M.F.Husain Exhibition, DAG, India

Recently, while in India for a brief visit, I was able to visit the amazing exhibition of Maqbool Fida Husain's artworks organised at the DAG art gallery in Delhi.

Husain saheb was associated with the socialist party of India and as a child, I had met him a few times, as my father's friend. While walking with him one evening in Connaught Place in Delhi, I had once asked my father, "Why does he walk bare-feet, can't he buy some chappals?" I don't remember if my father had answered my question.  I have already written about him earlier on this blog. I love his art.

In this post I want to share the 10 artworks of Husain saheb which I liked in the DAG exhibition. (You can click on the pictures to enlarge them)

 1. Mahatma Gandhi and Jawahar Lal Nehru: I think that like Lohia and other socialists, Husain saheb was a little critical of Pandit Nehru, the first prime minister of Independent India in 1947. The painting above shows, Mahatma Gandhi turning his back and going away, while Pandit Nehru arrives triumphant like a bridegroom on a horse. This refers to the eve of India's independence, when Gandhi ji had gone to Noakhali to try to stop the riots caused by India's partition, while Nehru gave his famous speech in India's parliament, "Long years ago we made a tryst with destiny, and now the time comes when we shall redeem our pledge ..."

2. Indian Flag and Mahatma Gandhi: This is another painting that shows Gandhi ji (below). It has a background of the Indian flag painted over a background of mountains and soldiers with rifles. Gandhi ji is shown sitting closer to the bottom of the central white part, partly hidden by a mountain. The blue Ashoka chakra of the flag can also be seen as a symbol of his spinning wheel (charkha).

At the same time, that blue chakra seems like a spider-web, perhaps to show that Indian republic had chosen to ignore Gandhi ji?

or perhaps, it is not Gandhi ji, but a representation of the China-India war? What do you think?

3. Durga: The third political painting among the works I have chosen, represents Indira Gandhi after the India-Pakistan war in 1971 and the formation of Bangladesh (below). Husain saheb had expressed his admiration for the firm role played by India to host millions of refugees coming from Bangladesh and the help given by Indian army in its liberation, by a series of paintings where India's PM Mrs Indira Gandhi was shown as the goddess Durga, represented by the tiger.

It is a coincidence that today (16 December) is an anniversary of the surrender of Pakistani army to India during this war. The painting also has the famous yellow-blue combination used by Husain in many of his works.

4. Mother Teresa: The fourth work that I have chosen is titled 'Mother Teresa'. Husain saheb had painted Mother Teresa many times. I like this painting, where she is shown through her blue-bordered sari while the persons she cared-for, is represented by a dying man (below).

At the same time, the painting is symbolic of India and its flag with parts in saffron and green, so that the white sari and its blue border can be seen as the white stripe and the blue chakra of the flag.

It is a diptych (two paintings joined together to compose a whole). The grey background seems to express the despair of the poor in the years following India's independence.

5. The Two Maqbools: For me, this was one of his most intriguing works in this exhibition. It was a part of a series of paintings on different religions where he had tried to represent each religion by its key messages and ideas.

There are two Husain sahebs depicted in this painting. The one on the left, has a dark shadow and something written in Urdu below it. I think that the shadow and the words express the physical persona of Husain saheb and his Muslim identity. The second figure, slightly behind and to the right, has his paintings behind him and perhaps represents the artist Husain saheb. The two figures are joined at the heart by a chakra.

The black-ink design is partly overlaid by a block of saffron-yellow square, I am not sure about its significance.

I am very curious to hear about the meaning of the words written in Urdu. If someone can read them (click on the picture to enlarge it), do write to me in the comments below.

6. Self-Portrait of the Artist: This is a more joyful self-portrait, where Husain saheb is surrounded by his favourite themes, which he had painted repeatedly during his life - Mother Teresa, the horses, Ganapati, the poor ...

I wonder why did he choose to depict himself in a military uniform with medals pinned to his chest in this painting? May be he saw himself as a soldier-artist on a quest to depict the soul of India? You can also see his bare feet in all his self-portraits.

7. Artist and the family portrait: This is another of his self-portrait as an artist where he shows himself painting the portrait of a family. Behind the family sitting on a sofa, some paintings of Husain saheb including an elephant and some horses can be seen. Is it his own family, where a child version of him is sitting on the ground in front? (Though the family looks more modern in setting and clothes).

Or perhaps, it is the family of his son and the boy with the yellow shirt is his grandson? What do you think? May be, it depicts his exile to Qatar in his final years?

 8. The autobiography: This is a pictorial autobiography of Husain saheb, which has a comic-book kind of quality (below).

On the top left, it has "A for Abdul" from Pandharpur in Maharashtra (where Husain was born), who sold and repaired oil lamps. Along the oil lamps, he has designed 2 hands raised in prayer. Perhaps Abdul was a childhood friend? or perhaps his father?

Then he has "F for Fida", the time-keeper in a textile mill in Indore. Was that an uncle or a beloved relative with whom he had stayed for some time?

"Z is for Zainab", his mother, her head covered, shown with an open book in front, denoting traditional family values of piety. Finally, he himself is there as "M for Maqbool", the painter as a young man, already bare-feet.

Apart from the horses, denoted as "H for Husain" (probably representing the importance of his art for him), the lower-half of the canvas also has the figure of his step-mother Shireen, who is shown younger, her head uncovered, sitting down relaxed with a hand-fan, that has a crescent moon on it. She seems to be the opposite of his mother's image. I don't know if the crescent moon means that she had left for Pakistan after partition?

I also wonder why he has avoided showing or his father or not specifying his father in this painting?

9. The Arrival: This painting was part of a group titled the Nudes and I chose this one to represent the wonderful use of blues and bright yellows in many of his paintings, which I love and which always make me think of Van Gogh.

This painting has 3 female figures, one front-facing and two seen from the back. The upper half of the main figure is nude and her face is partially covered by a couple of masks or moons. It was titled Arrival.

 10. Horses on a red background: The last painting of Husain saheb for this post is his favourite subject, "H for Husain and H for horses". I have seen some of his other horses-related artworks which I liked more, but in this exhibition, there were few horses. The blood-red background and the frightened-desperate expressions of the animals, make me feel a little uneasy, therefore I won't put this painting in my house.

However, I have included it in my list because it was his most loved theme.

Conclusions

I love Husain saheb's art. While preparing this post, by chance I came across a book by the socialist party leader Dr Ram Manohar Lohia for which Husain saheb had designed the book cover (below). When I saw it, I thought that it was a sign from him that he likes this post (or so I would like to believe!) I hope that you will enjoy reading it, as much as I have enjoyed putting it together.

*****

#mfhusain #maqboolfidahusain #dag #artexhibition

Watercolours of Moreno dalla Vecchia

I love admiring paintings and sculptures. Among the different styles of paintings, my favourite is watercolours. This post is about a watercolour artist from Schio (VI), Moreno dalla Vecchia, who is also the president of the Schio's association of artists.

Recently I talked to Moreno during an exhibition of local artists held at Toaldi-Capra palace in the city centre.

Moreno's Artistic Evolution

Moreno loved art ever since he can remember. Seeing his artistic skills, his teachers suggested that he should study art. Thus, after completing middle school, in late 1960s he decided to join the art school in Padova. He studied there for five years.

He followed it for another 2-years' course for teaching art. However he decided to not to work as a teacher, instead he chose to work in public administration. Moreno retired four years ago from his public administration job. During his working life, being an artist was a parallel life for him. He feels that having a separate job allowed him to be more independent in his artistic evolution because he didn't need to earn from his art.

He has continued to learn and practice art ever since. For example, after completing art school, for about 10 years, he joined an art group in Vicenza called La Soffitta, created by Otello de Maria. Here, artists can meet, talk, and learn from each other. In this period, he experimented with oils, design and water-colours. He said, "Initially I was afraid of water-colours, I can't explain why but I was hesitant to try it. However, once I started to work with water-colours, I never stopped, I have continued to work with this medium." 

Moreno had started with oil paintings, and experimented with other techniques including acrylic, tempera, graffite and frescoes, before coming to water-colours. He has even taught oil painting and likes oil paintings.

Regarding his approach to water-colour painting, he said, "Now I am trying to get away from using photographs, to a slightly more real depiction of my subjects. I am thinking of this new approach but it is not yet very clear. Usually, when we paint we follow our mental images and not the reality of things as they are."

Artists' Association of Schio

Scledense Artists' group is about 50 years old. It did not even have a room and used to
meet in a bar. It is a space for meeting, talking and supporting each other. In June each year, the city and Scledense artists traditionally organise an open-air art exhibition called Sareo Art Festival. At the same time, they organise a thematic art competition for the primary and middle schools of Schio.

About the activities of their association, Moreno explained, "With time, other initiatives were added to Sareo festival, such as organisation of exhibitions in different city-spaces such as the Toaldi-Capra Palace. When Schio had the orchids and flowers exhibition, we also participated by having an exhibition on art about flowers. For example, the present exhibition has 5 artists from the city. Then, we have another initiative planned for Christmas and the end of year, which will focus on still-life."

There was a time when this group had 80 members, but now they are much less, around 30 persons and Moreno dalla Vecchia is its president. For him, it was important to be a part of this group since it kept alive his interest in art by getting new ideas, learning from others. He said, "We organised initiatives, we displayed our art, I also took part in some art competitions."

Art Courses in Schio

After completing his studies, Moreno came back to Schio, and he joined the Artists' group. One of his first initiative was to organise art courses. Together with another artist, Moreno organised an evening course for design and painting.

He said, "Around 15 persons came to the first course, sometimes they had no idea about art. The course lasted five evenings. Later on, I became the president of our association and started organising solo courses on water-colours. Some of my students have grown to become good artists. For example, Mari Baldissarotto, who is also a part of this exhibition, was one of my students, who has become a wonderful artist."

In Conclusion

Every time I meet persons like Moreno, who have cultivated a passion for all their lives alongside a 9-to-5 daily job, I feel a great admiration for them. There are so many others who say that they did not get time to do what they really wanted in their lives, because they had a full-time job.

I am sure that persons like Moreno, need to make sacrifices for keeping alive their passion. At the same time, their dedication to their passion means that their families get lesser time and attention. It would have been an interesting theme to discuss with him, however, I did not talk about it to Moreno. 

*****

Visiting Schio: Sacred Sites

The tiny town of Schio in the north-east of Italy, about 30 km from the provincial capital Vicenza, is full of sacred sites that bring here pilgrims from all over the world. At the same time, many of these sites are also wonderful places for nature walks and hikes.

The town is located in the foothills of Pasubio mountain, part of the Little Dolomites, and thus, be ready to go up and down the hilly paths during your walks (above: a view of Pasubio and Leogra river in Schio).

This post provides an overview and brief information about the different sites. Over the next few months, I hope to write more detailed posts about each site. Except for a pre-historic site, all the other places in this post are related to the Catholic church.

Pre-historic Prayer Sites on Mount Summano

Mount Summano towards the east of Schio is around 1300 m. high. Some believe that the its name indicates Pluto, the ancient God of the underworld; others think that it indicates the God of lightening and rain.

Ancient archaeological remains have also been found in a cave known as Bocca Lorenza, on the eastern side of Summano, which can be a great walk from the nearby Sant'Orso town.

Near the summit of Monte Summano, you can visit the church dedicated to St. Mary (above), as well as see the ancient site where prehistoric folks use to make sacred fire for worship (image below).

If you are used to mountain hikes, you can try the hike from Tretto or from Sant'Orso to the top of the mountain. It has plenty of places for panoramic views of the Schio valley below. Many years ago I tried this hike once, starting from Tretto, but it was too tough for me, I had to give it up half way (below, a view from the top).

St. Martin church in Schio

St Martin hill in Schio hosts one of the oldest churches in this area, which was built at the site of an older temple dedicated to a female deity. The first church was built here around 7th century CE. The first written document about this church is from 1185 CE.

In late 1985, a person from Schio called Renato Baron claimed to have a vision of Madonna on the hill, around 250 metres above the St Martin church. Over the following years, hundreds of his followers started collecting here for prayers. Some persons from the Catholic church, spoke against Baron and his cult.

For the pilgrims coming here from different parts of Europe, a proper walking path has been created leading to the site where Baron had his vision, and then to the top of the hill. You may or may not believe in Baron and his vision, but it is a wonderful place for a hike to the top of the hill. Come prepared with proper walking shoes, a cap and a bottle of water. You can see two views of this path here (above and below).

San Zeno Church in Magre, Schio

Magre is the part of the Schio located across the Leogra river bridge. Magre hill is located in the centre of this area, while the much higher, Magre mountain separates Leogra valley from the Agno valley on the west. Archaeological excavations on the Magre hill have shown objects from prehistoric to more recent times.

San Zeno area is located on the western slope of Raga mountain in Magre. To reach here, you need to walk till the end of Via Siberia road. It is a protected area and vehicles (including bicycles) are not allowed beyond a point. The tiny San Zeno church is from 14th century, and has been recently renovated.

It is located next to a waterfall, which looks beautiful after the rains.

The final 150-200 metres of the path require a steeper climb and some effort. So go there with proper walking shoes, a cap and a water bottle.

St. Mary Mother church in Pieve

This church goes back at least a thousand years. The legends say that it was built at the site of an older pagan temple. During medieval period, it was considered as the mother church for all the surrounding mountains areas. It was also the seat for a bishop, till the Duomo church was built in Schio in 1473.

Over the past centuries, this church (above) has been renovated many times, the last being in 1989, so it does not look so old. It still has some old frescoes and an old baptismal fountain. Next to the church, you can also see the old water canal, Roggia Maestra, from the 12th century.

This church is located in Pieve Bel Vicino, a few kilometres north of Schio. From the city centre, it takes a 45 minutes walk to reach there.

St. Francis church of Schio

This church and monastery were inaugurated in 1436. Built on the eastern edge of the medieval town on the hill of Olives, it is one of the most beautiful churches in the city. The church has a famous painting (below) by the well-known renaissance-period artist Francesco Verla (1470-1521) and a 14th century stone statue of Madonna.

The asymmetrical looking church (below) with a central nave and one sided aisle is open to public only on special occasions (at present, it is on the afternoons of the first Sundays of the month but that keeps on changing).

Duomo of Schio

Duomo was built in the city centre in 1473. It is placed on the Gorzone hill, right in front of the castle hill. An older Longobard tower and then a church had existed here before the construction of Duomo. It is dedicated to St. Peters. With stairs on the two sides for going up to the church, it has a majestic look. The external sculptures of the four evangelists are by Valetino Zajec. It dominates the central plaza, Piazza Rossi.

One of the paintings (Gesu Maestro, 1943) in Duomo has an indirect link with my wife's family. That painting is by Alfredo Ortelli, who lived in Magre. His sister Ita, was my mother-in-law's friend and after the death of her brother in 1963, lived with my wife's family for many years (in the house where I am writing this post).

FYI, Duomo is a cathedral level church, without a bishop - it can only be called Cathedral, if it has a bishop.

St. Jakob Church

Located on the road behind Duomo is the 15th century St Jakob's church. It has some nice paintings from 19th century. The most beautiful part of this church, in my opinion, is its 16th century bell-tower, in the image below (to see it, enter the portico next door, going to the back of the church).

St. Mary Chapel in Valletta

It is charming little chapel located in the valley between the Castle hill and the hill with St Francis church. A water canal passes underneath it and an old city gate can be seen next to it. The first documents about this chapel are from early 16th century but probably the church goes back to older times.

St. Bakhita's Canossian Church

The congregation of Daughters of Charity, also known as Canossian nuns, have an old history in Schio. One of their nuns, mother Bakhita, was declared a saint in 2000 by Pope John Paul II. Mother Bakhita (or St. Bakhita, if you prefer) had a very unusual story.

Born in Darfur region (Sudan) in 1869, she was taken from her village and sold as a slave when she was 7 years old. Her name Bakhita (fortunate) was given by the Arab slave-sellers. She ended up in the house of the Italian consul in Khartoum, who brought her to Venice, where she joined the nuns. She spent many years in Schio, and died here in 1947.

Pilgrims come to visit her tomb from all over the world. Her church (image above) and tomb are located in the city centre. A monument near the St Francis church (image below) remembers her and the millions of persons taken away from Africa as slaves.

In Conclusion

As you can see, even if Schio is only a tiny mountain town, it has many sacred places to visit, which are open to people of all religions. Many of these places, also provide opportunities for nature-walks along beautiful  and serene mountain paths. To conclude this post, here is a view of the city centre seen from the terrace of the Duomo of Schio.

*****

The Longilineal Women Sculptures of Arcisa Stefani

Arcisa Stefani is a sculptor and artist from Schio, who is known for her women's sculptures with thin, tall and elongated bodies. This post is about her, her art and her artistic journey.

Her sculptures make me think of the Mannerism style of art which had developed in Italy during late renaissance in 17th century. Some time ago, I had already written a post about some of the contemporary artists who show elongated bodies inspired from the Mannerism style in their art.

Let me start with a brief introduction about Mannerism, before presenting Arcisa and her sculptures.

Mannerism style of art in late renaissance period

In the 14th century, the beginning of the renaissance period in Italy saw important innovations in the works of artists. For example, the Lombard school saw a move towards realism, while in Tuscany, the artists, starting with Brunelleschi, developed the use of perspective in art. These refinements reached their peak in the works of masters like Leonardo da Vinci, Michaelangelo and Raphael during the 1500s.

This period was followed by an art movement known as "Mannerism", characterised by a compression of space, along with an elongated proportions of some body parts, specially necks, arms and legs. Different modern artists have been inspired by this style, especially for making tall thin women-bodies with elongated necks and limbs.

Arcisa Stefani

Arcisa had studied commerce at School and worked in sales for almost 25 years, before discovering the artist in her. She and her husband had a shop. She is retired now. 

Thirty years ago, Arcisa fell in love with the sculptures of Mario Converio, the resident sculptor of Schio. She decided that she also wanted to do something similar and became a disciple of Mario, and learned from him.

Then she joined an evening course for adults at the Schio's art school (Liceo artistico Martini). There, she worked with models and learned anatomy, postures, etc. Thus, coupled with the practical skills learned from Mario and the formal training at the art school, she started to experiment as a sculptor, while she formally continued to work in sales.

Once she started sculpting, she has never stopped. She loves working with clay. She prefers using her hands, though sometimes she can need instruments, to sharpen the edges or to give specific effects. About her work as an artist, she pointed to a sculpture and said, "For example, I had used a small rake like instrument to make those lines on the shawl."

The clay sculptures need to be heated at high temperatures (around 1,100 C). She gets it done at an industrial furnace on the way to Vicenza. The temperature needs to rise gradually over a period of few days to reach the maximum and then come down equally gradually. Thus, the sculptures need to stay at the furnace for about a week.

She uses few colours in her work. About the use of colours, she said, "Sometimes I add a little colour after baking the sculpture in the furnace. At home I have a few with colours, but I prefer the natural look. Once, I tried to experiment by adding coloured glass pieces, which I had collected at a beach, it came out very beautiful. However, in the furnace, one of the glass pieces popped out and got into another sculpture, at the arm of the figure. I gave some colour around it and it looked like a bracelet on that sculpture."

Her sculptures mostly have women with elongated and tall bodies, a few are couples or children. She also likes to make sculptures of hands and feet, which were taught to her by a professor who use to teach art-history.

Regarding her process of giving form to her sculptures, she said, "With time and experience, I have changed and evolved as an artist. Earlier, I was inspired more by looking at the works of other artists. Now I use my own imagination. When I am sculpting, I am in my own world, I forget the world, and can spend hours without realising how many hours have passed. Sometimes, I start with an idea but while working, I change and modify the initial idea."

The artists who have inspired her include Bruno Lucchi, based in Levico Terme. She said, "I had seen his exhibition in Vicenza and had met him. He works a lot with horizontal lines and I have copied it from him. However, I also use a lot of vertical lines, which he does not.

In Conclusion

I think that Arcisa's story of discovering her passion for sculpting after visiting an art exhibition, is very inspiring to all those persons who discover their passions later in life.

I love the sculptures of Arcisa. In a recent exhibition held at Toaldi-Capra palace in the city centre of Schio, I saw some of her works showing couples and children, which I had not seen before. The elongated bodies of her sculptures express fragility and strength at the same time.

*****

The Library & Airship of Amerigo da Schio

Recently, an old noble family of Schio opened their private library with antique books for public viewing. The family's name is "da Schio" (literally "from Schio") and they have a big villa in the city centre, in front of the Duomo church.

Count Amerigo da Schio, from this family had made the first airship in Italy and its maiden flight had taken place in Schio in 1905. This was just two years after the the Wright brothers had made their maiden flight in 1903.

This post is about the "da Schio" family's private library and the story of the first Italian airship made by Amerigo da Schio.

Civic Library of Schio

These days, our Civic library in Schio is having a mini-exhibition about antique books and handwritten manuscripts. This exhibition will be on till the end of Dec. 2024.

The tiny town of Torre Belvicino, a few kilometres north from Schio, was one of the first places in Italy where the printing press was started, soon after Johannes Gutenberg had discovered the moveable type for printing in Germany in 1440 CE. The first printed books in Torre Belvicino came out around 1460.

At the same time, the St Francis church had some antique handwritten manuscripts with some exquisitely made illustrations from 13th century. Thus, our library has an eclectic collection of antique old books. I will write a separate post about our library, its history and its old books.

For the inauguration of this exhibition of old books in the civic library, the "da Schio" family also opened the doors of their private library for the public, to show off their collection of old books.

Da Schio family in Schio

The records show that the "da Schio" family house has been there for more than a thousand years. The old pictures from 19th century show 4 houses built together. Around 1875, the building was renovated and a new façade was built, giving it a more dignified appearance, so that the four houses appear as one.

The "da Schio" family had a number of famous personalities in the past. These personalities included Manelino da Schio, mayor of Belluno in 13th century while his son Frà Giovanni da Vicenza was a well-known Catholic Dominican inquisitor (his portrait can be seen in the stained-glass windows of Santa Corona church in Vicenza). The descendents also included a bishop in the 16th century. The title of Count was given to the family in 1530 by emperor Charles V.

The family's royal symbol is a mermaid with double tail, which can be seen at the top of the house and in the family seal placed in the books (image below).

The present Count Giovanni da Schio, was born in the room above the library but today lives in their villa in Castel Gomberto. One of the Counts' son, Tommaso Amerigo, is a trained archivist. Both Giovanni and Tommaso were present during our visit to explain the history of the house and the library (first image at the top).

The remaining parts of the "da Schio" building have been made into offices and apartments. However the family still maintains the library. 

Library of the "da Schio" House 

This library has about 4000 volumes including 2 incunabulum books (the first printed books in 15th century).

The library was (and is still) not organised for subjects or authors, but rather for aesthetic reasons, putting together books of the same sizes and colours in the same shelves. Each cupboard (all are open cupboards), covering the whole length of the wall, has an alphabetical identification and the shelves are numbered. Thus, to find a specific book, one must consult a card-catalogue. There are 10 boxes of card-catalogues (shown in the first image at the top).

However, the family has started a process of digitising the book-archives.

The library room has a few pictures of Amerigo da Schio, who is considered as a famous Italian and world personality. The place of honour, in the centre of the room, is for a model of the the famous Amerigo airship hanging from the roof.

The Airship of Amerigo da Schio

Amerigo was born in Schio in 1836. Though he trained as a lawyer, he had eclectic interests including astronomy. During that period, different persons were discussing how to fly. While the Wright brothers were trying with their aeroplane, it was too heavy to be able to carry passengers.

On the other hand, others were thinking of an airship carried by a big balloon - these were also known as Blimp or Dirigible Balloon. Amerigo was among one of them, though he thought that with time, lighter metals will be found and future will belong to aeroplanes.

Hot air balloon was invented in France in 1783. Two years later, Blanchard and Jeffries crossed the English channel in a hydrogen balloon. In 1852, Giffard flew a steam-powered airship filled with hydrogen, while the Zepplin airship was invented in 1895, which were also used to bomb Britain during the first world war.

Amerigo's airship in Schio, was the first Italian airship. Making it was not easy because the parts had to be built and brought to Schio. For example, its motor was made at the Fiat factory in Turin, while the black plastic sheet fixed at the bottom to allow elastic expansion of the balloon, was made by Pirelli. It was filled with a gas made from burning some metals and other things. Underneath the balloon, a frame made from aluminium tubes was built to carry passengers. The first flight on 17 June 1905, in the area where the old hospital of Schio is located, was successful. After that it was flown a few times.

A book published to commemorate 70 years of Amerigo's airship by Arrigo Usigli, had some information about the challenges in making the airship: "Its total weight should have been around 1000 kg but the initial endothermal motors were too heavy for it. However technical progress helped by reducing this weight and a motor produced by the French Buchet was chosen, which weighed only 80 kg and provided 12 HP." (p. 25)

At one level, we can say that the invention of the airship was not very useful, because over the next few years, aeroplanes were developed and became the principle mode of flying for humans. However, Amerigo's airship innovation led to better industrial capacity in many areas in Italy, including in the Fiat and Pirelli factories.

To Conclude

If Homo Sapiens species arrived some 300,000 years ago. The writing was discovered around 3000 years ago. Till about 500 years ago, books were only handwritten and were thus called Manuscript (from Latin, Manus means hand and Script means writing). The society that reads books, arrived only some hundred-two hundred years ago. Initially, many persons, not used to the easy availability of books for general public felt that books were a bad invention, that they would have destroyed the human capacity for memorising and thinking.

While, today we can only laugh at those fears, already the world is changing. With technologies such as easy video-making with mobile phones and internet, perhaps we are moving towards a post-writing and post-book world. As has happened so many times in the past, new technology does not mean that the old things disappear. Hopefully, books will be with us for a very long time, even if they change form and become electronic or video-story tellings.

The beautiful library of the "da Schio" family is one of the treasures of humanity and hopefully, it can be preserved for future generations. 

*****

Amrit Lal Nagar: Creative Inspirations

Hindi writer and playwright Amrit Lal Nagar has left an incredibly vast testimony of his creative powers expressed in works ranging from short stories to fiction, satire, memoires, plays and screenplays.

In this article, I want to focus on some insights about his creative inspirations based on his book “Jinke Saath Jiya” (My Contemporaries), published in 1973. In this book Amrit Lal Nagar ji had brought together vignettes and memoirs about important figures of the 20th century’s Hindi Literature, some of whom inspired him and others, who were his friends.

Sharat Chandra Chattopadhyay

Sharat Chandra, the famous Bengali author, had died in 1938. Nagar ji wrote a vignette about him. At that time he was 22 years old. In the memoir, he wrote, “I had learned Bengali to read his books and he truly had a great influence on me”. Nagar ji had gone to meet his idol a few times.

Sharat Chandra had a house in Panibash village, about 2 miles from Devalti railway station near Hawrah, and it was there that Nagar ji went to see him during his last days. He wrote a moving account of this visit, in which he described Sharat Chandra’s deteriorating health and artistic loneliness . He concludes this account with the following words:

“To go back, after kissing his feet, as I was going to the palaki for the station, he said, “Wait Amrit, I want to show you the splendour of Roopnarayan pond”. The sky had a few stars and perhaps it was a full-moon night. He pointed towards it and said, “When the water is high and it touches my house, I love it.” Standing at the edge of pond, it was the last time that I saw that great artist.”

Surya Kant Tripathi “Nirala”

Nirala appears multiple times in different writings of this book. Nirala had died in 1961. Here I want to share a few impressions from Nagar ji’s essay from 1962, in which he had written about the first Nirala Jayanti celebrations in his village Gadhakola near Purwa town in Uttar Pradesh.

Nirala was born in a Brahmin family in Midnapore, now in Bangladesh, but had arrived in Gadhakola as a child. He grew up here, choosing to live closer to the marginalised groups and wrote some of his iconic stories regarding those persons in this house. It was here that he was tormented by the high caste rich landowners and he left it vowing to never come back.

Nagar ji writes effortlessly creating a vivid picture of different persons who had been a part of Nirala’s life when he was a poor villager, who now wished to claim a part of his glory as a renowned poet. His words express his reverence for Nirala, even while he observes the complexity of human egos and emotions. About Nirala’s closeness to the poor and the excluded he wrote:

“I started to think, why would the higher castes remember Nirala? He had never accepted their caste-superiority. He had refused their false-ideas of religion. He had listened to the voices of the poor and marginalised, fought for them and was a part of their joys and pains. That was why such a large group of his followers was a part of the procession, to show their disdain for the higher castes. I loved it. Lord Shiva has to be accompanied by his marginalised bhoot-gana.”

The Farmer Poet “Padhees”

Balbhadra Prasad Dikshit “Padhees” was Nagar ji’s contemporary and friend, famous for his poetry book “Chakkalas”.

Like Nirala above, Padhees had also chosen to move away from his Brahmin clan to become a farmer himself and to write about the lives of the poor farmers and the landless peasants in his poetry. In his book, Nagar ji dedicates a big chapter to this farmer-poet to express his own ideals of being close to the marginalised persons.

With extensive quotes from different poems of Padhees, Nagar ji’s essay explains the popularity of those words among the poor farmers because he was giving voice to the voiceless. He wrote, “Padhees’ call was like a spark to light the fire in a heap of straw. His poetry was the voice of the mute farmers of the 7 lakh villages of the country.”

Lamenting the death of Padhees at a young age, Nagari ji wrote:

“Farmer-poet Padhees was a great word-smith. Every language would be proud to have a poet like him. The beautiful, alive and heart-touching depictions of nature, villages and the village life that he presented in his Avadhi language poems would be difficult to find elsewhere … Those who had the good fortune of knowing him from close knew that he was even a far better human being.”

Jaya Shanker Prasad

Eminent Hindi writer Prasad had died in 1938, when Nagari ji was just 22 years old. Prasad was one of the early influences on the young Nagar ji.

In his essay on Prasad, Nagar ji describes the hardships he had faced when his family wealth was lost and he was crushed under the burden of debt. Yet even in those trying times, Prasad did not lose his dedication towards writing.

Nagar ji describes the lesson learned from Prasad with the following words:

“He kept his poetry hidden, he liked to keep this passion for himself. This habit meant that he kept working on his literary efforts in solitude. In Prasad’s literary journey, the stamp of this focused effort is evident. As a poet, playwright, and author of stories, books and essays, in all his different works, you can see his undivided and attentive thought-process. A creative work can be small or big, but for a serious author, they all merit equally careful attention.”

Sumitra Nandan Pant

Nagar Ji starts this vignette with Nirala in Lucknow during the 1930s. Nirala had a deep reverence for the Hindi poet Pant, and had introduced Nagar ji to his works. My favourite part of this vignette is the part when they both, Pant and Nagar ji, were in Madras (Chennai) in 1946, working with Udayshanker on his film Kalpana. This episode illustrates the source of the poet’s creativity:

“Pant ji was writing the songs for that film. He had just recovered from a long illness and often seemed lost in thoughts. There was a light in his serious face. One day, standing in the garden with his hand on my arm, he suddenly raised his head up to stare at a tree. His eyes seemed lit from inside. Clutching my arm, he said with enthusiasm, “Look my friend, the poems are raining down.” Some days after this, he started writing the poems of his book ‘Swarn Kiran’.” 

Conclusions

The sixteen portraits of contemporary authors and poets in Amrit Lal Nagar’s book “Jinke Saath Jiya”, refer to some of the iconic figures of Hindi literature of 20th century. All the portraits, while they tell about their subjects, they also throw light on their relationships with Nagar ji. They also indicate which aspects of their personality and literary efforts were perceived as significant by Nagar ji. In this sense, a critical reading of these essays provide some invaluable insights about Nagar ji, such as his admiration for those who were speaking for the poor and marginalised and fighting for their dignity.

There is so much in these essays that can be starting points for critical research on Nagar ji’s own creative works, to see how these inspirations were developed and manifested in them. For example, his admiration for some of these persons’ optimism and resilience, their knowledge of Upanishads, their respect for our cultural heritage, heritage and knowledge-systems and so on.

At the same time, one can appreciate that in these memoirs and vignettes, there is a touch of levity, humility and self-deprecation about his own creativity.

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Notes:

1. I have translated from Hindi the different excerpts used in this write-up, trying to respect the sense of his expressions instead of making literal translations.

2. This article was published in the August 2024 issue of the magazine "DFTT" (Documentary Films & Theatrical Trust) of the Indira Gandhi National Centre for the Arts (IGNCA), a special issue to commemorate the 108 years of Amrit Lal Nagar, edited by Savita Nagar & Rajesh Amrohi.

#amritlalnagar #hindiwriters #hindiliterature #indianliterature

 

Knocking-Down Alice Munro

The latest issue of Outlook magazine (11 Aug.2024) in India is about the Nobel prize winner Canadian writer Alice Munro (1931-2024) controversy. After Munro's death in May this year, her daughter disclosed that when she was 9 years old, she was sexually abused by her step-father. She said that she had told it to her mother, but her mother had refused to leave her husband. This disclosure has led to the campaign which says that Munro was a terrible person and her works should be boycotted.

The magazine has different persons sharing their views about this controversy. I would also like to share a couple of my ideas about this theme.

Views in Outlook Magazine

Most views published in the magazine, take nuanced positions. For example:

Jai Arjun Singh's view is that everyone contains multitudes and asks, "is it so hard to believe that people who have done heinous things in one context are also capable - over a long lifetime - of producing thoughtful, moving art and doing it honestly?"

In the Munro controversy, the heinous act was by the step-father. I feel that painting Munro as a kind of accomplice is going too far. However, suppose Munro was a terrible person, does it mean that we erase her work? I don't think so.

Jerry Pinto mentions the universality of human flaws and says about Picasso, "He is flawed. I accept that because I am flawed. I accept his art as coming from a flawed source because there are only flawed sources." I like and understand this viewpoint better.

I think that people who point fingers at others, are often those who have their own skeletons in their cupboards.

My Views

I also think that same events can be interpreted differently. For example, some things can be seen as harmless fun or not so serious by one person and a mortal offence by another. I remember film actress Rakhi's interview about her divorce some decades ago, in which she mentioned about her husband Gulzaar's saheb's cruelty "because he wanted only freshly made warm chapati and threw it away if it was not to his satisfaction". I know some men and women who also prefer their chapatis warm, but fortunately, they don't need to divorce their spouses, they just need to get a new cook for their kitchens.

You think that I am trivialising the issue? How about ragging? Some 20 years ago, I had written a post about my ragging experiences in the medical college in 1972. I had happy memories of that experience while another of my classmates had left the college. Some even commit suicide due to ragging. BTW, my post about that ragging experience, is one of the most popular posts on this blog and it triggers a large number of persons, who continue to read it, in spite of explicit warnings about its content.

In Munro's defence, I can also say that her daughter had told about it to her mother, almost 15 years after the event. Thinking of "multitudes" inside us, and may be Munro had had some very good memories in all those years with her husband, including of many acts of kindness and empathy, and she was conflicted in her mind. I can't judge her reasons. Since Munro is dead, and can't defend herself, in the end, her daughter's is just one side of a complex story.

Finally, if we start boycotting due to all the stories about the well-known writers, artists, actors etc., we won't have any films, books and works of art left for us to admire and engage with. Maybe this is because, famous creative people undergo a lot of pressure to cross the boundaries?

Since we live in the age of aggressive self-promotion based media-celebrities, I guess many persons outraging about Munro are only looking for attention through their outrageous comments. Unfortunately, click-bait hungry portals & social media are only too happy to oblige them.

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Understanding and Promoting Empowerment

I have been involved in Emancipatory Disability Research (EDR) initiatives in different parts of the world. The goal of Emancipatory Research is to promote empowerment of marginalised people. Therefore, it is important to ask ourselves what is empowerment? Can it be promoted? If yes, how?

This post talks about some ideas of empowerment and how it can be promoted. It includes ideas from some of my discussions with young persons with disabilities in Mongolia during 2017-2020, who had taken part in an emancipatory research.

Emancipatory Research (ER)

Normally the main goal of a research is to gain new knowledge or new understandings. The main goal of a Emancipatory Research (ER) is to help marginalised persons to gain understanding about factors which cause or worsen their marginalisation.

ER can be done by individuals (IER) or by groups or communities (CER) of marginalised persons. My professional experience relates mainly to ER conducted by groups of disabled persons.

From my experiences, my understanding is that each kind of marginalisation and thus, each specific group of marginalised persons (for example, persons with mental health issues, sex workers, persons with alternate sexualities, persons with disabilities, etc.) is associated with specific kinds of barriers - such as attitudinal, social, economic, legal, cultural and physical barriers. Each kind of marginalised group also also needs to understand its own internalised barriers (barriers located in the persons themselves).

 

I would like to see more research in this area of differences and similarities in barriers faced by different marginalised groups.

The ER process can help in promoting a systematic collective examination of the different barriers in understanding how they affect their individual life-experiences. The ER process conducted jointly by a group of persons facing similar marginalisations can also help in finds ways and strategies to overcome those barriers.

Apart from its impact on the barriers, this whole ER process is also expected to promote empowerment of the participants. I asked a group of 34 young persons with disabilities in Mongolia about the meaning and significance of empowerment for them. The following ideas came out from these discussions.

Meanings of Empowerment

Empowerment can be at individual level and collective level (of groups of people or communities) and of their organisations and institutions.  Empowerment of an individual usually means taking control of his/her own life, having opportunities and abilities to make their own life-choices, and, the capacity of speaking out and making their voices heard.

However, persons from different cultures can different expectations from their empowerment because they may make very different life choices. For example, in an individualistic culture, living independently and ability to say whatever we wish may be seen as an important (or even the most important) part of empowerment. In other cultures where family values are seen as more valuable, empowered persons may still prefer to stay with their parents or listen to their elders, instead of insisting on making their own choices, and empowerment may be perceived in their family status and roles.

Zimmerman (1995) proposed that empowerment is both a process and an outcome. He identified different contributing factors of empowerment, such as - control and access to resources, participation with others, and critical understanding of socio-political environment.

I feel that empowerment is a never-ending process and it relates to different facets of life, so that while we may be more empowered in one life-domain, we can still be less empowered in other life-domains. It also means that our life-circumstances can lead to a reduction or strengthening of our empowerment. For example, finding a job or receiving pension and improving our economic independence may strengthen our empowerment.

Meanings of empowerment for Persons with Disabilities

Different groups of marginalised persons may have different ideas about empowerment. For example, for persons with disabilities, physical and material barriers such as lack of wheel-chairs, lack of ramps and lifts, lack of sign language translation, and lack of Braille materials are a very significant barrier and findings ways to overcome these barriers will play an important role in their empowerment.

 

For an Emancipatory Disability Research (EDR) project in Mongolia conducted during 2017-2020, I asked its participants (young adults with moderate to severe disabilities of different kinds) about the meaning of empowerment and what were the barriers to empowerment for them. 

For some of them, empowerment meant overcoming fear of the negative views and opinions of others, in their families, among friends, among peers and in communities. For them the biggest barriers to empowerment were the negative attitudes in the family and in the community.

Others looked at positive qualities to define empowerment, such as having self-confidence, having courage, and to be able to hold responsibility. One person said, “We have to first recognise our own skills and show our skills to others. If we change, we can change attitudes of the society, like Stephen Hawkins did, even if he can’t speak or move.”

For most of them, making independent decisions was a key to empowerment. Most felt that having a work and being financially independent helped in the process of empowerment.

Some persons shared their life stories to explain how they had fought against family attitudes to assert their need for making their own life-decisions. This raised the question about the links between personalities of the persons and their empowerment. Some persons are born fighters, they do not give up and insist on following their decisions, so they are naturally empowered. Others do not have fighting personalities and need help in developing their empowerment skills.

For some persons, parents' love and protectiveness were the barriers to their empowerment. One person said, “Barriers are also inside us, we are sensitive and feel hurt. Lack of accessibility restricts us, forcing us to depend upon others. Going to school is important for empowerment, not only to learn to read and write, but it is an opportunity of meeting others, talking, expressing ourselves, and having friends.”

How would you define empowerment?

Some Questions

One question in my mind is: does collective empowerment automatically lead to individual empowerment? If a group of persons undertakes a joint action to correct an injustice and through their efforts they manage to change the situation, I think that it will promote feelings of value and self-confidence among all members of the group. Thus, it will promote both collective empowerment and individual empowerment. However, I feel that those persons who play a more active role will gain more self-confidence and become more empowered. Therefore, group action may promote different levels of empowerment among the group members.

On the other hand, I think that when unjust situations change, this may help other persons to become empowered by showing that a change is possible, even if they did not take part in the fight to change the situation.

Another question I ask is: does individual empowerment automatically lead to collective empowerment? If a group of empowered persons agree and come together to fight, then they can be more effective in changing the unjust situation. However, if persons are individually empowered but do not agree with each other, and do not come together to change the situation, then probably there will not be any collective empowerment. I see collective empowerment as a process of inter-action and exchange between persons.

Conclusions

Empowerment can have different meanings for different groups of marginalised persons and across different countries and cultures. It is not a question to which you can answer with a yes or no - it is a process. It starts when we become aware that we can also make our own decisions. It is easier for us if we are economically independent and educated, but that does not mean that without education or financial independence we can’t be empowered.

Empowerment means not just getting respect for your decisions, but also respecting the others by listening to them and allowing them to make their decisions. It also means accepting that sometimes, some of us can also decide that we do not wish to make our own decisions.

 

 

Meeting others, learning from their life experiences, sharing our doubts and fears are all steps towards empowerment.

As Zimmerman (1995) wrote, “asking why” is a key part of promoting empowerment. Emancipatory Research (ER) approach facilitates groups of marginalised persons to come together, ask questions and understand the reasons behind their life situations, to discuss how to overcome the obstacles they face and thus promotes empowerment.

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