Searching For Lila

I came across the story of Lila Lakshmanan Biro by chance. Half-Indian and half French, she has worked as a film-editor with many of the famous French film-directors like Godard and Truffaut in the 1960s.

Born in 1935, Lila will be ninety years old this year. She lives in an old age home in a suburb near Paris. My artist friend Samit Das, whom I have found on the journey to find Lila, has confirmed to me that she is fine and keeping well.

I first met Lila in a book when she was called Lila Herman. Finding her reincarnations into other names was an exciting search. This is the story of that journey.

 My First Encounter With Lila

I came across her first when she was known as Lila Herman, while doing research about the Roberto Rossellini - Sonali Dasgupta story.

In December 1956, Roberto, well-known Italian director, famous for his neo-realistic films like Rome, Open City and Paisà, came to India to shoot a film. Sonali Dasgupta, wife of Indian producer-director Harisadhan Dasgupta, was supposed to collaborate with Roberto. The two fell in love and this created a huge scandal in India. Hounded by journalists and an upset family, Sonali looked for support. She found some support in Lila Herman.

At that time, Lila was married to Jean Herman, an aspiring film-director. Jean was teaching French in Bombay in those days, was one of Rossellini's assistants for his film. They had a son in Paris in 1955 and then come to Bombay, where they had stayed for 2 years.

That is how I started my search to learn more about Lila Herman, but I found very little. She edited some films in early 1960s and then disappeared. 

Lila Herman to Lila Lakshmanan

The search for Lila Herman was a little complicated because her husband film-director Jean Herman had also disappeared and had become famous as Jean Veutrin, a well-known French mystery-writer. 

She had disappeared because she and Jean had divorced. After the divorce, she had become Lila Lakshmanan and had continued to work as film-editor. However, after a few years, even the trail of Lila Lakshmanan also turned cold.

Lila & Atila Biro

Searching for Lila Lakshmanan brought me to her second marriage to the well-known French architect and artist of Hungarian origins, Atila Biro. She had become Lila Biro.

Her husband Atila was born as Attila in Hungary in 1931, studied in Germany and settled in Paris. As a painter, he chose to write his name as Atila. Many of his works are part of different European art museums.

Atila and Lila married in 1963. Together, Atila and Lila, travelled to Italy, Marocco and many times to India. Atila had a large number of exhibitions in different European countries and the two often travelled together for those events. I don't know if Atila and Lila had any children. Atila Biro died in 1987. You can check some of his works on the Facebook page of Atila Biro foundation.

Lila Biro's Book

In 2012, Lila Atila Biro wrote a book called "Atila, Le soleil des métamorphoses" (Atila, the Sun of Metamorphosis).

The preface of this book was written by Lila's first husband Jean Vautrin (Herman), who wrote about his admiration for Atila's paintings.

I think that Jean and Atila had separated because she was in love in Atila. She married Atila, soon after her divorce while Jean had his second marriage a few years later. However, the three of them, Jean, Lila and Atila, probably continued to be good friends. 

Lila Biro Interview in 2017

In 2017, an event was organised in Paris on visual mapping of modernism in Indian art. In that connection, some art exhibitions and talks were organised, in which clips from some of Lila's films were also included. On that occasion, in an interview to Bombay Mirror by Sumesh Sharma, Lila had shared some information about her life:

"Lila was born in Jabalpur in 1935, where her father Lakshmanan was the director of All India Radio, while her mother was French. As a child, she had lived in Delhi, Lucknow and Bombay. Then her parents separated and 12 years old Lila arrived in a boarding school in England.

She went to Sorbonne to study English Literature when she was 17. Lila successfully graduated and went to study at the French film school ID’HEC, where she met her first husband, Jean Herman, now better known as the French writer Jean Vautrin. She was studying editing as she didn’t think she was creative enough to be a director.

During her last year at the film school in Paris in 1955, she gave birth to her son. Lila’s mother, found a job for Jean Herman teaching French Literature at the Wilson College in Bombay, thus, they lived there for 2 years until the end of 1957.

Regarding the Roberto-Sonali story she said: “I was with Rossellini, when he met Sonali Das Gupta. He was a man who had the accomplishment of perusal; he would be convincing and would get his way with people. When Sonali’s affair became public, she came and lived with me on Carmichael Road."

In the End

In late 1960s, Lila Biro continued to work as editor for different well-known French film directors. Thus, in the films she edited, her name appears as 3 different persons - Lila Herman, Lila Lakshmanan and Lila Biro. I think that she stopped working as film-editor in early 1970s.

About the impact of her work, in 2023, film producer Daniel Bird said: "Lila Biro is a remarkable character who witnessed Rossellini in India, played a key role in the cutting of key titles of the French New Wave, and was a close collaborator of the Hungarian émigré painter, Atila Biro. For me, however, she’s also the star witness in a crime against film grammar: the jump cut. The editing style of Jean-Luc Godard’s Breathless is now legendary, but I’ve always wondered what it must have been like in the cutting room when that revolutionary editorial decision was made. Thanks to Lila, that moment is vividly brought to life."

There was another Indo-French woman connected to the films - Leela Naidu. Leela was 5 years younger to Lila. In 1955, when Lila and Jean had come to Bombay, Leela was crowned Miss Femina. I wonder if the two had met and had been in contact in India or in France.

I am also curious about Lila and Jean Herman's connections with the films in Bombay, as the two had just come out of the cinema institute in Paris and must have been very interested to collaborate with Indian film-makers. It was the time when films like Mughle Azam and Devdas were being made.

To conclude this article, here is a romantic picture of a dedication of a painting by Atila to his "ma Lila cherie" (my dear Lila) from 1969 (click on the picture for a bigger view).

I wish I could talk to her and do a long oral-history chat to explore her memories.

***** 

Note: The first image of Lila presented above has been made from 2 images I found on internet. However, I could not find any picture of Lila and Atila together. The second image of Atila's dedication of a painting is taken from the facebook page of Atila Biro foundation.

Stories from A Honey-Bee Lover

A couple of months ago, I was in India, staying with my sister in Gurgaon. One day, while looking out of the window, I was amazed to see a huge beehive hanging from the bottom of a balcony in the neighbour's house. I asked my brother-in-law, he said that it is in the house of his friends, a doctor-couple - Sanjoy and Rakhi Gogoi.

I had never seen such a big beehive and was wondering if they were they not afraid of those bees? (Click on the pic for a bigger view)

A couple of days later, while going out for walk with my brother-in-law, we met Dr Gagoi. I told him about my surprise when I had seen that beehive from the window.

It turned out that Dr Gagoi is passionate about the subject of the bees and beehives. This post is about Dr Gagoi and his passion for the honey bees.

Dr Sanjoy Gagoi's Honeybees' Story

A few years ago, he saw a beehive growing in the terrace outside their kitchen. At that time, he did not know anything about the bees. He was alarmed by it and asked for someone to come and remove it.

A couple of guys turned up in his house. They used smoke to kill the honeybees and then removed the beehive and took it away for the honey. They also gave some honey to him. 

Later, when he saw hundreds of dead honeybees on his terrace, Sanjoy felt terrible, he felt that perhaps removing the beehive was not a good action. So he started to read about honeybees, their species, how they are organised, how they live. From what he had learned, he decided that he is not going to remove any beehive ever again.

Soon the honey bees were back on his terrace. This time, he started observing them and he learned many things about them. After sharing his house with them over the years, he feels that the honeybees recognise him. He has never been stung by one.

He is full of stories about the honey bees. For example, that periodically they will leave the beehive and go somewhere else, taking all the honey with them and then, after a few months, one day come back to their old home. bringing their honey.

Another story he shared was about the attacks of a group of bats on the beehives. One evening he found the bees buzzing around furiously, trying to fight the bats. He also joined them, fighting the bats with the long handle of a broom and in the end they successfully managed to send away the bats.

An average beehive can hold around 50,000 bees. They must collect nectar from about 2 million flowers to make 1 pound (450 grams) of honey. A worker bee can live from 30 to 60 days. There is usually a single queen in a hive. Worker honey bees are all female. They forage for food, build the honeycombs, and protect the hive.

Some persons from neighbouring apartments sometimes complain about the bees. However, Dr Gogoi explained that honey bees are critical to the ecosystem, and they’re protected by the Indian Wildlife Protection Act of 1972. It is a crime to destroy a beehive and the correct procedure would be to inform the forest officer and ask them to come and shift the beehive to a safe location.

I wish that I had recorded all the stories he had shared about the honey bees. I remember listening to him spellbound.

Conclusions

It seems that the bees are dying all over the world and a world without bees would face huge problems with crops because the bees are one of our foremost pollinators. 

After listening to Dr Gogoi, I had thought that I will read some natural sciences book on this theme. I am hoping to do that soon. In the meantime, if you have any stories about honeybees, please do share them in the comments below.

In 2023, I had read different fiction books about people loving or living with honeybees. One of those books, The Last Bee-Keeper by Julie Carrick Dalton, was about a dystopian world where almost all the honeybees are dead. I still remember that book. You can check my post from 2023 in which I had written about the fiction books related to honey bees. 

***

Caste & Women in India

These days I am listening to an old TSATU podcast of Amit Varma (AV) with the economist, Prof. Ashwini Deshpande (AD). This podcast, raised a couple of questions in my mind. This post is to explain those points.

During my professional life, I have also worked in the areas of exclusion and discrimination in different parts of the world (ASHA workers, most of whom belonged to SC groups in the image above). However, compared to AD, I have much less experience with quantitative view of these issues based on data.

With this little introduction, let me go to the points raised by AD which raised questions in my mind.

Creamy Layer & Affirmative Action

The first question came to my mind was when she spoke about the creamy layer controversy in the SC reservations. She asked, why do we raise this question about the exclusion of creamy layer only for SC reservation and not for exclusion of creamy layers for other caste groups. I could not understand this point.

Are there reservations for general caste groups from which creamy layers should be excluded? Which reservations?

Did she mean that persons from rich or privileged backgrounds should be excluded automatically (not allowed to participate) in some competitions or jobs? Won't that be considered a reverse-discrimination, and can it be done legally?

On the other hand, I am aware that in areas like disability, no one would ever say that disabled children of a disabled person who has already benefited from an affirmative action should be excluded. But to apply that logic to caste-reservations, would mean that caste is like a disability in a way, a physical marker or a deeper social marker, that does not go away with education and material well being? 

My understanding has been that by excluding creamy layers of SC would provide more opportunities for SC persons from less privileged backgrounds and would enlarge the base of SC persons in better jobs. However, I can see that only a small percentage of SC persons are able to reach high school or university level and if we exclude creamy layer, those seats will be taken over by non-SC candidates - so, we need to understand the lack of competitiveness in the creamy layer persons.

Reasons of Lack of Competitiveness Among persons from Creamy Layer

AD said that 3-4 generations of better jobs and incomes for creamy layer families are not enough to compensate for their backwardness lasting for centuries. So I think that the issue here would be to understand the nuances of why children from well-to-do families, going to good schools but belonging to SC, continue to need affirmative action? What determines their lack of capacity to compete with others? Can there be other kinds of interventions to support them?

I am also curious to know if there is data about the children of creamy layer of SC? For example, are their studies comparing economically better-off SC families to non-SC poor families? How are the two groups different? For example, is it a question of internalised stigma due to caste which is stronger than stigma around poverty? If yes, how does stigma affect them and which additional barriers do they face?

Names and Surnames

During the podcast, there was some discussion about the way Dalit persons can be identified by their names and thus face discrimination.

Perhaps, one way to deal could be to have a law where any SC family can legally change their family names and choose any names from other castes. If people can't identify the castes from the names, perhaps the caste system will be weakened?

Women engaged in family-based economic activities

AD said that a lot of "non-earning" women are engaged in and contribute to home-based economic activities, but they are not recognised as earning members of the family. I have talked about this issue to women groups in a few states, especially in Karnataka and Maharashtra. I found that the women engaged in such activities are very much aware of their economic contribution to the families, their families recognise it and women used this recognition to negotiate roles, benefits and activities that they desire for themselves or their families. However, it is possible that this is not quantified in the data. We did not do a quantitative survey about it.

It was a similar experience while talking to ASHA workers in some states - they may not earn much money, but they gain the power to use their roles to improve their social standing and for negotiating greater powers inside their families and outside in wider communities. Again, we did not make a proper survey about their castes, but from my interactions with about 10 groups of ASHA workers in 2 districts of Maharashtra, around 60% were SC and about 15% were ST. While talking to them about the challenges of doing the ASHA work, I don't recall any of them ever raising an issue of their caste.

So, IMO, there are many aspects of this subject which need greater data and understanding. However, I think that it is time to stop talking about eliminating castes. As long as we have to ask people to get certificates of their castes so that they can access benefits, we are strengthening the caste system. A more realistic aim can be to eliminate inhuman treatments forced on specific groups of untouchable persons through precise and targeted interventions.

Conclusions

During the podcast, AD did not say anything about issues of hierarchies and discrimination among the different SC groups themselves, about which I had heard during the field work in India. What role does that play in the overall scheme of things?

In my experience about caste-related-research, another problem was that it was never clear which groups persons are talking about when they talk of caste oppressions or use terms like Dalits. Often, they put together all the persons doing manual work, and not just the untouchable castes. Their aim is to create a wide coalition of marginalised groups and not to ensure the improvement in life-conditions of specific marginalised groups such as untouchable caste groups, which I feel should be priority for all caste related work.

I loved listening to AD and to her insights and hopefully I will look for her publications and read them as well. It is a great podcast and if you are interested in development issues related to caste and to women in India, do listen to it.

***

Sonali SenRoy's Book

I had first heard about the Sonali - Rossellini story in 2008, when Dilip Padgaonkar's book, "Under Her Spell: Roberto Rossellini in India" had come out. 

Over the past 17 years, I have spent numerous days in libraries and archives, collecting information in English, Italian and French about their story. For example, you can read my article about this story written in 2008. You can say that I am obsessed with it.

Today I received a book written by Sonali in 1961, that I had ordered. There was a surprise hidden in it. This post is about her book and the surprise. The image below shows Sonali from the back-cover of her book.

Let me start with a brief background about the Sonali-Rossellini story.

Brief Background About Sonali-Rossellini Story

The 1945 film, "Rome, Open City" created the legend of Italian film director Roberto Rossellini. At the end of 1956, Rossellini arrived in India to shoot a film. At that time, he was married to the Hollywood star Ingrid Bergman.

In India, he fell in love with Sonali Dasgupta, wife of film director Hari Dasgupta. There was a huge scandal. In October 1957, Rossellini and Sonali escaped to Paris with her younger son.

4 years later, in June 1961, Sonali wrote a book in French & Italian titled, Altro Mondo (the Other World).

Sonali's Book

I had heard about this book, but had not managed to lay hands on it. After so many years, a few days ago, while re-reading my old notes, I was reminded of this book and thought that now it might be possible to find it on internet. I found it straight away, and ordered a used-copy for a little more than three Euro.

Today morning that book arrived. It says that it was originally published in French and translated into Italian by Sonali herself, with the help of Mr. Dominique Aubier. It was published by Longanesi & C., Rome in June 1961. The cover has the picture of a woman from the Ajanta caves.

On the book, the author's name is Sonali Dasgupta. The first question in my mind was - why did she use this name for her book?

Sonali's maiden name was Senroy, and after her marriage to H. Dasgupta, she had become Sonali Dasgupta. When she had reached Paris in the beginning of October 1957, Roberto was still married to his second wife, Ingrid Bergman, and their legal separation was ratified in Rome in early November 1957. At the end of November 1957, their daughter Raffaella was born.

Thus, her choice of publishing her book as "Sonali Dasgupta" in 1961, probably meant that she and Roberto were not yet formally married. May be, at that time, her divorce with Hari Dasgupta was not formalised and thus she was forced to use that name, because it was on her official documents?

Surprise in the Book

I was surprised that the used copy of the book I have received, has a hand-written note in Italian by Sonali (click on the picture for a larger view): 

 "Questo libro non è l'opera di uno scrittore ma l'esperienza di una donna. La sincerità in esso racchiusa è la prova della simpatia e amicizia per tutto e tutti. Maggio 1961, Roma, Sonali Dasgupta."

(Trans.: This book is not the work of a writer but the experience of a woman. The sincerity in it, is the proof of sympathy and friendship for everything and everyone. May 1961, Rome, Sonali Dasgupta)

Sonali and her elder son Raja

The book is dedicated to Ragia (Raja), her elder son. In the book, the spellings of Raja are "Ragia", because Italian does not have J and it uses "gi" for the J sound. It is possible that she had given verbal instructions about the dedication and the person transcribing it had used the Italian spellings of the word. I feel that she must have been disappointed that her son's name was not spelled properly.

When I had first read about the Sonali and Roberto story, I had been greatly struck by her leaving of her elder son, Raja, in India, who was around 5 years old at that time. It had seemed to me like a "Sophie's Choice" kind of situation because a mother had been forced to take one child and to leave behind her other child.

I think that by dedicating this book to Raja Dasgupta, she was expressing her regret and pain at that separation.

Contents of the Book

The book is composed of 13 chapters. The first chapter starts with her days in Bombay immediately preceding her departure from India for Paris, with her young son Arjun (later he changed name and became Gil Rossellini). A couple of chapters have brief glimpses of her life in India such as about her birth in Banaras/Varanasi and her father's work as a doctor and about her journey to Europe.

Rest of the book is about her encounters with Europe, first with Paris and Saint Remy in France and then about her life in Italy. These encounters include linguistic difficulties, challenges of adapting to the western clothes, and the curiosity of people about the sari-wearing woman. In the parts about Italy, there are also different episodes of dealing with journalists and other curious persons.

The book does not touch on her love-story with Roberto and her life with her first husband. It reads like a series of vignettes, as if she was talking to someone about what it means for her to be an exotic Indian in Europe and to explain the peculiarities of India to the Europeans. The first draft of the book was probably written by that interviewer (Dominique Aubier), at a time when she didn't have a good command over French or Italian.

The book also shows her desire for dignity and privacy, for not giving in to journalists looking for melodramatic stories and scandals.

Conclusions

To find this book with her handwritten words in my hands was an incredible sensation. Suddenly, I could touch the words she had written and imagine her sitting at a table in a bookshop, writing dedications.

It seemed to me, as if across time and space, she has decided to extend her finger towards me, daring me to touch her.

I had written to her once to ask for an interview, but it was a time of bereavement and she had withdrawn from all public contacts at that time. She died in 2013.

I have been obsessed with this story for almost 2 decades. I have already written about it a few times and have been in contact with Raja Dasgupta, her elder son, as well as with a few other persons who knew her.

With all the material that I have collected about this story, I know that one day I will write a book about it. When I saw her handwriting today, I felt as if she is herself asking me to do it.

***

Non-Fiction Books 2024

In 2024, I decided that every time I will read a book till the end, I will note down my comments for my blog, instead of trying to come up with a list of books at the end of the year. Thus, this time making a list of my recommendations has been easier and is comprehensive.

This post is divided into 2 parts - this first part is about non-fiction (6 books) from 2024, while the second part will be about fiction books.

1. Spring Chicken - Stay Young Forever (Or Die Trying) by Bill Gifford  (2015)

It is a 2015 book about ageing, living longer and becoming older with less health-problems. It looks at the whole world of living longer movement - from what does ageing means, what causes ageing, the impact of ageing on different body-systems including muscles and movement, heart, lungs, brain and neurons, metabolism, etc. and and what can be done to slow down this process.

The author talks to the well-known experts and researchers in each domain, as well as to people with crazy ideas who are trying to stay younger and live longer. Most such books are repetitive, they have only a few ideas, but this book takes a wide overview and hardly ever repeats itself. It was my first read in 2024 and it got me straight away. It is a well-written book.

2. Midnight's Machines - A Political History of Technology in India by Arun Mohan Sukumar (2019)

It touches on an unusual theme - the relationship between culture of a people and technology. I had never thought about the cultural attitudes about technology in India in this way before reading it, and it made me rethink about some of my earlier beliefs. In India, we have beliefs about nature, environment, divinity and our own (human) role in the larger scheme of things.

Many of these ideas are expressed in terms like Gandhism, the ideas of self-reliant communities, the beauty of small things, and the distrust of modernity and technology (and of rich industrialists). The book touches on all these and how these affected pre-independence and post-independence developments in India, the role played by Rajiv Gandhi and even greater impact of Y2K disruption in bringing a grudging acceptance of technology to India. Though youth is enthusiastic about this change but the book suggests that the older distrust has not yet disappeared, it continues to shape our decisions even now. A very interesting read.

The Indian Ideology by Perry Anderson (2012)

This book looks at 20th century's India (at the 120 years period going from the birth of Congress party till the last UPA Government). Anderson's main area of interest has been Marxism and his analysis of the recent Indian history is shorn of any romanticism about India's freedom struggle and the role played by Congress in it.

His main criticism of congress in the pre-independence period is that its ideology was not progressive and modern, but was "Hindustani" (biased towards Hinduism). After independence, his judgement is that there was a confused polity. He looks at the ideas of Gandhi and Nehru, finding much to criticise, conceding some good intentions and a lot of bad choices.

He lays the blame for the creation of Pakistan on Gandhi and congress party "because they wanted a strong central government". He also finds fault with Indian electoral system (it is not proportional representation), inclusion of Kashmir in India, crushing of the independence movements in the North-East and the treatment of Muslims in post-independent India.

I feel that in India, we are used to a fawning adulation towards figures like Gandhi and Nehru, and any attempt to look at anyone critically is seen as sacrilegious. In that sense, I found his analysis refreshing and provocative. However, I do not agree with many of his conclusions for example, that aiming for a strong central government or not allowing successions, were bad choices for India. In any case, I feel that this book should be read for an alternate point of view about contemporary India.

Who Ate the First Oyster by Cody Cassidy (2020)

Simple sounding questions like "who ate the first oyster" or "who invented fire" or "who invented clothes" can lead to a profound reflection on human evolution over the past 3 million years and understand the significance of things that we take for granted.

For example, eating oysters required people to understand the science behind the tides of oceans because the oysters can only be gathered at low tides. It required making a connection between high-low tides with phases of the moon and a keen spirit for the observation of the world.

It is a book about human evolution science and I found it very interesting, full of A-Ha moments. If you like reading the natural history and science books, try this book from 2020 - it is full of new insights.

Age of Revolutions by Fareed Zakaria (2024)

I knew Zakaria only as a TV personality and this this was his first book for me. The central theme of the book is that big and transformative changes occurring in short spans of time, are revolutions for the human societies, each of which follows a trajectory ending with an inevitable backlash of some kind. He focuses mainly on the revolutions in Europe over the past 500 years, especially about economical and social organisation of society, including the technical innovations.

I liked the first half of this book more than the second half. I felt that the last part of this book was scattered and confused. However, even in the second part, I found interesting ideas about cultural backlash to explain part of the Putin-Xi Jinping effects in Russia and China. I also agree with his view that today many countries in the world are not looking to the West to copy its ideas of organising societies, but instead, many of them are exploring their own understandings of modernity.

I also felt that the book sidesteps the whole issue of spread of Islamic orthodoxy, which is another huge phenomenon influencing geopolitics today. This orthodoxy can also be seen as a backlash to sudden modernity and changes in those countries. It seems that some of them, especially in the Arab world, seem to be finally overcoming it, while others, especially Iran, Afghanistan and Pakistan, seem to be lagging behind.

In conclusion, this book is an interesting read.

The Song of the Cell by Siddhartha Mukherjee (2022)

Pulitzer prize-winning Mukherjee writes big but interesting tomes about themes related to medicine. This book had come out in 2022 and I had been planning to read it for a long time.

In the medical college, I used to love physiology and had been fascinated by the microscopic "organelles" inside the cells, but at that time the understanding about these was fairly superficial. However, over the past decades, thanks to new research and technology (including genetics & molecular biology), our understanding of human anatomy and physiology have improved in ways that I could not have imagined. Thus, I was looking forward to reading Mukherjee's book on this theme.

It is great book, immensely readable, but it is for general reader. For me, it skimmed the surface, giving tantalising glimpses of the new knowledge but not really going deeper into it. For deeper learning about human physiology, I need to read a textbook. However, if you like to learn about the human body, it is an interesting book.

Conclusions

I feel that most non-fiction books do not need to be a full book, they can be much shorter. Most of them have very long initial parts where they talk at length about the context, but most of it is already well-known. When they do touch on their subject, they are often repetitive. Therefore, though I do start reading a lot of non-fiction books, I rarely finish them. Thus, I am really happy that I have 6 books in this list this time.

As the year comes to an end, I am listening to an interesting podcast by Devdutt Patnaik, which is more than 12 hours long. Recently, I had also listened to another interesting podcast with Manu Pillai. Hopefully, in 2025, I will read some books of both of them. This year (2025), I am also hoping to read some biographies, a genre that I have largely ignored so far.

Best wishes of a happy reading 2025 to all of my readers. If you have read a good non-fiction book, do tell me about it in the comments below - thanks in advance.

You can also read about my choice of fiction books that I had liked in 2024.

*****

Art & Sculpture At AIFACS

After visiting the M.F. Husain exhibition at DAG, I was walking towards the Central Secretariat Metro station when I saw the AIFACS building at Rafi Marg crossing, and old memories came flooding back.

Let me take a look, I thought, hoping to check the building that I used to visit regularly during the 1970s, when I was studying medicine in Delhi. In those days, the first floor of AIFACS had the British library and I had some very happy memories of hours spent there, looking at and choosing the books I wanted to read.

My first impression from the outside was that the building looked a little deserted, as if few people visited it, while I remembered it as an active space with people going in and out all the time. I asked a guard near the entrance and he explained the reason - the British library is no longer located in this building, it had shifted to Kasturba Gandhi road.

There were some exhibitions going on in the AIFACS galleries and I quickly visited a few of them. Here is a brief update about this visit (the image above has a wonderful sculpture by Aatish Khobragade).

The Lama in the AIFACS Foyer

The first thing that I noticed was that the AIFACS foyer has a new statue. It seems like that of a Buddhist lama. There is no plaque near the statue about the person. I asked about it but no one seemed to be sure about who he was. One of the guards said that it was a previous Dalai Lama.

I think that it can be the statue of the 19th Kushok Bakula Rinpoche (Ngawang Lobzang Thupstan Chognor,), who was sent to Mongolia as the Indian ambassador during the 1990s, when the country had come out of Soviet influence. I had seen one of his statues in a Buddhist monastery in Ulaan Baatar, and I thought that this statue looked like him. For Mongolians and Russian Buddhist he is seen as a very important religious figure.

I hope that someone from AIFACS (or any one else for that matter) can confirm about it - please tell me in the comments below.

Shekhar Ranjan Dutta & His Mythological Art

This was a solo exhibition on the ground floor of AIFACS, presenting the mythological paintings and some sculptures by the artist Shekhar Ranjan Dutta from Cooch Bihar in West Bengal. His paintings were on huge canvasses with a predominance of yellows, browns and reds.

His works reminded me of the stories I used to read in Chandamama, a Hindi magazine, when I was a child. The mythologies of Hinduism are complex and often ambiguous, and I would have liked to ask him how he depicted his paintings which respect those complexities. However, he was busy showing around some persons (in the image below) and I was in a hurry, so it was not possible to talk to him.

Sculptures and Art in the AIFACS Basement

An international exhibition called Nakshatra, was going on in the basement of AIFACS on that day, including some artists from Poland. I did not visit the main room of this exhibition and only briefly spoke to two Indian artists who were presenting their works in that exhibition.

The first was Rekha Soni who had a couple of water-colour paintings in the exhibition (image above). The second artist was Suzain Khan from Varanasi, who had some of her photographs in the exhibition (image below).

Unfortunately, I didn't have much time to actually talk to them to learn more about their artistic journeys. I quickly went around in the central part of the basement, which was showing some sculptures. There were some sculptures there, which I liked.

Among the sculptures, there were 2 works of Surendra Kumar which I liked - Emerging Whispers (above) and Shades of Silence (below). Both these works were in plaster-of-Paris. Surendra Kumar is from New Delhi and is a multi-disciplinary artist - he also had a bansuri performance at the inauguration of Nakshatra exhibition.

I also liked the acrylic on canvas painting by Jyotsna Sharma titled Nature (image below).

However, my favourite artwork in the Nakshatra exhibition, among the ones I was able to see, was a quirky and scintillating sculpture made of aluminium mugs painted purple (the first image at the top of this post) by the Mumbai-based artist Aatish Khobragade - it seemed so full of joy.

Conclusions

I came out of AIFACS feeling a little sad because in my memories, there were hours spent in that building with friends, many of whom are no longer alive. I had little memories of the art galleries below, my memories were mainly about the British library on the first floor.

My hurried visit to the exhibitions consoled me, while I remembered Salman Rushdee's words about imaginary homelands that we carry in our hearts - the old towns, buildings and homes that continue to exist only in our memories.

*****

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

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.

***

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

 

"Eliminating" Infections In India

In today's FirstPost, an online newspaper from India, there is a cover story on Neglected Tropical Diseases (NTDs) by Kalikesh Singh Deo, "a member of the Biju Janata Dal party. He is the Convenor of the National Coalition on Neglected Tropical Diseases and Malaria".

I have some concerns about the use of term "elimination" for reducing the number of certain diseases like Kala Azar and Lymphatic Filariasis, under the guidance of the World Health Organisation (WHO). I hope that bodies advising the Government of India would have discussions with stakeholders to ensure a reduction in the negative fall-out from the use of such terminology.

Let me explain why I think that using terms like "elimination" in such campaigns is a double-edged sword. (The image below presents some ASHA workers from Maharashtra, India - all public health programmes reach people through these front-line workers in India - without them no campaign or programme can work). (Click on the images for a bigger view)

WHO's Definitions

In 2016, WHO produced a document about the use of terms like "elimination". According to this document, the following terms have following meanings for the infectious diseases (page 3):

Control: Reducing the number of cases of a disease

Elimination: Reducing a disease to zero new cases (incidence) in a country or an area

Eradication: The causative organism has been eradicated from nature and laboratories so that it can not cause any new infection

In addition, there is a 4th definition, which is called "Elimination as a Public Health Problem" - this means reducing the numbers of cases of a disease so it is no longer a problem for the health services.

Advantages of Using terms like Elimination

In his article, K.S. Deo explains: "By December 2023, the Government of India plans to reduce kala-azar cases to less than one per 10,000 people at the block level and, by 2030, to eliminate haati pao as well."

Reading the strategy and such explanations, the readers feel that the problem is going to be solved. In this article, he does not use the term "elimination as a public health problem" because he understands that this won't make much sense to ordinary readers.

There are different advantages of using words like "elimination", including getting more resources from the Government and greater commitment from health services and health personnel.

There are real gains on the ground as well. For example, Deo writes: "10 February 2023, India will conduct Mass Drug Administration (MDA) rounds in Mission Mode in 10 affected states". This means that a large number of people will receive medicines to treat and to prevent new infections.

Disadvantages of Using Terms like Elimination

The first time the term "elimination as a public health problem" was used was in 1991, when WHO had launched its Leprosy Elimination Strategy (LES) - to reduce leprosy by the year 2000. At that time I was a member of the the medical commission of the International Leprosy Associations Federation (ILEP) and many of our members had concerns that people will not understand the term "elimination as a public health problem" and will think that the disease has been eliminated, they will believe that it no longer requires resources and services.

The LES had a huge impact in India. In most of north India very few public health services were reaching leprosy patients and most of them were being treated by older lesser-effective medicines. For example, due to LES, by 1998 even states like Bihar and UP managed to provide almost 100% coverage with newer and more effective anti-leprosy drugs to all those who needed them.

The problem came after India had reached the LES goal (in 2005). Many states reduced their support for leprosy services. It was not only decision-makers or general population who had thought that leprosy will be actually eliminated and there won't be any more new cases, even doctors and public health specialists believed it.

For example, 4 years ago, Dr Madhukar Pai, director of McGill International TB Centre and a well-known and influential public health specialist based in Canada, in his article "Failures of Public Health" wrote the following:

In 2005, India declared leprosy to be eliminated and scaled-back on its leprosy programmes. Today, according to WHO, India harbors 60 percent of the world’s cases, with more than 100,000 new diagnoses each year

I can tell many anecdotes of people coming up to me with questions about why governments had declared "leprosy is eliminated" when they still had the disease. I have even seen a sociology thesis from a country in Africa, which had a theory about the LES declaration and a national conspiracy to marginalise the poor persons for the benefit of the rich.

Conclusions

I think that it will be good if Mr. K.S. Deo and his team will bring together different stakeholders, including representatives of leprosy-organisations to find ways which allow us to use the term "elimination" for the advantages it provides and at the same time, find alternate ways to mitigate the damage caused people's expectations that these diseases will disappear.

For example, it might be important to use some other word and not use the word "elimination" in the local language translations about the campaigns.

18 years after Eliminating Leprosy as a public health problem in India, it continues to be a public health problem and is a part of NTD strategy about which Deo has written. LES had an impact, the number of new cases of leprosy in India has been halved (partly this may be due to covid-related reduction in services, so that many new cases were not detected) but the disease is still there and it requires services. It is crucial to avoid mistakes of the past.

*****

Theyyam: When Gods Descend on earth

India has many rich religious traditions during which the Gods are supposed to come down to the earth and express themselves through some persons. Examples of similar traditions can be found in different parts of India. (Click on the images for a bigger view)

This post focuses on one such tradition called Theyyam, which is celebrated in northern Kerala in south India.

Gods Speaking Through Humans

Hindus believe that the Divine is present in each living being as universal consciousness. At the same time, they have a pantheon of a huge number of Gods and Goddesses, one for each of life’s different forms. The Gods, animals and plants are all inter-linked through the sacred stories and myths.

The religious ceremonies in which Gods speak through humans has 2 main functions – (i) as a part of celebration of specific religious and social events; and, (ii) to answer questions and to give blessings to people.

 

All over India, especially in small towns and villages, there are persons who are known in the communities as “carriers of God”, who can go into a trance, and invoke a God spirit to come and speak through them. In north India this process is called “Devi ka aana” (arrival of the Goddess). Usually they do it by sitting down in meditation with their eyes closed and then go into trance. The arrival of the God in their bodies is marked by signs like convulsive shaking while their voices turn rough. After that others can ask questions or ask for blessings and make an offering. This role can be played by both men and women.

In many parts of India, there are also elaborate make-up, costumes and rituals linked with this tradition. For example, in North Dinajpur district of West Bengal, persons manifesting the Gods wear colourful wooden masks during the sowing of fields – this tradition is known as Gomira. In East Burdwan district of West Bengal, the men invoking the Gods, paint their bodies with blue colour and transform into Shiva – this tradition is known as Shiva Gajan. Satyajit Ray's film Devi can be seen as one representation and exploration of similar ideas.

While God-manifestation roles are mostly enacted only by men, usually they are about Goddesses, the different forms of Shakti. In some places, persons of other religions, especially Muslims & Christians, are given specific roles to play during these ceremonies image below with Muslim characters in a Theyyam), which could be linked with specific historical events and indicate processes of religious inclusion.

Theyyam Tradition in North Kerala

The word “Theyyam” probably comes from “Devam” (God). This religious tradition is common in villages of northern Kerala, especially around the district of Kannur and surrounding areas of Kerala and Karnataka. Between October to March, every village holds one annual Theyyam at the village temple. In each temple, there can be different Gods/Theyyams, depending upon the presiding deity and his consorts. Bhagwati is one of the principle deities of the Theyyam.

The persons playing Theyyams usually belong to specific lower castes in villages. The responsibility belongs to specific families and is hereditary, so that male children watch and learn from their fathers and uncles putting on the make-up, making specific ritualistic dance movements and conducting specific rituals in the temple. For the duration of the Theyyam, persons of all castes, bow in front of Theyyams.

The ceremonies continue day and night for 3-4 days and are usually carried out in the open courtyards around the temple. During the celebration, sometimes there can be an occasional animal sacrifice, especially a hen. After their rituals and dances, each Theyyam receives devotees who pay obeisance, and ask questions or their blessings.

Visiting Theyyam ceremonies

I had seen a few Theyyam dancers in a cultural festival in Guwahati some years ago and had been struck by their elaborate make-up and costumes. Then, a few years ago, in a museum near Fort Kochi, I had seen the masks showing specific make-up face-patterns for different Theyyams, which had greatly intrigued me.

It is easier to see Theyyam performances as part of cultural shows, but I was interested in seeing them as a part of a living religious tradition of a village.

In February 2018, during a visit in Kerala, I had gone to Kunnur, where I had hired a local Theyyam guide. You can find online the calendar of Theyyam celebrations in different villages. However, more specific information is available only in Malayalam. Finding and reaching specific villages where the celebrations are being held is not very easy unless you know the local areas. Thus, a local guide can make things easier.

With my guide Chandran, I had visited Theyyam ceremonies in 2 different villages and seen different Theyyams, each with their special make-up and costume. As you can see from the pictures, both were colourful ceremonies filled with beautiful rituals, dances and faithful. Even elderly persons touched their feet and asked for their blessings.

 

 

In my opinion, they are not just a rich and colourful tradition, they are an expression of people’s faith. I found the ceremonies emotionally moving. Unfortunately, with changing times, some young persons feel that these are just old superstitions and are dismissive towards them. Though the Government is supporting some of the families engaged in Theyyam by making them a part of cultural festivals, I feel that to see them as part of people’s living traditions and faith, is a completely different experience.

Conclusions

In one of the villages I visited, I watched a young man patiently lying on the ground for a couple of hours, while the make-up of God Narsimha was being put on his face. While he was getting ready, his uncle, Mr. Narayan, who was one of the drummers and had come home from Delhi, especially for this ceremony, had explained to me the significance of different steps of his preparation.

The most beautiful moment for me had come when after getting ready, the young man had moved away from the group and walked up to a small hill (image above). There he had bent down to touch the ground and then stood there with his eyes closed in a silent prayer. When he had opened his eyes and turned towards people, there was a subtle difference in him – he had transformed into Theyyam. Moving with a feline grace, he had walked to the courtyard of the temple, a God descended on earth.

That transformation had touched me deeply. Gods and humans, together and separate, are bound together in the sacred stories of human imagination - Theyyam is an illustration of this bond.

*****

Note: Post originally written in 2018, updated in 2023