Sunday, November 20, 2011

That Poem Called Life


Poetry is about finding life in the silence of sleepy summer afternoons in Delhi of the past, in murky flashes of lights in dingy pubs reeking of garlic, spices and tobacco, in the simple weaving of a humble weaver, in the gurgles of the bi-cycle tyres as they meander their ways through flooded Mumbai by-lanes....and if it is Gulzar, chances are you will find life in the imagery and visualise yourself as the protagonist sharing a parallel existence, living each moment of the metaphorical literary utopia while his deep throated voice resonates in your ears!

Rich in literary speech yet simplistic to the point of innocence, Gulzar’s musings are a treat to those craving for an intellectual stimulation as well as the ordinary man who yearns to express himself and capture the memories of human realisations in phrases and couplets.

In a 90-minutes poetry session at Singapore’s esteemed Esplanade Concert Hall, the poet and lyricist teams up with Pavan Varma, another literary genius and the Indian Ambassador to Bhutan, and encapsulates the essence of romance...towards life.  “Shayeri is about life,” the poet begins his session with the magical statement.

Needless to rationalise, his inspiration from the simple everyday business of life is well reflected in his writings. His metaphors leave the audience enthralled. From that night in the mountains where two waterfalls converse like two long lost rustic friends having suddenly met to finding the elixir of life in the birth of his grandchild, to the thoughts that burnt and continued to live amidst the ashes, his literary acumen emotes perfectly in harmony with the sensitive articulation of a poet, a lover, a father and a friend.

Pavan Varma does a fair job in translating some of Gulzar’s works in English for a wider audience, yet, somewhere between the lines, the beauty of the language is lost. His own sonnets from a collection called Yudhishthir and Draupadi are, however par excellence and take his insightful interpretation of an episode in Mahabharata to a new level. Gulzar’s transliteration of the collection recreates the charm in a new flavour retaining the essence of the original yet adding a personal tint to the analysis.  

At the end of the evening, as I have traversed miles in a parallel space with the duo, exploring various facets of human nature, relationships, articulating the innate unsaid feelings, contemporary and in reflection, am left with a mixed sense of contentment and a craving for more....and yes, his last poem “Meghna” does leave me with very moist eyes. 

Wednesday, September 28, 2011

The Three Musketeers

Yes, those three strong identities that never say die are Me, Myself and I.
Sometimes you really need to fall hard on your face to bleed and realise that life's best lessons leave their signs on the road....yes, literally! I am not here to give went to any venom or seek pathos from onlookers, I am here to tell myself, no matter what, God has created me for me and my association with all else is just a bonus.
To my three musketeers, Shalom again!
Me

        

Sunday, September 25, 2011

Sir




It is impossible that you could miss him in a crowd. And had Shokhanaath Sikdar ever shared a first-class compartment on a long-distance Kolkata-bound train of the Indian Railways with Ray’s Lal Mohan Ganguly, I am convinced the latter would have definitely wanted to “cultivate” Mr Sikdar.  Though almost separated-at-birth-twins with Mr Ganguly, the resemblance further accentuated by accessories such as a brown monkey-cap and a red and blue checked muffler, Mr Sikdar had a distinguished and unique style of his own. 

His day started early fighting with the neighbourhood paperboy, he called Khoka. Each daybreak, Khoka would toss the popular morning daily, neatly tied in a roll, and throw it across Mr Sikdar’s coveted south-facing 7x 3 ft verandah adorned with money plants, a pottedtulsi and some kamini flowers. To an onlooker, the blue-walled balcony adjoining the cramped living room was nothing beyond a slice of additional space generously used as a clothesline. Between Mrs Sikdar’s printed cotton nighties and petticoats, there was just enough room for an old cane chair and two low choir stools. In all, the weaving had fallen loose, but it did not bother Mr Sikdar, nor kept him away from his private haven, and he fought to conserve its authenticity as the truly intellectual corner in his middle class suburban home. Khoka and his Olympic style paper tossing was a constant threat to that preservation.  Mr Sikdar had repeatedly warned Khoka that it in the past, his rough and uncouth attacks had hurt the kamini buds and snapped a portion of the money plants, both signs that were considered inappropriate, but the boy had paid no heed. 

After calling out names, each morning Mr Sikdar would sit down in this blue space, reading the morning newspaper from the first word on the front page, browsing through headline news to classified pages including quack aphrodisiacs and gauging the impacts of planetary movements and their predictions on his less celestial life. Once he had Rahu and Ketu’s orbits sorted, dipping thin-arrowroot biscuits in his tea, he would always attend to the matrimonial, obituaries and all the other components that spiced up an ordinary man’s life in an otherwise monotonous setting.

After retirement from his job as the mathematics teacher of a government higher secondary school, Mr Sikdar’s world had become confined to the blue walls of his modest one-bedroom flat. Mrs Sikdar, childless and ageing had begun to complain of gout, since she stepped into her 50s, and now her days were all spent in cooking a simple meal for the two, a few religious rituals and watching melodramatic soap operas on Bangla television. 

From his cane chair on the verandah, Mr Sikdar would watch her getting engrossed in the high-pitched family dramas on the idiot box, often so much that she would emote with the characters on screen. At times, he had even caught her crying with the innocent and cursing the wicked and scheming faces on television. Mr Sikdar, who grew up in an age when television was a rarity and being a couch potato was sinful would wonder how a 50-year-old woman could get so carried away by something so unreal and distant. 

Apart from the TV, the blue-walled modest living room had a sofa cum bed. This was meant to be the most decorative and most expensive of furniture the Sikdars had ever bought. It was the pride of the living room. A student’s mother, out of sheer respect for Mr Sikdar’s Mathemagical brilliance had gifted a self-created set of appliqué cushion covers for the sofa cum bed. On occasions when there were guests in the house, and it happened rarely though, this was used as the extra bedding for the special visitor. 

But of course, there was a brilliant laminated family photograph of three generations, proudly displayed on the TV top that you couldn’t miss. On a rare moment, when all the three generations of Sikdars had taken a Kundu Special tour to Darjeeling and the entire family of primary school teachers, bank managers and government servicemen had pooled in all the LTC they got, booked company holiday homes and managed to spend a week basking in their own glory in the Himalayan town. The photograph was a memoir of that rare moment one morning, when all the Sikdars, including the young ones Dollar and Sonnet (Mr Sikdar’s youngest brother was a bank manager. His convent educated wife had a fetish for English names and after the twin boys were born, she used her obsession with an overpowering vengeance thereby dismissing all alternate suggestions made by other family members) had arranged themselves proudly in three rows. The men in bright mufflers and hand woven pullovers at the back, the women in wet flowing tresses over cardigans and sarees were seated in between, and the children in road picked Bhutia jackets were kneeling down at the front. The group was facing the sparkling white mountain range with the holiday home as backdrop. Though proud to be framed in a perfect Suraj Barjatiya style family frame, none of them noticed or remarked upon the fact that there would be proof of the mighty Kanchenjunga in the photograph.

Till date, the pride associated with this photograph knew no limits and though neighbours and friends tried to often contest the value of this priceless piece of Sikdars, none were successful so far.Once, Mr Sikdar’s next door neighbour Shambunath Pal, tried to flaunt a photograph that showed his grandson standing below the Eiffel Tower. Now Mr Pal, unlike Mr Sikdar was not a man with many degrees (“uneducated businessman” in Mr Sikdar’s words). He ran a saree shop in one of the bustling districts of the city and had amassed a lot of wealth. A considerable portion of that wealth had gone into sending his only son Babushona to a private engineering college in Bangalore. Babushona, once his engineering degree was earned managed to do an MBA and find a job in a company that was doing a project with a French multinational. Needless to say, Mr Pal, much to the resentment of Mr Sikdar, was extremely proud of the fact that in a family where matriculation was considered sacred, Babushona had added so much glory so as to live in “bilet” or foreign shores out of his own academic steam.

So one day when Mr Pal brought out the picture of the Eiffel Tower and challenged Mr Sikdar on the pricelessness of photographs, Mr Sikdar looked unshaken. Studying the picture with the spectacles right at the tip of his sharp nose, he raised an eyebrow and said, “Hmmm....mane thik e ache, tobe oi amader Howrah Bridge taye beshi loha bodhoi,” (seems ok, but methinks our Howrah Bridge has more iron in it). 

It only happened by a sheer conspiracy of fate that I landed up at Mr Sikdar’s door one hot and sultry summer afternoon. Let me explain. Mr Sikdar’s ‘almost umbilical’ ties with a government boys school was destined to weave into my life as soon as I met and fell in love with the brightest and best student the school had ever trained. My fiancé, Sid (Shiddharto to his teachers and all the other trails of his past life) was Mr Sikdar’s favourite student in his entire teaching career. The boy, the first in his school to crack the indomitable IIT entrance exam, as he recalls and narrates to all he knows was the “Braaitest” student he taught.
All that was more than a decade back! And Sid’s life, interim had undergone several changes. From the IIT Campus in Kanpur, he had moved to Rutgers for a Masters and ever since the lure of the greenback and the thrill of international recognition had kept him committed to sharing his bright intellect with the US of A. But he hadn’t forgotten his teacher. “I owe it to him in a way,” he would say. 


Since I was travelling to India, Sid insisted I dropped by Mr Sikdar’s residence and paid him a visit. He even bought a shiny Kenneth Cole watch for his teacher and jokingly called it a “delayed but brandedgurudakshina”.  I knew the significance of this teacher in shaping the man I adored, so I agreed without further debate.

So on a hot uneventful summer afternoon, I cajoled myself and took a drive down the by-lanes of suburban Kolkata and landed up straight in the blue walled living room of the Sikdar’s.
“Are you also an engineer like him?” Mr Sikdar asked me as he gestured for me to sit on the prized sofa cum bed. He had not even offered me a glass of water as yet! Fearing that my IQ level was at stake and I might be subject to solving brain racking Calculus before my eligibility to sit on the sofa were decided, I sat down quickly and replied “No No, am into literature” then added stupidly enough, “My Math sucks!”
“What?”
“Er, I mean, I am scared of Math.”
“What are you saying? How can you be scared of Math? What is there to be scared? Only the dumb, dull and lazy are scared of Math,” Mr Sikdar almost roared in front of me.
Aha...why are you scolding her? She is not your student,” Mrs Sikdar came to my rescue with a glass of red liquid.
I folded my hands in greetings and took the glass from her.
“Rooh Afza...I got it from Moni’s dokaan just yesterday. Dekho to kheye kemon?  (See how it tastes!)”.
I smiled gratefully at her and sipped into the over sweetened artificial flavoured drink. But on a hot afternoon, it did not taste as bad as I had feared.
Mr Sikdar seemed put off by my presence. He sat on a stool, a little away measuring me up inch by inch. Perhaps even contemplating how his brightest student could even consider a life with a woman who did not enjoy calculus or trigonometry. I realised I had goofed up by touching the most sensitive passions of his life...mathematics! Not really thrilled about being classified in a category of “dumb, dull and lazy” I dug into my purse and took out the gift that Sid had sent to appease Mr Sikdar.
“What is this?” He still seemed unsure if I could be trusted.
“It’s a small gift Sid has sent you.”
“Sid? Who is that? Oh, Shiddhartho!” he said while opening the wrapper and seemed utterly delighted as he saw the gift. “Baah...please say my thanks to him,” he stood up as he spoke clearly indicating that our conversation ended here. 
Sensing that I had little reason to linger on, I got up to leave, when Mrs Sikdar stopped me.
Oki? Where are you going? Ei bhor dupure na kheye chole jabe naki? Ami bhaat boshiye diyechi. Kheye jeo.  (how can you leave in this hot afternoon without having lunch? I have started cooking rice for you. You must eat with us).

I thanked her for her hospitality and looked nervously at Mr Sikdar. She perhaps sensed my discomfort and said, “He’s like that. Doesn’t speak much with anyone. Plus, today, they have the Higher Secondary result coming out. He’s tensed.”
“Oh,” I said and smiled with relief. It wasn’t me. The old teacher was anxious because of the board examination results.
She asked me to call her “mashima” and invited me to her little kitchen. I drew a small pidi (a raised wooden platform) and sat watching her chop potatoes and onions on a traditional bothi and marvelled at the finesse of that art. She asked me what I did in America, if I cooked at home, if posto was available in Houston and yes, if I could watch Bangla serials on television. There was something so sweetly simple about this middle-aged lady that I fell at ease immediately and even the ordinary meal of daal-bhaat and alu posto in a shabby oil stained kitchen tasted utterly divine. 

Just as I was about to wash my hands after the meal, I heard a loud commotion outside the house. In few minutes, I saw a swarm of young boys rushing into the room, all talking at once and falling at Mr Sikdar’s feet while he shouted excitedly, “Ki holo? Kemon holo?” (What is it? How is it?).
One of the boys, a shy dark lean one in very simple ordinary clothes came forward from the group and touched his feet. “Sir, I got a rank. Not sure if first or second as of now, but I scored the highest in the district.”
Mr Sikdar hugged him to his bosom and said only one word, “Baah...!”  
And I could see all the pride, the affection, the support and the intensity of appreciation encapsulated in that little word.
Then, he picked up the watch Sid had so fondly bought for him and asked the boy to stretch his hands.
On his bare wrist, he clipped the watch and said...”This is your prize.”

As I stood at the kitchen door with Mashima, witnessing the simple selfless act of an old teacher, whose only dedication in life was to shape the lives of others, whilst he continued his own modest living, I realised why Sid had such high regards for his man who never claimed his portion of the victory but nobly passed the baton of glory and success from one hand to another through generations.    

Thursday, July 28, 2011

Raga & Rabindranath



You and I have floated here on the stream that brings from the fount.
At the hear of time, love of one for another.
I seem to have loved you in numberless forms, numberless times...
In life after life, in age after age, forever.
My spellbound heart has made and remade the necklace of songs,
That you take as a gift, wear round your neck in your many forms,
In life after life, in age after age, forever.
What better words to describe Rabindranath’s intensity as a philosopher, poet and songwriter than these? And that we remember him to this date as the greatest poet of all times “in life after life, in age after age, forever”?
I can’t remember where I heard the first Rabindrasangeet of my life. It was just about everywhere, in every nook and corner of my parental home and I stumbled upon it at all times....Baba crooningAmar matha noto kore dao hey tomar choronodhular tole.. in the shower, Mamma humming Aaro aaro probhu aaro aaro.. in the kitchen as she moved her ladle in a soft Rabendrik dance motion, and the morning radio that religiously had a slot for threeRabindrasangeet each morning as I struggled with my Bonny Mix and shoe laces and rushed to school. 
I did not understand the depth or meaning of these songs as a child, but like nursery rhymes, Abol Tabol and Thakumar Jhuli, they were a part of my growing up. My bed time story was Birpurush, the car-stereo always boomed with Debabrata Biswas; Pochishe Boishakh was as important as my own birthday, and Gitabitan found a place on the bed-side table. Baba was an ardent Gurudeb follower and Mamma’s Viswabharati background built up an ambience that cultivated Tagore in everyday life.
I remember my first solo dance performance on stage. I was barely five then and Kothayo amar hariye jawar nei mana was nothing but a lyrical fairy tale to me. What my innocent mind didn’t understand was that there was a deeper philosophy hidden beneath those seemingly simple words. Only later in life, as I began to discoverTagore’s unrestricted spiritualism in his writings, through his philosophy, did I realize how this was all reflected in the way he composed music.
The words found new meaning; the aestheticism was not lost in translation as alphabets transcended the level of sensory perception and evolved as more profound, sensitive and spiritual realizations. And then an open, boundless, unrestricted, uncorrupt mind that saw no horizon, no boundaries, was revealed to me.
Since then there has been no moment in my modest life, neither in wakefulness nor in dreams that is not influenced or inspired by the poet of all poets. Tagore’s profoundly sensitive, fresh and beautiful verses have found life in my personal expressions in all human form; making it difficult to sift Puja, Prem from depiction of Prokriti in everyday life sometimes. Beyond the conservative understanding, they all seem to merge in a more metaphysical overlap.  
Have I not sat by the window on many afternoons watching a storm rise over the horizon, the low dark nimbus clouds caressing the tips of the rice fields, humming softly to myself...
Tumi Jodi dekha nahi dao koro amaye hyela? Kemon kore kaate amaar emon badol byela?
and revisited my inner self over and over again....?? Was it Puja, Prem or Prokriti?
Does it not lead me to think even deeper? Is there actually a line of demarcation? Isn’t everything around us including ourselves a part of that greater scheme in nature, a piece of that divine design called life? What is not divine then?
Jogoto juure udaar shure anando gaan baaje, shey gaan kobe gobhiro robe bajibe heeya maajhe
Batasho jolo akasho aalo, shobare kobe bashibo bhalo, hridoyo shobha juriya tara boshibe nana saaje
Tagore is not just a poet we read to enrich our literary acumen, he’s not just an artist who saw the world on a canvas different from others, he’s not just a composer who blended his poetry with music in a magical communion; Tagore, to me, is a philosophy, a harbinger of life that teaches us to live, to laugh, to love and above all, to win with pride and battle failures with courage, in life after life, in age after age, forever....
As the world joins hands to celebrate the greatest poet’s 150th birth anniversary, I shall leave you with these thoughts from Gitanjali....
My song has put off her adornments. She has no pride of dress and decoration. Ornaments would mar our union; they would come between thee and me; their jingling would drown thy whispers.
My poet's vanity dies in shame before thy sight. O master poet, I have sat down at thy feet. Only let me make my life simple and straight, like a flute of reed for thee to fill with music.
Philosophically yours
Ananya

All the World's a Stage...


When the third bell rings and backstage murmurs fade, theatre lights are dimmed and the curtain is raised. In Stage Utopia, the life of an actor begins with conjuring a tale that persuades you to laugh and cry with him in the next few hours, and ends with bringing you on your feet in a rush of applause or sending you home with a lingering thought to ponder upon much after the applauds have faded into silence.

However, in today’s i-centric social context, (and I don’t just mean iPods, iPhones and iPads), the power, impact or success of theatre as a tool of any socio-political revolution is debatable.

“Although the primary purpose of theatre is to engage an audience with their imagination through a shared time and space, once that has been achieved it is possible to draw their attention to pressing
socio-political issues. At that time of performance it is possible to evoke strong feelings among the audience. But once they leave the theatre, how much of what they experienced they will carry forward into their lives is hugely speculative,” Mahesh Dattani, Indian director, actor and playwright, observes.
Mahesh, who has many successful and popular plays like Final Solutions, Dance Like a Man, Bravely Fought the Queen, On a Muggy Night in Mumbai, Tara, and 30 Days in September to his credit also feels that Indian theatre is at a crossroad at the moment.  “We are at crossroads with our form-heavily borrowed from western models and yet, self-consciously aware of our roots.”
However, the first playwright in English in the country to be recognised with the Sahitya Akademi Award, quickly adds that he is optimistic about the future of theatre in India and sees a great deal of talent amongst young theatre practitioners. 
“I am confident they will create a theatre that is alive and relevant to our times. I find more and more youngsters are aware that theatre gives them training and discipline. They can also do cinema or television which is definitely more paying. Yes, there are thousands and thousands who would love to do cinema or television under the misguided assumption that is more rewarding in outreach and money, but these are the ones who rarely make it. Not on their own steam, at least” Mahesh says.
So where does its future lie in the hands of those who are truly passionate about it? “Theatre eventually would go in smaller spaces as cities get more and more unwieldy, offering an intimacy between the performer and the spectator, and that is where its power will lie,” he predicts.
Mahesh ends our conversation by sharing an interesting anecdote, one of the many rewarding experiences he has had in many years as a playwright: “I remember once after my play Final Solutions on the Hindu-Muslim divide, a young man came up to me and said he was Bobby but his name was Babban. After watching the play he found pride in who he was and was thinking of changing it back to Babban. A character in my play has the same name and issue.”
Mahesh’s personal experience only corroborates my belief that theatre, no matter how “unprofitable” in terms of numbers on a cheque might be, is that powerful instrument of performing arts that can change perceptions, alter lives or provoke you to think what may have escaped your rationale otherwise. Theatre is not about deception. It’s simply about presenting a tale that relates to you and me, the portrayal of a truth that often might go unnoticed in the ordinary business of life.