Category: Art & Cinema
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A Film on Bismillah Khan
A friend pointed me to this wonderful 1989 film on the life and times of Bismillah Khan (1916-2006), a musician as great as any that India has produced. It reveals Khan’s enduring sense of place, his syncretic faith, his modesty and egalitarianism, and his extraordinary talent and devotion to music. The film presents many vanishing old world values, stories, and traditions of musical learning, with footage of the narrow alleys of Varanasi and its ghats by the Ganga, which Khan loved and missed on his travels. Though a pious Muslim, he also revered the Goddess Saraswati and often played at the famous Vishwanath temple on the ghats of Varanasi. (90 min, Hindi, no subtitles.)
It so happens that Bismillah Khan presided over the union that made my existence possible in the world! He played at my parents wedding in 1959, when he was a rising star, as a favor to my maternal grandfather who was a pretty senior official in the UP state bureaucracy. The photos on the right are from that occasion. -
BBC Series on the Ganga
Here is an excellent BBC documentary, Ganges, on the river’s Himalayan birth and descent, its journey through the plains, and its end in the Bay of Bengal in what is the largest river delta in the world. The series focuses on the natural history and human life along the river’s course. The three episodes embedded below (one hour each) are: (1) Daughter of the Mountains, (2) River of Life, (3) Waterland. One critique I have is that by concentrating the most beautiful and the rarest nature and wildlife footage, the series encourages the highly misguided impression that the environment along the river’s course is robust and thriving.
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Art and the Limits of Neuroscience
Alva Noë on what neuroaesthetics—a field that studies art through the insights of neuroscience—can never tell us about art:
What is art? What does art reveal about human nature? The trend these days is to approach such questions in the key of neuroscience. “Neuroaesthetics” is a term that has been coined to refer to the project of studying art using the methods of neuroscience. It would be fair to say that neuroaesthetics has become a hot field. It is not unusual for leading scientists and distinguished theorists of art to collaborate on papers that find their way into top scientific journals. … … Neuroaesthetics, like the neuroscience of consciousness itself, is still in its infancy. Is there any reason to doubt that progress will be made? Is there any principled reason to be skeptical that there can be a valuable study of art making use of the methods and tools of neuroscience? I think the answer to these questions must be yes, but not because there is no value in bringing art and empirical science into contact, and not because art does not reflect our human biology.
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The Bhagavad Gita Revisited – Part 1
(Cross-posted on 3 Quarks Daily, where it has received many comments.)
Why the Bhagavad Gita is an overrated text with a deplorable morality at its core. This is part one of a two-part critique. (Part 1 is the appetizer with the Gita’s historical and literary context. Part 2 is the main course with the textual critique).
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In mid-first millennium BCE, a great spiritual awakening was underway in areas around the middle Ganga. People were moving away from the old Vedic religion—which revolved around rituals, animal sacrifices, and nature gods—to more abstract, inner-directed, and contemplative ideas. They now asked about the nature of the self and consciousness, thought and perception. They asked if virtue and vice were absolute or mere social conventions. Personal spiritual quests, aided by meditation and renunciation of material gain, had slowly gathered pace. From this churn arose new ideas like karma and dharma, non-dualism, and the unity of an individual’s soul (atman) with the universal soul (Brahman)—all pivotal ideas in Brahmanical Hinduism.Category: Art & Cinema, Books & Authors, Culture, Fiction & Poetry, History, Philosophy, Politics, Religion, Video -
Death by Dialogue
The position of the colonizer’s language within the changing culture of its former colony is always a fraught one, and the difficulty of the matter is severely compounded in a country like India, whose citizens never shared a common language prior to their colonization. Lack of a common language must be one reason why English persisted in India after Independence, despite the fact that it had little penetrated the colonial population. Although it’s still far from being a language of the masses, English is more widely spoken in India today than it was in colonial times.English remains a first language of the uppermost classes, and it’s increasingly gaining traction as a lingua franca, the language of the modern office place. Yet Indian novelists who write in English have been taken to task for their choice of language, and questions regularly arise as to the “authenticity” of their works. These are matters worth discussing, but we can acknowledge that the answers will never be neat or straightforward.
In The Caravan, Trisha Gupta has added to this conversation by describing the surprisingly complex relationship of the Hindi language to Hindi cinema, suggesting a relationship that’s always been difficult, if not contrived. Gupta describes the changing registers of filmic Hindi, and how, as Hindi filmmakers increasingly come from English-speaking households, and as more and more of their films are actually depictions of the Indian English-speaking world, this messy relationship continues with new challenges and artifices.
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Revisiting the Bhagavad Gita
Here is a clip from Peter Brook’s brilliant adaptation of the Mahabharata (1989). It contains the film’s rendition of the Bhagavad Gita. I am rereading the Gita now and plan to write a review soon. I’ll argue that given the catastrophic destruction of life by the war’s end, a more reasonable response to the Gita is to question, rather than admire, Krishna’s “wisdom”, and to see Arjuna’s straightforward doubts about the war as more genuine and human. In my estimation, the arguments that Krishna employs to convince Arjuna to fight are not very convincing, and are often pernicious. By extension, I think the Gita is not a worthy guide to life (or the ‘inner battlefield’), at least not in terms of moral reasoning. It seems to me that Krishna, using a dazzling array of abstract ideas and psychology, brainwashes Arjuna into thinking that he has penetrated his illusions to understand ‘ultimate reality’, from which vantage point the great warrior is able to overcome all his moral doubts: hardly a commendable state.
My critique will be hard to dismiss as an example of Western/Eurocentric bias (especially by irate Indian readers, some of whom did just that with Wendy Doniger’s take on the Gita), for I intend to amplify a critique of the Gita’s philosophical worldview that was extant within India even two millennia ago, in the thought of the Buddha himself and then Nagarjuna. (To be continued...)
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Miss Representation
Go see the very well put together documentary film, Miss Representation, which explores “the media’s limited and often disparaging portrayals of women and girls.” While not in theaters (yet?), click on the movie website to locate a screening near you (trailer below).
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The Culture of Gaming
Broadcast on public radio, an interesting “look at the history, the culture and the future of video games. Whether you know it or not you’re likely a gamer and games are creeping into nearly every aspect of life; an hour on how far video games have come and where they’re going.”
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The Danger of a Single Story
This talk by Nigerian novelist Chimamanda Adichie is not to be missed. I think it’s worth the time for anyone interested in stories, language, reading and writing, not to mention class, politics, history, cultural and imperial hegemony, mental colonization, and so much more.
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Atheism, Ethics, and Pornography
An interview with Nina Hartley, humanist, proud atheist, vocal feminist, and a pornstar with 600+ adult films to her credit:
The Humanist: What do you think could be done to improve the [porn] industry?NH: The widespread notion that legal porn production is a sink hole of abuse and coercion that takes advantage of poor, innocent women, is the biggest smack leveled against the business. It’s almost entirely a function or projection of people’s fears and discomfort about women, gender relations, sex, sexuality and the graphic depiction of sexual acts. The idea that a woman could choose, on purpose, to perform in pornographic videos for her own reasons still goes deeply against the notion that women are somehow victims of male sexuality, that they’re delicate flowers who need the protection of a good man, or the law.
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The Rock Art of Djulirri
“In a remote corner of Arnhem Land in central northern Australia, the Aborigines left paintings chronicling 15,000 years of their history. One site in particular, Djulirri … contains thousands of individual paintings in 20 discernable layers. In this video series [total ~15 mins], Paul S. C. Taçon, an archaeologist, cultural anthropologist, and rock art expert from Griffith University in Queensland, takes ARCHAEOLOGY on a tour of some of the most interesting and unusual paintings—depicting everything from cruise ships to dugong hunts to arrogant Europeans—from Djulirri’s encyclopedic central panel.” [—Samir S. Patel, senior editor, ARCHAEOLOGY.]
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Status Anxiety
Last night I saw Status Anxiety, an intelligent and entertaining two-hour British documentary (2004) written by Swiss author Alain de Botton. It looks at our ideas of success and failure, the anxiety we feel over our careers, the envy our peers evoke in us, and why it’s harder now to feel calm than ever before. Is success always earned? Is failure? What role does snobbery and envy play in our lives? What is the flip side of equality, individualism, and meritocracy? Where do our goals and ambitions really come from? And finally, how to get beyond all this. It’s based on the book by Botton with the same name, Status Anxiety. If you only have time for a condensed TED talk, see it here.
Category: Art & Cinema, Books & Authors, Culture, Economics, Humor, Philosophy, Politics, Religion, Video -
Ten Years of Nothingness
Observing anniversaries is often a way to mark the passage of time, celebrate small achievements, and reflect on the journey. It can also be an exercise in self-absorbed narcissism. ☺ Be that as it may, I’d like to observe a minor milestone in my creative and online life. Earlier this year, Shunya completed its 10th anniversary. I created this website in 2000 to share my travel photos from around the world—photos that were fading away in cardboard boxes—and to learn web publishing. It was to serve as my web address, and perhaps become a quiet record of a personal history. (“Shunya” means the number “zero” as well as “void” or “nothingness” in Buddhist philosophy.)The site has since evolved much and now includes prose by me and others, photo essays, and videos. A big expansion came when I took a two-year break (2004-06) to visit 100+ destinations in 20+ Indian states. As a result, nearly half of the ~15K photos on Shunya are from India, the rest from ~50 other countries. In the last two years I’ve added a host of essays to it, including ones I’ve written for 3 Quarks Daily as well as by others on this group blog. I’ve even made new friends through Shunya, found long lost ones, and received many notes of appreciation.
Encouraged by the inquiries I got out of the electronic blue, I also began licensing my photos based on the buyer’s means and ends. Over a hundred organizations, including 15 museums, 25 academies, and 35 publishers have since licensed photos from Shunya. I’ve given away quite a few for free, especially to progressive non-profits, students, and starving artists. They have inspired paintings (samples below) and adorned calendars, posters, music CD jackets, slideshows, brochures, ads, postcards, websites, and book and magazine covers.
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Endhiran: A Review
Or Why I’m Not a Fan of Popular Indian Cinema
I’ve often wondered why Indian popular cinema generally leaves me cold. Though I’ve offered up defensive explanations to Indian friends and family who feel slighted by my lack of regard for it, the question has continued to simmer for many years on a back burner in my mind.Take, for instance, this latest offering, Endhiran (The Robot), India’s biggest blockbuster foray into science fiction, starring Superstar Rajinikanth. Though told with humor, Endhiran is a familiar story about a gifted man whose hubris brings tragedy upon his people (in this case, however, not upon himself). The archetypes and themes familiar to most Americans from the story of Frankenstein, also echoed in the story of Icarus, or Rabbi Loew, are styled here for an Indian aesthetic and sensibility. (For a plot summary, see the review in Variety.)
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James A. FitzPatrick’s India
(Cross-posted on 3 Quarks Daily.)
James A. FitzPatrick (1894-1980), American movie-maker, is best known for his 200+ short documentary films from around the world. They appeared in two series, Traveltalks and The Voice of the Globe, which he wrote, produced, and directed from 1929-55. Commissioned by MGM, the shorts played before its feature films and were no doubt a mind-expanding experience for many. Some of them are now online at the Travel Film Archive. Nearly eighty years later, what should we make of FitzPatrick and his travel films?FitzPatrick’s shorts on India—including Jaipur, Benares, Bombay, The Temple of Love (Delhi & Agra, no audio), and others not yet online—are a rare and unique window into Indian public life in the 1930s. We can see what many of these cities’ prominent streets and traffic looked like before motor vehicles and billboards, what familiar urbanscapes and skylines looked like, and how uncrowded these cities were before the big rural migrations, not to mention 70% fewer Indians. It is interesting to hear an American public figure from the 1930s pronounce on the castes of India, the religiosity of the Indians, and how they shared their public spaces with animals. They have the charm of quaint narrative conventions we find in period pieces. His films are valuable records of history also because they are a unique encounter of two very different cultures—illuminating the world behind the lens through the one in front.
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Aluna and the Future of the World
The Kogi are relics of a pre-Columbian civilization, one of very few peoples who have remained separate from the European influences that have shaped the history of South America. They continue to live in austere traditional homes and wear only their homespun cotton clothes, as they have done for unknown generations. They follow their ancient belief system, in which Aluna is the mystical world in which reality is conceived. Their homeland, a great massif in coastal Columbia called Sierra Nevada de Santa Marta, is rugged and remote enough to have preserved their isolation for hundreds of years.This same geography is also responsible for providing the Kogi with a unique view of environmental degradation and climate change, since their mountains, which rise from the tropical waters of the Caribbean shoreline to over 18,000 feet (5,700 m), are home to nearly every type of ecological zone in the world. To the Kogi, the Sierra Nevada de Santa Marta is the heart of the world, and their spiritual leaders, Mamos, have been entrusted with its care. But over these recent decades they have witnessed so much change and destruction that they—who call themselves Elder Brothers to the Younger Brother of the West—feel they must step forth and engage with the West in order to impart a message, a warning, a lesson: our way of life is destroying the world, and we must learn to see the earth in a new way.
They have decided that the best way to communicate may be through the West’s medium of choice: film. And to this end, they have teamed with documentary filmmaker Alan Ereira to make a documentary in which the Kogi hope to show us the way they see the world. As it’s described on the film’s website:
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Bollywood’s India
Here is a lecture on Bollywood by Rachel Dwyer, Prof of Indian Cultures and Cinema at the University of London (Nov 09). You may find it worth watching for its sociological insights, or even just to learn what a leading scholar of Bollywood now says about “Hindi cinema as a guide to modern India” in under an hour (rest is Q&A). For South Asians, a bonus might be the many nostalgia-inducing clips from old Hindi movies. (Bollywood scholarship is apparently hot, says this article.) -
“Final Solution” by Rakesh Sharma
The 2002 communal riots in Gujarat may well go down as the darkest chapter in the first decade of 21st century India. An estimated two thousand Muslims were murdered, many burned alive. But what makes this a particularly dark event is the fact that it was methodically planned ahead and actively supported by the state government of the Hindu nationalist party BJP, led by Narendra Modi, still popular and in command in Gujarat. As this Human Rights Watch report, published a month later, notes: Between February 28 and March 2 the attackers descended with militia-like precision on Ahmedabad by the thousands, arriving in trucks and clad in saffron scarves and khaki shorts, the signature uniform of Hindu nationalist-Hindutva-groups. Chanting slogans of incitement to kill, they came armed with swords, trishuls (three-pronged spears associated with Hindu mythology), sophisticated explosives, and gas cylinders. They were guided by computer printouts listing the addresses of Muslim families and their properties, information obtained from the Ahmedabad municipal corporation among other sources, and embarked on a murderous rampage confident that the police was with them. In many cases, the police led the charge, using gunfire to kill Muslims who got in the mobs’ way. A key BJP state minister is reported to have taken over police control rooms in Ahmedabad on the first day of the carnage, issuing orders to disregard pleas for assistance from Muslims. Portions of the Gujarati language press meanwhile printed fabricated stories and statements openly calling on Hindus to avenge the Godhra attacks.
In almost all of the incidents documented by Human Rights Watch the police were directly implicated in the attacks. At best they were passive observers, and at worse they acted in concert with murderous mobs and participated directly in the burning and looting of Muslim shops and homes and the killing and mutilation of Muslims. In many cases, under the guise of offering assistance, the police led the victims directly into the hands of their killers. Many of the attacks on Muslim homes and places of business also took place in close proximity to police posts. Panicked phone calls made to the police, fire brigades, and even ambulance services generally proved futile. Many witnesses testified that their calls either went unanswered or that they were met with responses such as: “We don’t have any orders to save you”; “We cannot help you, we have orders from above”; “If you wish to live in Hindustan, learn to protect yourself”; “How come you are alive? You should have died too”; “Whose house is on fire? Hindus’ or Muslims’?” In some cases phone lines were eventually cut to make it impossible to call for help.
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The Century of the Self
Watch this remarkable BBC documentary by Adam Curtis, The Century of the Self. It examines how those in power in the last century—including PR professionals and politicians—exploited Freudian insights into human nature to make money, engineer consent, and manage the masses. It raises profound questions about the “Self” that we all believe we inhabit and shape ourselves, the tectonic shift occurring in our roles from citizens to consumers, and its implications for Anglo-American democracy. It looks at the routine use of focus groups to classify consumer demographics in a culture of increasingly self-absorbed individuals and “shows how by employing the tactics of psychoanalysis, politicians appeal to irrational, primitive impulses that have little apparent bearing on issues outside of the narrow self-interest of a consumer population.” It also has some rare archival footage. (Thanks to my friend Louise Gordon.)Read more here. Below is part 1, here are part 2, part 3, and part 4, each about an hour long. It’s well worth the time!
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A Folk Singer from Himachal
Here is a folk singer I recorded in May 2005 in the highlands of Khajjiar, Himachal Pradesh, India. He sings in a language called Pahari, derived from Sanskrit and Prakrit, with many dialects across the Himalayan belt. We were near the town of Chamba, so this particular dialect is probably Chambiali, though I can’t be certain. I speak Hindi, also with roots in Sanskrit, so I can make out many words—enough to say that he is addressing his beloved in the first song and his attachment to place in the second—but not enough to translate (any Pahari speakers reading this?). Such are the myriad indigenous musical forms that globalization will probably make extinct in the years ahead.
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