Bhawana Somaaya

This week I tell you the story of two women, both dedicated to a cause. The first Bawari, painter, singer, writer and dedicated to Lord Krishna. The second, Laadli an initiative conceived a few years ago and today an obsession for an NGO.

Rupa Bawari has been writing, singing, painting odes to lord Krishna alias Shrinathji for more than three decades now. In fact it would not be an exaggeration to say that she has dedicated her life and art to the deity.

She is a renowned painter and only paints Shrinathji. Mumbai’s top families are patrons of her paintings. She holds regular solo exhibitions and her oils of the deity and her calendars are popular with communities.

She tries as far as possible to release her new album around Janmashtami time, sometimes the plans go awry. This was a rare year when she did not hold a performance on the Gokulashtami day.

Today, 4 October Rupa releases her ninth album of Shrinathji Bhajans titled “Sarvaswa Samarpan” which literally means Total Submission comprising songs written and rendered by her and her son Rikin Mehta in Hindi. Music composed by Deepak Shah and produced by Raja Audio, Rupa describes this as her most complete album. “All the bhajans are about ultimate surrender. A true devotee comes to a stage when she takes eight vows to surrender her entire being and this surrender is complete in body, mind, wealth, speech, family, deeds, ego and most important, submitting his soul to Shrinathji.”

The album is to be released by Ghazal king Jagjit Singh at Isckon Temple, Babulnath Temple, Chowpatty. The eight stages of devotion are divided in eight bhajans namely Prasadi, Charnamrut, Shriji Utsav, Angikar,Param Krupa, Anubhuti, Birah Ra Skipyali, Palna Jhulo Shyam.

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Population First is an NGO based in Mumbai, working on population and health issues within the framework of girl-child and women’s rights and social development in India. It is a communication and advocacy initiative for a balanced and stable population. It works towards reducing gender imbalances and investing in current and future population.

Laadli is one of their campaigns which address the issue of the falling 0 to 6 sex ratio. Laadli is a comprehensive communications campaign combined with action programme which aims to change perceptions that make couples opt for a boy. The campaign hopes to accomplish that by creating a positive image of the girl child in society.

Launched in 2007 it instituted Media Awards for Gender Sensitivity were instituted. United Nations Population Fund (UNFPA) sponsored the Awards for a period of three years resulting in a co-branding of The UNFPA-Laadli Media Awards for Gender Sensitivity (ULMAGS).

This year, event gets even bigger with the western region awards being held in Ahmedabad, the southern in Bangalore, the eastern in Bhubaneshwar, the northern in Delhi and the national in Mumbai.

The ULMAGS highlights, acknowledges and celebrates commendable efforts of media focusing on gender perspectives in both print and electronic media and advertising. The response has been overwhelming particularly impressive with many new ads featuring the girl child in non stereo-typical roles. A number of TV serials also have been initiated on the girl child.

Now getting ready for the ULMAGS 2010-11 Awards Laadli aims to change the dynamics of society..

Bhawana Somaaya
blog.bhawanasomaaya.com

Sitting beneath the peepal tree, Krishna closed his eyes but the images replayed in his mind. Dwarika Palace… Kurukshetra battle… Draupadi’s swayamvar mandap… Rukmini’s abduction… and glistening eyes of Satyabhama while leaving for Prabhas Kshetra.

The images conjured in sometimes flashbacks and sometimes in flash forwards. People… places… and memories!

The peepal tree above him spread its foliage providing a shade that resembled the Sheshnaag (serpent) with its multiple heads opened out. Krishna looked over the three rivers — Hiranya-Kapila and Saraswati flowing before him in three different directions. This was the holy Trivenisangam located close to Somnath Temple recognised as Prabhas Kshetra and revered for literature and fine arts.

Krishna recalled that it was only some time ago that he had renovated the Somnath Temple and enhanced it with gold and silver. It was only some time ago, that the Yadavas conducted elaborate prayers and offerings here….

Today, sitting beneath the peepal tree, with his eyes closed, Krishna tried to relive all those moments.

He was in deep agony and conscious of a shooting pain passing through his entire body like a current…. It felt as if a thousand poisonous snakes were biting into his skin….

Before him was Jara, hands folded, seated on the ground.

Krishna’s foot pierced with an arrow had formed a pool of blood on the ground.

It wasn’t easy for him in his present condition to walk from the forest of Prabhas, all the way to the river shore.

It was all the result of the curse of Mata Gandhari…

…The curse of Durvasa…

…They had not gone futile!

One by one, all his brothers, uncles, nephews, children, grandchildren, friends and well-wishers were to be sacrificed into the flames to be finally joined by him.

It’s true that Krishna had foreseen the future, but it’s also true that he was just a helpless spectator to the events that unfolded before his eyes.

Krishna wondered why he had endure the torture of watching the devastation of his own people… Was it necessary for him to witness the tragic scenario where the Yadavas degraded themselves…?

It’s true that Krishna did not actively participate on the battleground, but the violence and the bloodshed he witnessed continued to hound him even today. Was Arjuna right when he said that an empire created on the deathbed of loved ones was worthless…? Was that the reason the Pandavas could never sleep peacefully after the Kurukshetra battle…? Considering that they were the ones to initiate the battle for justice, had they in true sense conquered injustice…? Thoughts gushed into his mind and flooded him like the innumerable waves rising into the sea.

Krishna was hounded by questions and felt increasingly distraught.

He wondered if everyone felt the same way in their last moments. Innumerable memories… innumerable images… innumerable questions and innumerable expressions awakened a gamut of emotions in Krishna that didn’t allow him peace even for a moment.

He tried to distract himself but could not. He was restless. He would have preferred to meditate and enter into a samadhi where his aatma (soul) could be united with brahma (the ultimate truth), but that was not to be. Krishna found himself embroiled in a whirlpool of emotions….

Strange… a man who lived his entire life by his principles and infinite knowledge… how could the soul of a man as enlightened as him feel so restless…?

How could somebody as clairvoyant, revered as a deity feel so out of control…? Could this be because he had conquered his future but remained distressed with his past…?

Or was this an indicator that there was no way out where by even Krishna could save himself today?

And if this is what a deity incarnated as a human goes through, what about us poor mortals…?

The battle amongst the Yadavas had just ended.

So many dead bodies of brothers, kinsmen, children and grandchildren were all scattered over the dark, dense forest of Prabhas.

At a little distance away Krishna looked up at the skyline changing colours. The trio-rivers were getting ready to embrace the morning. There was a nip in the air and the peepal tree beneath which Krishna took refuge, dropped withered leaves that were strewn away in different directions, as if carrying tales of Krishna’s woes…. The first streak of sunrise piercing through the dark sky formed an orange blaze resembling a yajna flame. Though invisible by their presence, it felt as if the ambience echoed with a team of Brahmins chanting religious mantras…

Mamaivansho Jivloke Jivbhootah Sanatanah |
Manah Shashthanindriyani Prakrutisthani Karshte ||

Krishna had said that after his lifetime we shall find him existing in the five ingredients of Nature, and the sixth would be the hearts of people where he would always reside.

Seated beneath the dense tree he asked himself if his was a death haunted by life or a life haunted by death, or was truth somewhere between the two…? The divine force who narrated his philosophy of life on the battlefield was restless today… and in his turbulent moment Krishna was reminiscent of his debut meeting with Draupadi.

Krishna slowly turned over the pages of his past. He was unable to fathom why Draupadi said that to him.

It was the day she was to return from Dwarika to Hastinapur and she had broached the topic unexpectedly…

…Feeling choked but voice full of force, her large expressive eyes as yet unshed with tears… Krishna had sensed her vulnerability.

“Didn’t you say that…?” Draupadi repeated her query, “Didn’t you say sanshayatam vinashayti…? You were right, my friend, awareness leads to questions. I should know this, I have lived my entire life as a question mark and every question I encountered added to my woes and tortured my dear ones like piercing arrows…. My questions, my doubts have damaged my self-esteem, bruised my loved ones! Now at least relieve me of this anxiety…pain… and questions.”

More memories sprang up like waves in Krishna’s mind adding to his torment.

Krishna wondered why he should be reflecting on all these episodes now, at this juncture when it was time for farewell… Why did memories chase him like a mirage…?

Draupadi had come to him seeking freedom, but was Krishna free himself to grant her that privilege…?

So many questions still unanswered… so many people to be accountable to…! One by one they would all come seeking their rights…. All of them were to bind him and he had to seek salvation from all.

Or was it that it was only after liberating everyone that Krishna could find salvation, and knowing this he had begun the process…

Excerpted from Krishna- The God Who Lived as Man translated by Bhawana Somaaya from Kaajal Oza- Vaidya’s Krishnaayan in Gujarati.

Dust has settled on Aamir Khan v/s Javed Akhtar or rather the star power v/s word power controversy as well. To recap details for those who don’t know the entire story: For sometime now the writers have been meeting over amendment in copyright issue. A press conference was called sometime ago in Delhi and Bombay to announce the progress on the subject. A joint committee was formed to discuss the film industry’s concerns about the amendment to the Copyright Act 1957 and on December 24 the Union Cabinet approved changes that will entitle authors of musical, cinematographic and literary works to royalty if their work is used for commercial purposes like ring tones, internet down loads or aired on radio channels which is not so at present. Music directors and a lyricists are paid on a one time basis and don’t earn anything from reruns or multimedia.

In the very first meeting of producers and writers committee, Aamir Khan representing producers had a row with Akhtar on the importance of the writer to a film and resigned from the committee after writing a letter to HRD Minister Kapil Sibal. Later Aamir was under pressure to reconsider his decision by the minister and the committee and Aamir accepted to resume his seat. According to me there is no conflict in anyone on the importance of the writer to a film. In my mind there is no confusion that the writer is entitled to copyright to his creation but the issue is not as simple as it seems.

There is a section that believes that while the amendment is for the betterment of the fraternity, it will in all practical purposes benefit nobody. There is a possibility that if the bill is passed it will harm both the producers and the writer’s community. So far the producer has not been paying for any reruns of any multi media to the writer. Once he does he will have little or no savings. There are strong chances that to stay away from the problem, he will become writer himself or hire debut writers who will not ask for copyrights as a result a lot of existing writers may go out of work.

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I attended a spectacular music and dance extravaganza at Iskcon titled Shri Krishna Sharnamama on the love story of Radha Krishna. Produced and presented by Hiren Parpani the maker of Sathvaro Radhe Shyamno the concert is a feast to the eye comprising over a dozen expert dancers in lavish costumes gyrating energetically to vibrant music. The play has been shrouded in controversies for sometime after the choreographer parted ways with the troupe and launched an identical show with a similar title to confuse the audience which is not only unprofessional but also unethical.

It is an issue of copyright and Hiren Parpani could have broken down after the betrayal. Instead he fights a moral battle and has comes up with a revived show in Hindi which is more contemporary and packaged with better production values. The commentary in between the dances is still lengthy but unavoidable because the dancers need that much time to change into varied costumes. Barring that little snag Shri Krishna Sharnamama is a modern concept devoid of traditional trappings like an elaborate set or live music. Six magnificent statues of deities stand ahead of a peacock backdrop which much later you discover are not statues but real people! The anchor explains that the artistes are able to accomplish it after years of spiritual discipline and meditation.

The stage sparkles with twinkling lights and transports you into another planet. There is a heavenly feeling as the songs travel you to Mathura and Vrindavan in the world of Radha and Meera. The climax is simply unforgettable because while most Krishna ballets conclude on a maharaas, Pirani’s finale portrays the dasha avtaar which is to be seen to be believed..! Shri Krishna Sharnamama is not to be missed by all Krishna lovers and even those who don’t believe in Krishna but want to enjoy a colorful entertaining evening. As audience we must support the deserving and that’s what even Krishna says in the Bhagvat Gita.