is called 'yellu yennai snaana' in Kannada, or 'ennai kuliyal' in Tamil, which translates to 'sesame oil bath'. The eldest member of the family applies three drops of heated oil on each member's head. They must massage this oil into their hair and body. The oil is allowed to soak in for a while, anywhere between twenty minutes to an hour. After this, they must wash with warm water before sunrise.
Women applying oil to the heads of men Photo credit: Indians in Kuwait
In some parts of the peninsula, soap is not used to wash off the oil because it nullifies its effects. Some cultures who do not like the oil to remain in any way on their skin wash it off with shikakai and herbs, which is a paste that is traditionally used as a substitute for soap. Sometimes, the oil is heated with flowers and spices as well and is less sticky than in its pure form.
The purpose of this ritual is to cleanse the body, detoxify it, and produce heat in it. Sesame is a very heaty substance and tends to heat up the body. This heat, or 'usshna' in Kannada, prepares the body to face the sudden cold that comes to the peninsula immediately after Diwali. South India has no smooth transition weather-wise from monsoon to winter. There are a few days of stable, rainless weather, and suddenly the cold winds descend.
In many ways, the celebration of Diwali is centered around preparing for winter, considering the amount of heat and light the rituals consist of – lighting lamps, bursting crackers, and consuming warm treats. Those who practice these rituals earnestly find the shift in seasons and weather quite pleasant.
Keyboards: Sesame Oil Bath, Diwali Ritual, Traditional Sesame Oil Bath