The Fullness of Grey
The birds bursting
into smokebuildings
very quiet.
Stone,
this is not my world,
these are not my bones.
Only the evening,
the shadow,
the joyfulness,
the fading.
- Dominic Alapat
The Horns
blared in the distance.
All numbers, colours,
shapes pouring
the sun’s gold
into the day.
The birds dived as usual;
dived, climbed.
The world gave birth
to its own history.
The buildings talked.
They stood singing
and singing.
You gave your soul away.
You became nothing.
- Dominic Alapat
Remembering Mulk Raj Anand
Five years have passed since 28 September, the day Mulk Raj Anand left us. Recall is a strange thing. Although it was many years ago, I can still see him sitting on his divan at his home. Clad in a churidar and tunic, legs neatly crossed, Uncle Mulk sat beneath the portrait of Leo Tolstoy, his hero. The doors of 25 Cuffe Parade, his home, were always open. No one rang the bell. They just walked right in. Uncle Mulk never budged from his seat, but greeted visitors warmly with a strong handshake or a kiss on the forehead as in my case! Artists, writers, students and all manner of people came to visit him.They sought his help and advice or sometimes just wanted to share a drink in the evening. Yet, just five years after his death, Mulk Raj Anand has been forgotten. My dear Uncle Mulk is gone and his name ground in the dust. The old historic structure, in which he lived and fought so hard to save from its current fate, will soon be a lobby for a high rise building.Where every other country preserves the houses of its legendary figures along with all in it and offers them to the view of the world,we in India callously tear down historic structures but talk glibly of past glory. We will do nothing to honor our heroes, people who have sacrificed the best part of their lives to give us the freedom we enjoy today. It is painful to see the so-called intelligentsia that milled around Uncle Mulk at one time, melt away. Not one person has come forward or lifted a finger to honor the memory of a man who did so much for others. I can remember the time when we were in Khandala over a weekend. I was at the age what Uncle Mulk called ‘the foolish young’. Over breakfast we got into an argument and he said to me: “You know dear, you young will never know the sacrifices that we have made for this country. You have never had to fight for or give up anything. You have received freedom on a platter and I can see it being thrown away once again to the West". Mulk Raj Anand was born to Rai Sahib Subedar Lal Chand of the 17th Dogras Regiment in Peshawar, on 12 December, 1905. He was a lovable, sensitive and demanding child, favored above his brothers by his parents.Mulk was nicknamed ‘Bully’ by his father, who in fact had made up a little ditty with the word. ‘Bully, bully, bully my son.’ A nonsensical rhyme that he would croon with little Mulk in his arms. This ditty remained forever fixed in his mind, associated with the love of his father. His childhood is re-counted in his well-known autobiographical book Seven Summers. Mulk saw many shades and hues of life at a tender age, as his father’s regiment moved from place to place. He studied at Khalsa College, Amritsar; Punjab University, 1921-1924;University College, London, 1926-29 and Cambridge University 1929-30, where he obtained a PhD. He lectured at the League of Nations’ School of Intellectual Co-operation in Geneva, worked with the BBC in London and plunged headlong into the vibrant intellectual life of the city. Touchy and sensitive, he was grief-struck when his dearly loved aunt Devaki committed suicide after being ostracized by the Hindu community for her friendship with a Muslim.The episode roused a barrage of questions about the communal divide in our society. Mulk vowed to fight the evils that distorted and destroyed the most fundamental human values. He chose to wield his pen as a sword. The first assault was Untouchable – a day in the life of a scavenger in India. Untouchable was written over a long weekend in 1930 and revised several times. Then, Mulk came to India and visited Mahatma Gandhi’s ashram to show him the manuscript. He narrated the story thus: "First, the Mahatma insisted on Indian clothes. ‘Why are you dressed like a monkey? Go, put on some Indian clothes,’ he admonished. Next, his novel was rejected right away as being unrealistic! ‘Have you ever heard an uneducated, rejected scavenger who has been nowhere near a school mouth such big words? Rewrite it and be natural,’ the Mahatma had said. Mulk returned to England and following Gandhi’s advice to the T, rewrote the entire novel. It was a frontal attack on upper caste hypocrisy. Nineteen publishers rejected his book by September 1934. "Do you know what it is like to be rejected time and again?" he asked me, once as he recounted the story to my aunt Dolly and me, one evening in Khandala. British publishers were incredulous. ‘A novel about the poor,’ they asked? "No one writes about the poor"they said. "The poor are a joke and we ignore them." Mulk was devastated. Dangerously close to a nervous breakdown,he began to contemplate suicide. Then, fate intervened. A young British poet Blake Oswell took the manuscript to Vishart Books. The editor liked the novel for its ‘sincerity and skill’, but wanted his decision endorsed with a preface by E M Forster. Forster had already read the novel while it did the rounds of the publishers and willingly wrote the preface, saying the book ‘has gone straight to the heart of the subject and purified it.’ Untouchable hit the bookshops in May 1935 and Mulk Raj Anand was launched as a novelist. Incidentally, Forster received a larger payment for his preface than the author for the novel. Forster, however, generously passed on the money to the struggling young writer. Mulk Raj Anand never faltered. He practiced what he preached. His robust humanism, love for the land, compassion and forthright outlook remained unchanged and are strongly visible in all his works. Therefore, through the hundreds of pages of his novels, short stories, essays and letters, we return to the ‘promise’. The promise to uphold values at all costs. Values that enrich life, that strengthen relationships, that spread peace and are finally woven into the fabric of a strong, civilized and cultured nation. He wrote in 2001, on the occasion of 200 years of Maharaja Ranjit Singh’s coronation: "Our recalls of the heritages of the past are not from the wish to revive bygone splendors, which cannot come back. We wish to show how the purposive will of men in certain periods of our history have created, out of anarchy and disorder, glories which heightened the quality of life and which may inspire our renascent efforts today.” - Katie Sahiar Dubey
Into Space
that was orange
your body went.
Into your mind,
you grooved.
What could you do
when you couldn’t
tell, when you were
not there?
You said there are people
and there are ghosts.
You took the sky’s blue
and swallowed it.
You took the sun
and put it in your heart.
You ate your father,
your mother.
Everytime the world glowed,
you remembered.
Everything, you remember.
- Dominic Alapat
Song for an Ancient Land … The Joys of Seeing and Listening…
Light and darkness both reveal and destroy images as does focus or the absence of it. These destroyed images then become images of great beauty and power. Similarly sound – in its clarity or lack of it – creates aural textures which, along with the images, evoke varied possibilities in Kabir Mohanty’s two-part Song for an ancient land.
Clocking just under two hours, this is one of the great audio-visual experiences I have had in a long time, and without doubt, the greatest Indian work of its kind in ages. It is indeed a relief that one can say good things about a film currently made in this part of the world without being patronizing or dishonest, to say the least.
Though technically video art, I would like to call this cinema in a purer sense, with some of the images reminding me of experimental work done in Europe in the ’20s, but totally different in nature, context and intent.
What is truly gratifying is that unlike many practitioners of video art, particularly in our country, many of whom are dilettantes or painters who seem to have no clue of the medium, often claiming to be doing something ‘different’ (a dubious word), Mohanty’s work reflects a complete understanding of the medium of his choice, and reflects the use of its inherent aspects.
While watching the work, the viewer feels the images, both audio and visual, revealing possibilities, and sees the dynamics change, as time, so key to it,unfolds.
Part One explores the histories of the artist’s immediate neighbourhood, Pali Mala in Bandra. Images of traders, roads, sea shores, take on different meanings through feelings that evoke their poetry…
…And then Mohanty announces the arrival of Diwali with images so astonishing that you watch and experience pure joy. There are images where light flashes reflect on buildings, revealing textures till then hidden. A dot of light, travelling within a frame where time seems to expand endlessly on the screen, yet seems to stop for the viewer.
Part Two deals with images that look at a post-Babri Masjid world, the camera traverses over photographs being illuminated by a spot light or possibly a torch that highlights textures on these still images and almost simultaneously destroys the details only to create other images.
Time opens out possibilities and resonances in the sequence shot at the Darga in Mahim built in the name of Makhdoom Baba.
In an interesting shift in space, the camera observes the nature of sameness in diversity as New Yorkers walk in a busy area. This was one of the few places I thought the voice narrating the idea was not needed as the image evoked it in horrifying detail.
One of the joys of viewing Mohanty’s work is that it demands your attention and engages you in its very being. It respects its audience by assuming they are intelligent and have the ability to make connections. It is an invitation to an intimate dialogue, not a call to consumption. Every time you view the film, it offers you more meanings and emotions that enrich you. The greatest triumph of Song for an ancient land is that it invites you to see and listen, unlike works that numb you to a point of indifference as you only watch and hear.
- Kiran David
The Leaves
are a sunsea today.
The treetops are
waves of gold light
shimmering,
each a sea to itself.
So deep is the gulf,
I think at my window.
So strangely the light
flows, yet light.
So silently the buildings stand,
huddled together,
mourning in the mist.
- Dominic Alapat
Air
Crow on the scaffolding
picking itself.
A slide in a schoolground.
Birds sailing at angles
over the wet red roofs.
The air is liquid,
snatches of song,
silence.
Birds tweeting
my world to an angle.
Here, outside my window
where they can talk to me.
- Dominic Alapat
The Flowers Left
in the sun
stretching
beyond
and beyond
the everyday
that comes
keeps coming
like ghosts
fail, fade
in these slow
thoughts
that come
and go
here where
the fragrance
is gone
six stories
above the ground.
- Dominic Alapat
Sun Wave
drowned in heat
beneath water
where slow life
live
water is starshell
painted
there are angelflowers
growing on white rock
of love’s faces
entranced
then there is you
- Dominic Alapat
Going
out into the night,
into seabreeze, sand,
where grey buildings
stand in a perpetual
dream
of roads rushing
jampacked with traffic
lights and the night
moon sailing silent
as in a vision
growing for
fluorescent compartments
of trains
hurtling home
there is no home
here for this
silent moon
these stray grey
buildings
running, running
for their lives.
- Dominic Alapat