The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker.  It is on Sardar Gurcharan Singh who, after having started in pottery, simply to earn a living, discovered quite early in life, that it could become a medium of serious artistic expression like painting, sculpture and various branches of graphics. Nirmal Chander, also did sixty to seventy per cent of the camerawork- two others, namely the highly talented veteran Ranjan Palit  and K Nanda Kumar also did stints  behind the camera, a digital  Sony F S 5.  The beautiful visually consistent look that lent an emotional unity to the documentary, was achieved through subtle, painstaking colour correction. This 71-minute work on the life of an artist, who rose from becoming an artisan of ever- increasing competence to expressing his personality in clay with as much integrity as others working in other ‘officially’ recognised areas of visual expression gives the viewer an opportunity to enter his deceptively simple world.
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Sardar Gurcharan Singh
The director, who started his project in 2019, was hampered by the wholly unforeseeable appearance of the Covid Pandemic, and the absence of the artist; he had passed on at the age of 99 in 1995. Through sheer grit and intrinsic artistic intelligence, Chander managed to create a wholly satisfying portrait   of Sardar Gurcharan Singh, who, single-handed, raised pottery to a form of artistic expression, and that of a warm hearted, giving person who lived in the everyday world with simplicity and grace, giving freely of himself and his work to hundreds of students, over three generations and also people who came to him for material help.
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Pottery art by Sardar Gurcharan Singh
The making of the documentary involved enormous amounts of work during the research, the preparation period, identifying Gurcharan Singh’s work that was to be found all over India and also abroad, photographing them to satisfaction ,identifying and interviewing people connected with his work as well as his family,  going to Japan, where Gurcharan Singh studied  pottery  at the Higher  Technical School in Tokyo from !919 to 1922,  collecting archival material, mainly photos of the subject, alone and with others, apart from photographs of Delhi and Andretta, Tokyo. Nirmal Chander and Reena Mohan, his wife and co-editor of the film, through sheer persistence and faith in the work and backed by the consistent, generous support of Delhi Blue Pottery Trust, also the Producers of the venture got to make The Lotus and the Swan in an aesthetically satisfying way.
Gurcharan Singh’s life was a curious mixture of the ordinary and the extraordinary. He began by studying Geology, which,according to his son, Mansimran Singh, aka ‘Mini’, also a well- regarded potter/ceramist,’’led to his qualitative understanding of ores and minerals.’’ ( Prarthana Asija, conversation with Mansimran Singh) when studying in Tokyo he met fellow ceramists  Bernard Leach,Kenkichi Tomimoto, Shoji Hamada, Kanjiro Kawai, all of whom destined to make a name for themselves in their chosen metier. Gurcharan, also held his first exhibition, when in Tokyo. It was then, he began to be aware of the conflict between pottery being a source of livelihood and a form of self-expression.  He overcame these hurdles with humility, confidence and hard work, as if they were a given in this art called living.  The Lotus and the Swan expresses these aspects of his life effortlessly.
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He joined Ram Singh Kabuli, his father’s friend, in Delhi Potteries in 1919, learning to make bricks. It was there that pottery captured his imagination. Watching Pathan potters at work, particularly Abdullah, whom he respected and who remained an associate till late in life, well after Gurcharan Singh had started his own set up, Delhi Blue Pottery in 1952. It was this sense of loyalty and fair play towards the people who may have helped at crucial times in his life that earned him the love and respect of all those who worked with him or were his students. These aspects of his life as well as his generosity in sharing his hard-earned knowledge of pottery/ceramics with others for the larger cause of the art itself gave him an exceptional stature; Chander,  and co-editor of the work Reena Mohan, captured them with absolute ease.
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With most of the shooting done, it dawned upon the director and his co-producer that the film would acquire muscle and blood only after shooting some crucial sequences in Japan, covering his apprenticeship at the Higher Technical School in Tokyo and his auspicious beginning as an artisan-artist. Two important interviews with Prof. Yuko, an expert on the Mingai Movement, that gave  precedence to hand-made objects of everyday use, primarily in ceramics, created by ordinary amateurs (of talent) over those by  professionals having access to factories, and, another with Prof. Hashimoto, a professor of Letters,  give credence to Gurcharan Singh’s decision  to choose studio pottery over mass produced works, as the right one.
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On his return to India and work at Delhi Potteries, he was unhappy. It was difficult to just  earn his living, knowing that he could make beautiful objects as a studio potter. In Ambala, after  the Partition in 1947, he worked as  Superintendent of the Pottery Training Centre, thus ensuring a regular income. He retired in 1952, came back to Delhi after years with his mentor Abdullah to start Delhi Blue Pottery.  ‘’He used stoneware clay body and high temperature glazes, fired at 1300 degree centigrade in coal kilns. He supported himself by making glazed tiles and ceramic lattices which were bought by architects in Delhi.’’ (Indian Ceramic Art Foundation). A word about the blue colour that made him famous. Its origins were in Persian Blue, which came in three shades, the most sensual being the one that most resembled the colour of Lapiz- lazuli, a semi-precious stone used in jewellery. The Blue tone, he formulated to use in ceramic creations, became his visual signature, though, he also used other colours with flair in his very many creations. The lotus, an often seen motif in his work, came probably from his appreciation of its curving lines, Its arabesques. The curves of a swan in motion inspired him to add it as a motif to some of his creations.
The Japan shots of Tokyo Technical University, College of Liberal Arts, Osaka, Kanazawa,Nara Temple, and various street scenes are lovely to look at and add a nimbus to the story of Gurcharan Singh’s becoming the realised artist, modest, despite considerable achievement. The images of present- day Japan intercut with archival photographs, and some documents give a clear idea of how he evolved as a ceramic artist, how his sensibility was gradually shaped into understanding that a utilitarian calling like pottery could become an art form to be taken as seriously as painting, sculpture and drawing.
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The are very many people who talk on camera about Gurcharan Singh affectionately called ‘Daddyji’ since his association with Delhi Blue Pottery which began in 1952. This was probably because of his protective, fatherly personality. All his life, since his return to India in 1922, he had shown a distinct ability to bring like-minded people together to serve a common cause, that of Studio Pottery.   Those of whom felt at ease in his protective, nurturing presence, called him ‘Daddyji’ spontaneously.  There is a lot of talk about ‘Daddyji’ and his kindness and generosity as a teacher and many students like the well- regarded ceramic artist Deepali Daroze speak about the necessity he felt of passing hard-earned knowledge of the craft of pottery to aspiring potters.  He talked her into teaching more students at the studio -school than was possible due to a lack of manpower. Nobody could say ‘no’ to him because he led by personal example.
Chander manages quite a feat by marshalling a plethora of facts about Gurcharan Singh’s life, achievements; the honours he received including a Padma Shri from the Government of India, the appreciation of artists here and abroad; his struggles-the government suddenly in 1986, decided to take away a sizeable portion of the land allotted to him for his kiln and studio, on Ring Road, Delhi thus cramping his working space – into a compelling narrative. However, the spoken word does not dominate the film, because there are plenty of examples of the artists’ work judiciously juxtaposed and sensitively photographed to bring out their beauty. What remains in the memory, as a result, is this touching visual experience of a pioneering artist’s work and his life of struggle and fulfilment.
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The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker. 

The Lotus and the Swan - A Television Documentary on Gurcharan Singh by Nirmal Chander

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Renowned writer and activist Arundhati Roy responds to queries from students on a wide array of topics ranging from the role of mother tongue in one’s lives , the phenomenon of globalisation and the possibilities of debate in a climate marked by oppression and fear of authority . The interaction, moderated by Venkitesh Ramakrishnan, Managing Editor , The AIDEM , took place at Sacred Hearts College , Kochi , Kerala<hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">YouTube</a> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq">WhatsApp</a>

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Renowned writer and activist Arundhati Roy responds to queries from students on a wide array of topics ranging from the role of mother tongue in one’s lives , the phenomenon of globalisation and the possibilities of debate in a climate marked by oppression and fear of authority . 

“Mother Tongue , Globalisation and Fear of Authority” , Arundhati Roy with Students

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Renowned writer and activist Arundhati Roy talks about a variety of issues ranging from freedom of expression, as reflected in the prohibition of the BBC documentary on Prime Minister Narendra Modi, the growth of Hindutva fascist hegemony in diverse domains of society as also her literature and the way she writes in this conversation with Venkitesh Ramakrishnan, Managing Editor of The AIDEM. She also reads excerpts from her books in this interaction hosted by Sacred Hearts College, Kochi, Kerala.<hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">YouTube</a> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq">WhatsApp</a>

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Renowned writer and activist Arundhati Roy talks about a variety of issues ranging from freedom of expression, as reflected in the prohibition of the BBC documentary on Prime Minister Narendra Modi, the growth of Hindutva fascist hegemony in diverse domains of society as also her literature and the way she writes in this conversation with Venkitesh Ramakrishnan, Managing Editor of The AIDEM.

“Even a Fairy Tale is a Deeply Political Thing“ – Arundathi Roy in Conversation with Venkitesh Ramakrishnan

The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker.  

The Lotus and the Swan – A Television Documentary on Gurcharan Singh by Nirmal Chander

<img src="https://strapi.bangalore2.com/uploads/images_34_770x393_796d24e9a6.jpeg" alt="images-34-770x393.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_34_770x393_796d24e9a6.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_34_770x393_796d24e9a6.jpeg 500w,https://strapi.bangalore2.com/uploads/medium_images_34_770x393_796d24e9a6.jpeg 750w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">Prolific documentary filmmaker R.P Amudhan’s body of work is unique and striking, especially in the manner in which his creations address issues and concerns of the marginalised sections of society. He is known as a media activist too. Hailing from Madurai, in Tamil Nadu, he founded the Marupakkam Media Activist Group (MMAG) in in his home district. The MMAG produces documentaries, screens films, and conducts workshops. He has over 20 documentaries to his credit. His films primarily focus on caste and labour issues. In this Interview with poet and writer Rashida Nasriya, filmmaker Amudhan RP discusses his craft, concerns and challenges.&nbsp;Rashidha Nasriya: What do you consider as the most significant challenge you have faced during the making of your documentaries?Amudhan RP: The biggest challenges I have faced in documenting the kind of social issues I have chosen to film are threefold. First, identifying a crucial topic which requires in-depth understanding and sufficient data to substantiate the narrative. Once I have a clear understanding of the topic, I would conduct thorough research and convince people, that is the characters in my film and their kith and kin. This has been my approach from my very first film, Leelavathi, a documentary on a Communist Party of India (Marxist) – CPIM- cadre killed in Madurai in 1997. I was relatively young at that time and the task of persuading her family and the district CPIM committee took a lot of effort. I finally did get their consent. It was a difficult task to get their trust.The second challenge – although a joyful one – is researching and gathering credible information, while the third is securing funding. As a solo filmmaker, I have learned to be self-sufficient. But still finding funds is a challenge. Any filmmaker would go through these challenges in varying degrees.<img src="https://strapi.bangalore2.com/uploads/images_35_721e230496.jpeg" alt="images-35.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_35_721e230496.jpeg 208w,https://strapi.bangalore2.com/uploads/small_images_35_721e230496.jpeg 500w," sizes="100vw" width="undefined" height="undefined">Nasriya: Did your activist background influence your decision to become a filmmaker?Amudhan: During my MA studies, I attended a workshop in Madurai organised by Center for Development of Instructional Technology (CENDIT), an organisation based in New Delhi. Here, I was exposed to several powerful documentary films. This experience opened my eyes to the significance of political documentaries. I was introduced to the concept of using film as a tool for social change, and I immediately knew I wanted to become a documentary filmmaker and an activist. This workshop sparked my passion for creating and screening films that inspire critical thinking and trigger meaningful conversations. It was a turning point that led me to merge my interests in social activism and filmmaking, ultimately shaping my identity as an activist-filmmaker. Activism and filmmaking are deeply intertwined for me – they’re two sides of the same coin. My filmmaking is an extension of my activism, and vice versa; the two are inseparable.Nasriya: Your film “My Caste” examines the intersection of caste, hegemony, and consensus in Indian society. What has driven your focus on caste in your activism and filmmaking?Amudhan: I wanted to take on the Caste issue from the perpetuator point of view rather than from the victim’s or survivor’s point of view. I wanted to get into the minds of the people who either follow or negotiate or negate caste in their lives. I wanted to know what happens in people’s minds when they deal with caste matters. That’s why I made the film ‘My Caste’ ‘recording the views of various people on caste related questions.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:951px;" id="attachment_30033" aria-describedby="caption-attachment-30033"><img src="https://strapi.bangalore2.com/uploads/IMG_20240927_WA_0021_d0a7a9b78c.jpg" alt="IMG-20240927-WA0021.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_IMG_20240927_WA_0021_d0a7a9b78c.jpg 154w,https://strapi.bangalore2.com/uploads/small_IMG_20240927_WA_0021_d0a7a9b78c.jpg 495w,https://strapi.bangalore2.com/uploads/medium_IMG_20240927_WA_0021_d0a7a9b78c.jpg 743w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30033">Amudhan speaking at an event</figcaption></figure>Nasriya: Can you give some details on how you investigated labour exploitation in Tirupur’s garment industry for your documentary “Dollar City”?Amudhan: Many of my films focus on labour issues, with a considerable number exploring labour practices. For my trilogy on hegemony and consensus, I chose Tirupur as a case study. This city exemplifies how consensus is manufactured to prioritise the industry’s interests.In Tiruppur, a tacit understanding exists among industries, trade unions, workers, NGOs, and political parties to protect the industry at all costs. The prevailing narrative is: ‘Without the industry, we cannot survive.’ This consensus leads to widespread compromise and adjustment, perpetuating the exploitation.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:739px;" id="attachment_30028" aria-describedby="caption-attachment-30028"><img src="https://strapi.bangalore2.com/uploads/images_36_2e37ef3154.jpeg" alt="images-36.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_36_2e37ef3154.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_36_2e37ef3154.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30028">During production of Amudhan’s documentary</figcaption></figure>I want to capture this complex dynamic in my film, highlighting how Tiruppur’s industry-centric consensus affects labor rights and social justice.&nbsp;Nasriya: How did you approach exploring the complex and sensitive topic of manual scavenging in your film “Pee (Shit)”?Amudhan: I wanted to make a Tamil version of Lesser Humans – a documentary on Manual Scavenging in Gujarat by Stalin K. Although I wanted to make a similar comprehensive film about Tamilnadu, my encounter with Mariamma, a sanitary worker in Madurai convinced me to make a short documentary which practically covers every aspect of the work.I realised a shorter format could powerfully convey the urgency of this issue, making a compelling argument against manual scavenging. This inspired me to create the film titled ‘Pee’ (Shit) [Watch Below], highlighting the harsh realities of manual scavenging.<div class="raw-html-embed"><iframe width="640" height="480" src="https://www.youtube.com/embed/a0eWOHAvVn4" title="Shit - a documentary by Amudhan R.P." frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;Nasriya: What inspired you to create a documentary about Mercury pollution in Kodaikanal?Amudhan: The film ‘Mercury in the Mist’ was initiated by workers from the Kodaikanal thermometer factory, who had been fighting against the company’s harmful practices. They sought my help to create a documentary supporting their cause, highlighting the devastating health effects of mercury exposure and their ongoing court battles. It was partially funded by the workers and their well wishers like Nityanand Jayaraman and others.&nbsp;Nasriya: Do you think the documentary can contribute to the border understanding of the challenges facing Indian democracy?Amudhan: Documentary watching is, in my opinion, one of the most engaging and intellectually stimulating activities. It offers a unique blend of education, art, and social awareness, empowering individuals to become responsible citizens. By watching documentaries, we gain perspectives on the world around us, exercising our right to informed decision-making and participatory governance. Through my screenings, I aim to create opportunities for social and political education, fostering a culture of critical thinking and civic engagement. Documentaries provide a valuable platform for raising awareness on critical issues, making meaningful conversations and inspiring social change.&nbsp;Nasriya: How crucial is creative freedom in documentary filmmaking for fostering critical thinking and public debate?Amudhan: In documentary filmmaking, merely reporting or recording is not enough. It is an opportunity to critically examine any subject, sparking meaningful discussions. We must be courageous enough to ask difficult questions, amplify marginalized voices and confront uncomfortable truthsUnlike commercial cinema, documentary filmmakers must take risks, challenging the status quo and pushing boundaries. By doing so, we humanize overlooked stories, Inspire critical thinking and foster empathy and understanding.&nbsp;Nasriya: How did your initiative “Marupakkam” come about…?Amudhan: Marupakkam is a network of people collaborating to promote documentary filmmaking and social change. We invite participation from individuals across India in various capacities, including funding, research, topic development, filmmaking, screening, and documentary workshops.&nbsp;<figure class="wp-caption alignright" style="border-width:0px;box-sizing:border-box;display:inline;float:right;height:auto;margin:5px 0px 20px 20px;max-width:100%;padding:0px;vertical-align:middle;width:1080px;" id="attachment_30029" aria-describedby="caption-attachment-30029"><img src="https://strapi.bangalore2.com/uploads/Screenshot_20240927_1713542_bec309fa73.png" alt="Screenshot_20240927-1713542.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Screenshot_20240927_1713542_bec309fa73.png 245w,https://strapi.bangalore2.com/uploads/small_Screenshot_20240927_1713542_bec309fa73.png 500w,https://strapi.bangalore2.com/uploads/medium_Screenshot_20240927_1713542_bec309fa73.png 750w,https://strapi.bangalore2.com/uploads/large_Screenshot_20240927_1713542_bec309fa73.png 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30029">Homepage of Marupakkam [Visit <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="http://marupakkammadurai.blogspot.com/?m=1">Here</a>]</figcaption></figure>Our activities involve screening documentaries, researching social issues, making films on relevant topics, teaching documentary filmmaking, and showcasing films made by others. Through these efforts, we aim to foster a community that inspires social change through documentary filmmaking.&nbsp;&nbsp;Nasriya: As a prolific documentary creator what advice would you give to emerging filmmakers?Amudhan: To young and upcoming filmmakers, I say: read widely, travel extensively, and cultivate an open-minded perspective. Listen to diverse voices, even in everyday settings like markets, where numerous perspectives converge. If you don’t have an open mind, you will only hear the voices that confirm your existing views. But with an open mind, you will identify and appreciate the varied voices, even within the same marketplace.</div></div>

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Amudhan’s Craft, Concerns and Challenges

Malayalam (ml)

Tamil (ta)

English (en)

Hindi (hi)

Telugu (te)

Kannada (kn)

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Dancing To Her Tune

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An Unwritten National Autobiography

<img src="https://strapi.bangalore2.com/uploads/images_1_6258d15665.jpeg" alt="images-1.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_1_6258d15665.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_1_6258d15665.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">People who read literature in India knew him, MT Vasudevan Nair. Language was no hurdle for his works to reach out beyond the state borders of Kerala. While Malayali diaspora took a handful of nostalgia along to the places they went, a little bit of MT was also in that.Today, the big business of literature finds translators to translate anything that moves. All tetrapods of literature are given awards that stink of corporate imperialistic nexus. But MT belonged to a different era when blood recognised blood, genius recognised genius. He got translated not once but several times.Basheer, Takazhi and MT were the triumvirate that could transcend the borders and stand tall among the Indian modernist literature. Yes, MT’s literature also had a fair amount of auto-fiction but he hoodwinked it with the magic of text. He was a persuasive minimalist both in writing and in person.An unsmiling MT could generate generations of readers who could smile through tears. MT wrote about a collapsing social structure that divested the old feudal class with their ill-gotten properties. But their social capital remained intact and could exert a lot of influence among the readers by becoming the surrogate emotional ethos of a transition time of Kerala’s socio-political history.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:1196px;" id="attachment_31084" aria-describedby="caption-attachment-31084"><img src="https://strapi.bangalore2.com/uploads/mt_1024x575_251dd09907.jpg" alt="mt-1024x575.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_mt_1024x575_251dd09907.jpg 245w,https://strapi.bangalore2.com/uploads/small_mt_1024x575_251dd09907.jpg 500w,https://strapi.bangalore2.com/uploads/medium_mt_1024x575_251dd09907.jpg 750w,https://strapi.bangalore2.com/uploads/large_mt_1024x575_251dd09907.jpg 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31084">MT during his Interview with Sabha TV (Watch <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/watch?v=NttnjeaVqn0">Here</a>)</figcaption></figure>When society evolved into a different being altogether, MT turned to the treasure trove of myths and itihasas to eke out allegories that explained the pain of loss, of class, roots and love. His literature spat on the face of bigotry, whether it was religious or familial. He was so stoically poised in his literature that none could have challenged him and expelled him from the world of literature.MT’s literature spoke of love and separation as vehemently as he wrote about the changing social complexions. But he was not sentimental. There was something in his writing that touched some chord in every reader. Before initiating themselves into Ambedkarite politics, the Dalit ideologues also, in their torturous nights of youth, pined for MT’s characters.Those who call the modernists, Dad Vibes, have really lost the sight of the forest while focusing on shrubs and thicket. MT was a forest that moved, as in the great tragedies. He remained a serious writer while the post modernists fell in the trap of publishers and wrote lightning stories and became laughing stokes.MT remains, so is the MT critique. That’s the beauty of a great writer’s life and of course, death.</div></div>

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MT: A Forest that Moved

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An ‘Overture’ Stringing The Pope, Yesudas and the ‘Songster Chaplain’

<img src="https://strapi.bangalore2.com/uploads/1_cc9df0fe47.png" alt="വലതുപക്ഷവുമായുള്ള-സംവാദത്തിൻ്റെ-വ്യർത്ഥത-1.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_1_cc9df0fe47.png 245w,https://strapi.bangalore2.com/uploads/small_1_cc9df0fe47.png 500w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">When old age shall this generation waste,Thou shalt remain, in midst of other woeThan ours, a friend to man, to whom thou say’st,“Beauty is truth, truth beauty,—that is allYe know on earth, and all ye need to know.” (John Keats, Ode on a Grecian Urn)<img src="https://strapi.bangalore2.com/uploads/6_904b2e9f2a.jpg" alt="6.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_6_904b2e9f2a.jpg 147w,https://strapi.bangalore2.com/uploads/small_6_904b2e9f2a.jpg 470w," sizes="100vw" width="undefined" height="undefined">Siddharth Tagore, Founder Director of Delhi’s <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.facebook.com/artkonsultindia/photos">Art Konsult</a> Gallery is no more. He cannot be contained in such a cold statement, so matter of fact like death itself. Besides the gallery, he founded magazines such as Art and Deal, Travel and Deal and many other publications. Even when he knew that he wouldn’t make any profit out of the publications, he invested money in them because he knew art wouldn’t survive without the literature surrounding it.&nbsp;Yet another venture of Tagore’s was an auction house, namely Art Bull. The name was perfect for a bullish art market of the 2000s. But the glitch was this: Siddharth Tagore was not bullish. Nor was he bearish. He was cherubic, complete with a benign smile on his face and a burning cigarette between his fingers. Whenever I came out after having a meeting with him, I would ask myself, was he cut for this business?&nbsp;Tagore could have been a poet and dreamer like his internationally renowned namesake of yesteryears.. After the pandemic period I met Tagore after a gap of four years at the Visual Art Gallery, India Habitat Centre where Art Konsult had organized a group exhibition. After the inaugural function, I shook hands with him and I realized that his hands had lost the firm grip though the warmth remained. “I have not been keeping well,” he told me.&nbsp;<div class="gallery galleryid-31051 gallery-columns-3 gallery-size-full" style="box-sizing:border-box;margin:30px -8.96875px 0px;padding:0px;" id="gallery-1"><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/c_768x993_a7cec9742c.jpg" alt="c-768x993.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_c_768x993_a7cec9742c.jpg 121w,https://strapi.bangalore2.com/uploads/small_c_768x993_a7cec9742c.jpg 387w,https://strapi.bangalore2.com/uploads/medium_c_768x993_a7cec9742c.jpg 580w," sizes="100vw" width="undefined" height="undefined"></figure><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/b_768x985_3f8fb449e6.jpg" alt="b-768x985.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_b_768x985_3f8fb449e6.jpg 122w,https://strapi.bangalore2.com/uploads/small_b_768x985_3f8fb449e6.jpg 390w,https://strapi.bangalore2.com/uploads/medium_b_768x985_3f8fb449e6.jpg 585w," sizes="100vw" width="undefined" height="undefined"></figure><figure class="gallery-item" style="border-width:0px;box-sizing:border-box;display:inline-block;height:auto;margin:0px 0px 1rem;max-width:33.33%;padding:0px 8.96875px 17.9531px;text-align:center;vertical-align:top;width:262.609px;"><img src="https://strapi.bangalore2.com/uploads/a_7888f94e4b.jpg" alt="a.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_a_7888f94e4b.jpg 121w,https://strapi.bangalore2.com/uploads/small_a_7888f94e4b.jpg 385w,https://strapi.bangalore2.com/uploads/medium_a_7888f94e4b.jpg 577w," sizes="100vw" width="undefined" height="undefined"></figure></div>Then on another occasion, at the same gallery, I met him again, this time without the crowd. He preferred to wear a pair of fading blue jeans and white shirt, a reminder of those romantic 1970s when every youth in West Bengal dreamt of poetry, love and revolution. Jeans and Shirt were the uniform of love and revolution. I think, when Tagore came to Delhi as a young man, he carried those qualities along, plus his sense of dressing. Lovers in those days smoked rather constantly and drank Old Monk Rum.&nbsp;On that day when I met him, Tagore told me that he had quit smoking, which was news to me. I couldn’t have imagined the man without a cigarette between his fingers or at least a packet of cigarettes to fuss with. I understood the gravity of the situation.&nbsp;Then again, we met when Praveen Upadhyay of the Progressive Gallery at Laddo Sarai organized a talk session with art professionals that included Tagore, Prayag Shukla, Vinod Bharadwaj and myself. Tagore was supposed to talk about the art market. When the mike was handed over to him, he fussed with it for a while and said that he always wanted to make it big by promoting young artists, but somehow, he never made huge business.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:689px;" id="attachment_31054" aria-describedby="caption-attachment-31054"><img src="https://strapi.bangalore2.com/uploads/7_768x511_149563fe01.jpg" alt="7-768x511.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_7_768x511_149563fe01.jpg 235w,https://strapi.bangalore2.com/uploads/small_7_768x511_149563fe01.jpg 500w,https://strapi.bangalore2.com/uploads/medium_7_768x511_149563fe01.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31054">Siddharth speaking to the media at Art Konsult</figcaption></figure>Then I remembered Tagore telling the same during the market boom years that lasted in India for around ten years starting from 2005 to 2015. In 2008, the world market had collapsed, but the Indian art market using its cunning and reserve withstood the pressures and dragged the impending failure for a few more years only to revive itself by the beginning of the third decade of the new millennium.&nbsp;Had Tagore acquired a penchant for failure despite his resilience in running a gallery, publications and an auction house for over three and a half decades ? Did he enjoy calling himself a failure in the art market? Was he romantically involved with the idea of failure even when he kept others who were with him in the business, floating? I don’t know for sure. But Tagore remained grounded and rooted; he tried his best to keep himself away from the nefarious market practices.&nbsp;There were a few people who stood with Tagore in his highs and lows (lows that lasted for not some months but for years together), never deserting him, following his orders. Prashant Seal and Rajula Bisht are two people I remember. These two people have been so close to his heart and even after his twin daughters joining him in the business, both Seal and Bisht never lost their position as the confidantes of Tagore. He loved them like family.&nbsp;I met Siddharth Tagore in 1995. He had started Art Konsult in Hauz Khas Village. Meena Tagore (now Meena Varma) was with him then. Late Vijayan Kannanpally was the editor of Art and Deal. With the growth of art scene, Tagore’s gallery also grew in stature. Art Konsult was one of the few A listed galleries in the city. Tagore took it to South Delhi’s art district, Laddo Sarai during the boom years and later relocated it to Hauz Khas again.&nbsp;<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:562px;" id="attachment_31055" aria-describedby="caption-attachment-31055"><img src="https://strapi.bangalore2.com/uploads/0_768x512_88eabd3bbc.jpg" alt="0-768x512.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_0_768x512_88eabd3bbc.jpg 234w,https://strapi.bangalore2.com/uploads/small_0_768x512_88eabd3bbc.jpg 500w,https://strapi.bangalore2.com/uploads/medium_0_768x512_88eabd3bbc.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31055">Siddharth Tagore with art critic and curator Jyoti A Kathpalia at the Art Konsult, New Delhi</figcaption></figure>It was in his Laddo Sarai phase that I joined him as the Editor of Art and Deal. It was the same when he decided to start Art Bull and Travel and Deal. I brought out around ten issues of Art and Deal between 2010 and 2013, with a gap in 2012 when I joined the United Art Logistics to establish the United Art Fair. Tagore literally lent me to the other organization with a promise that I could walk into the editor’s office at any time that I wanted. And I did go back.&nbsp;As a part of Tagore’s team, he gave me full freedom to edit the magazine and curate exhibitions. I curated a few shows and introduced a few new artists of which some are very reckonable names in today’s art scene. The exhibition ‘Merging/Submerging’ was a showcasing of contemporary photography art and ‘R.A.P.E’ (Rare Acts of Political Engagement), an all-woman show responding to the brutal murder of Nirbhaya in Delhi. This exhibition was a super hit and was discussed in all the print and television media. Art Bull did do a couple of exhibitions and auctions. I did not take much interest in it though Tagore hoped that his auction house could change the scenario and also break certain monopolies. Tagore also initiated an Art History Lecture series which I conducted on his behalf.&nbsp;Siddharth Tagore remained true to his calling. With a kind of detachment, he sponsored exhibitions that he knew well, would not bring any business. He was an avid collector of folk and tribal art and together with Meena Varma, he initiated an organization called ‘Art of the Earth’ for promoting the folk and tribal art of India, much before the ‘folkploitation’ of today’s art market became rampant. Tagore helped whoever came to him with a request for an exhibition or an immediate financial relief. &nbsp;<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:640px;" id="attachment_31053" aria-describedby="caption-attachment-31053"><img src="https://strapi.bangalore2.com/uploads/3_e1734762508660_669x1024_7c977a7959.jpg" alt="3-e1734762508660-669x1024.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_3_e1734762508660_669x1024_7c977a7959.jpg 102w,https://strapi.bangalore2.com/uploads/small_3_e1734762508660_669x1024_7c977a7959.jpg 327w,https://strapi.bangalore2.com/uploads/medium_3_e1734762508660_669x1024_7c977a7959.jpg 490w,https://strapi.bangalore2.com/uploads/large_3_e1734762508660_669x1024_7c977a7959.jpg 653w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-31053">Siddharth Tagore signing the <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://amzn.in/d/4TijcgO">book</a> “Ganika- In the visual culture of the 19th-20th Century India” at the Art Konsult</figcaption></figure>&nbsp;<img src="https://strapi.bangalore2.com/uploads/4_560x1024_090314e000.jpg" alt="4-560x1024.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_4_560x1024_090314e000.jpg 85w,https://strapi.bangalore2.com/uploads/small_4_560x1024_090314e000.jpg 273w,https://strapi.bangalore2.com/uploads/medium_4_560x1024_090314e000.jpg 410w,https://strapi.bangalore2.com/uploads/large_4_560x1024_090314e000.jpg 547w," sizes="100vw" width="undefined" height="undefined">When artists in Calcutta packed their wares and set out for Delhi, they knew Siddharth Tagore was there if nothing else worked (perhaps he was their primary destination), along with cigarettes and Old Monk Rum. He never discouraged the people who came to him with a clear intention to exploit. He was not cautious about relationships that brought him a fair amount of heartburn. As I said elsewhere, Tagore was a poet in his heart, with a heart ready to bleed for love and art.</div></div>

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