Hridayananda Gogoi

“If winter comes can

Spring be far behind?”

Obviously, this is the fact for which everybody is running after. Once you find your path you will never fail in achieving the real goal in life. Of course you have to acquire a sincere motif that will lead you in your rest of the life. Perhaps, all people feel that and so they prefer to ahead.

Surely, this has to be understood. When people think that they do not have anything to deliberate, then also they have certain things to give focus on. That is the nature of everything what we are looking at all in this short span of life. Really this aspect of life is quite different because only few of us can think that each and everybody has something to say at all. Why does it happen that some people are more fortunate than the others? This can be asked to, but few of us can give proper reply. That is the nature of this system. It is not unnatural that only few people prefer to die, few feel to do for others, few feel responsible for others and only some people are more efficient than the others. This sort of discrimination if we call it like that may exist everywhere, but does never create anything to be controversial at all. Why such things happen in ones life? That question may arise to you and me. But you may give an instant reply, if you think that you are responsible to do that. May be it is a fact that you do not have that sort of qualities for which your participation may create any wrong to you. Had you not been sure about your own fall then what would protect your own identity? This sort of feelings one should always keep in mind. Unless this sort of feelings perhaps no one can success in life.

It’s unpleasant to say like this that you do not have a culture. But if we mean it really then what does the word ‘culture’ actually mean? To speak openly on a platform in front of intelligent gathering one must say that the word ‘culture’ means everything between you and me; from origin to end, from east to west, from north to south – and what not if we consider it widely. The horizon of ‘culture’ is really extending from one country to another.

Here I like to draw attention of another thing, which will highlight some other directions. Since time immemorial the Indian society as well as its people have been experiencing the powerful influence of the great epics — the Ramayana and the Mahabharata. As we notice the influence of the Ramayana is not only in literature but also spreads to a vast field of culture. On the basis of the stories and episodes of the Ramayana many people succeed in their respective fields like paintings, sculptures, performing arts etc. Since the Sanskrit playwrights Bhasa, Bhavabhuti, Rajshekhar and others, the Ramayana has been influencing Indian classical dances, plays, paintings and sculptures to a great extent. In the middle ages several regional theatres were brought into effect among which the major theatres were Ankia, Rash Lila, Ram Lila, Swanga, Nowtongki, Bhawai, Tamasha, Lalit, Yakshagaan, Kuriyattam, Chou Ramayana of Mayurbhanj, Ramayana dance of Purulia and Kathakali of Kerol. The influence of the Ramayana is also noticed in the field of puppet and marionette plays performed in the states like Andhra Pradesh, Karnataka, Tamil Nadu, Rajasthan, Assam and Madhya Pradesh.

In Assam the tradition of the studies of Ramayana in written form started in the 14th-15th centuries under the patronage of the Barahi king Mahamanikya, the royal poet Madhav Kandali translated the verses of the Ramayana from Sanskrit to Assamese. From that time onwards actually the importance of performing arts based on the stories of the Ramayana got a new direction. Among those performing arts, the significant as well as the rich traditions are Sattriya dances, Ankiya Nats, Mukha Bhaona, Kushan Gaan, Bhari Gaan, Ojapali, Khulia Bhaoria etc. The Sattriya dances of Assam originated in the 15th -16th centuries when Sri Srimanta Sankaradeva, the great saint, philosopher, poet, playwright, artist, composer and reformer wrote and staged his Ankiya Nats to propagate the Bhakti movement in befitting manner. Since then those Nats or plays are being continuously performed in different Sattras as a part of devotional activities and thus making them a living tradition.Though mainly part of the plays some Sattriya dances are also practised outside its ambit. Together this rich treasure trove of dances constitute an aesthetically superior artform, an intricate and graceful vehicle for elevated finer human emotions and sentiments and constitutes an integral part of the classical dance tradition of India. The Mask Drama or Mukha Bhaona tradition in Assam also started with Sankaradeva. There are also some examples of use of masks in various folk dances of several tribes. In the dramas that evolved out of the Bhakti movement of Sankaradeva, the masks were extensively used to depict various characters as well as to convey different emotions to the audience. The Kushan gaan is a folk song rendition in the dramatic tradition. It is an integral and popular item in the cultural fabric of Goalpara district. Regarding its origin there are two widely accepted theories, which suggest that in the regin of the Koch dynasty the Kushan gaan became popular. The second theory suggests that the songs rendered by Kush were called Kushan gaan. However the significant aspect is that only songs from the Ramayana are sung in the Kushan gaan. Stories from the Mahabharata, Puranas and other such scriptures have no place in the tradition of Kushan gaan. Among other traditions, mainly the tradition of Bhari gaan are still vibrant in the western parts of Kamrup and in certain areas of Goalpara district.The Ojapali also started singing “padas” from the stories of the Ramayana. This Ojapali form, which is a type of performing art form of ancient Assam, is widely popular in the Darrang district. The Khulia Bhaoria is another form of performing arts based on the epics and Puranas. It is also popular in the Darrang district. So, the traditions of performing arts spread throughout the width and breadth of the country. And following the earlier traditions in latter times each tradition builds its own niche, grows old, dies one day and repeats the cycle again. Every human being must understand these phenomena. The fact is that, tradition develops, supports civilisation and purifies one’s soul. Today, for each and every one the social and the personal are inter-twined. The truth is that, he has been, and has seen, through the phenomenal rise and fall of political, social and moral stances over many years. It’s a tradition, a great tradition. So, may we invite all of us to join hands together to preserve and promote this great culture of the universe?

Not enough has been said earlier even in case of Assamese literature too. The Assamese literature and culture has attained a great height in the Ramdhenu Era. Along with many others I too, am of the opinion that many of the all-time favorites Assamese fiction writers were born in the Ramdhenu Era. On its pages could be seen various new experiments and their results, which indicated, matured thoughts. The celebrated writers of the post-independent era had their first creative writings published in Ramdhenu. Particularly Ramdhenu is well remembered for its rich collection of unique short stories. During that time under the leadership of Dr. Birendra Kumar Bhattacharya the renaissance that created a sensation in the post-war Ramdhenu Era, short stories together with poetry played an important role. The trend of psychoanalysis introduced by Freud and Young, Karl Marx and the Soviet Revolution, which brought about new realizations and sympathy for the downtrodden, the Assamese writers started projecting all these facts in their own ways.

But it’s unpleasant to say that in spite of this the writers of the present generation are far away from this rich literary standpoint. It is not incorrect to say that the present generation is mostly diverted or perverted in their mere interests for which the literature has been in a looser position. The satisfaction is that numbers of poets have come up, though fiction writers are few.

Individually I feel that poetry is more difficult than writing a short story or a novel. Because poetry is more refined expression of one’s own feelings, emotions, joys and sorrows and so on. Moreover, poetry has its own language, which varies from poet to poet. In fictions the fundamental aspect is that it has a wide canvas. The writer can use it according to his own requirements and as per demand of his characters.

The other aspect which I think should be maintained by a writer is that his objectivity. Actually his target is his readers as well as his society. So a sort of social responsibility is always there. May be true that nobody decides at first that I am writing this for so and so or this will be adequate to these readers. Despite this, it is correct that there must be a social cause for which the writer feels to write or he/she is compelled to write. So, the writer writes for the people. And this is why he/she must be committed to the society, which is his/her second interest. As all know his/her first interest is the commitment to his/her own conscience. I feel the Assamese writers are dedicated and they always try to keep this in mind. But how the poetry or fiction will turn into a new direction or what sort of inputs will direct it to its highest height, it is too early to comment. Hopefully the Assamese writers are trying now to hear the call of the hour. In fact sometimes they are endeavoring to analyze the characters of a modern man, the significant aspects of his life, his sensitive reactions, etc. and have brought to light the insecurity, anguish and quest of the modern man in a very successful way.

Therefore I like to ask ourselves what sort of logical attempts have we made to focus on these serious subjects? If we need it to be focused outside at all then we have to shock out certain steps through which we can create an atmosphere to attain such things.

THE CONCEPT OF LOVE & PEACE IN Valmiki’S RAMAYANA

Hridayananda Gogoi

Since time immemorial the Indian society as well as its people have been experiencing the powerful influence of the great epics -- the Ramayana and the Mahabharata. As we notice the influence of the Ramayana is not only in literature but also spreads to a vast field of culture. On the basis of the stories and episodes of the Ramayana many people succeed in their respective fields like paintings, sculptures, performing arts etc. Since the Sanskrit playwrights Bhasa, Bhavabhuti, Rajshekhar and others, the Ramayana has been influencing Indian classical dances, plays, paintings and sculptures to a great extent. In the middle ages several regional theatres were brought into effect among which the major theatres were Ankia, Rash Lila, Ram Lila, Swanga, Nowtongki, Bhawai, Tamasha, Lalit, Yakshagaan, Kuriyattam, Chou Ramayana of Mayurbhanj, Ramayana dance of Purulia and Kathakali of Kerol. The influence of the Ramayana is also noticed in the field of puppet and marionette plays performed in the states like Andhra Pradesh, Karnataka, Tamil Nadu, Rajasthan, Assam and Madhya Pradesh. However, here we intend to discuss only those aspects which have been a source of inspiration in terms of love & peace for all of us.

One accepts the story of Ramayana at different levels; as a mere tale with impressive character studies; as a masterpiece of literary composition; or even as a scripture. According to R.K.Narayan, an eminent Indian writer in English, as one’s understanding develops, one discerns subtler meanings; the symbolism becomes more defined and relevant to the day to day life. The Ramayana in the fullest sense of the term could be called a book of “perennial” philosophy.

The numerous exploits of Sri Rama had one objective. It was restoration of peace at all fronts. He started this all important mission of his life while still very young. At a particular juncture of youth, under the guidance of their mentor the great Raajarshi Vishwamitra, Sri Rama, along with his brother Lakshmana, performed great feats of valour at the site of the holy yagna performed by the Raajarshi along with the other sages. In the series of events that preceded and followed that significant yagna, Sri Rama eliminated numerous demons and demonesses who haunted the otherwise peaceful and holy forest regions which were the abode of learned peace-loving ascetics. Inspite of the fact that ascetics remain detached towards worldly affairs and transitory modes of enjoyment, they are not ignorant concerning the well-being of the worldly people. In fact these people living in seclusion are the ones who have pure and humane feelings towards those people pivoting around the wheel of mundane existence. Sri Rama represented the man of the worldly society. He could realize the long standing outcome of the experience and favour of the ascetics towards their counterpart the worldly people. So, he thought that it was his utmost duty to look through their personal safety and preservation of their holy rites from the sinful intension of the demons creating havoc in the forest region. Even demonesses weren’t spared. The one and only reason of this bloodshed was restoration of peace in that forest region and the society at large.

The Ramayana shows the way to ideal living and how to restore “Dharma” on earth. Sri Rama is the inner Self or Atma, the embodiment of love, peace and effectiveness, acting through the mind, body and senses of human being. Sri Rama is also the embodiment of Dharma, of all codes of morality that hold mankind together in love and unity. His mind and behaviour are pure and steady, because he is the embodiment of the inner Self & all life-promoting universal values. Sri Rama is the impersonate form of God. So, God impersonates in human experiences. He shows how to overcome the evil forces. His unique success in all spheres of life — mental & physical, casual & spiritual— has inspired people at large.

Sri Rama is a man of spirit and not of war. He symbolizes the embodiment of all moral values that a man of Dharma possess and thereby support that “spiritualism is synonymous with universalism”. Sri Rama is the rational reflection of the theory of “Dharma” that enlightens “Humanity” as its essence. Purity of mind and “chitta”, total renunciation of weakness and selfless love for all fellow beings liberate the soul while still in the body. So, in the present world of turmoil and constraint the Ramayana can teach wisdom of perfect leadership, ideal brotherhood, tender & faithful relationship, sincere devotion towards God, parents & teachers and how to practise meditation & yoga, ideal education & marriage, natural & holistic health care, ideal living, art & music and all sort of community services.

The Ramayana has lessons in the presentation of motives, actions and reactions, applicable for all time and for all condition of life. Not only in the areas of military, political or economic power do we see the Ravanas-- the evil antagonists-- of today; but also at less conspicuous levels and in varying degrees, even in the humblest social unit or family, we can detect a Rama striving to establish peace and justice in conflict with a Ravana.

In the character of Mareecha we see he practised all the moral and spiritual values. When Ravana told him about his plan to snatch away Sita, Mareecha cried, “It’s immoral. Coveting another’s wife....” But Ravana threatened him in dire consequences : “I will split you with my sword, if you persist, and then achieve my end without your help, that’s all.” Mareecha had no other alternative, but to suppress his judgement. He concluded that he would rather be killed by Rama than by his own nephew, who had just threatened him.

Sita is the incarnation of wisdom, intellect, devotion and ideal womanhood. When Ravana entered into Panchavati and tried to persuade her mind, Ravana praised the asuras and said- since they are the most powerful in all the worlds, what could be wiser than to live in harmony with them? Sita replied, “But their days are numbered. My Lord’s mission in life is to rid this world of them and establish peace on earth.”

Hanuman is that humble mind-- faithful and devotional who makes the choice to give his life in unconditional love to the Lord. By his unlimited love Sri Rama brings the army of monkeys back to one central point by which the army of thoughts become extremely strong and able to build the bridge between darkness and light, ignorance and wisdom, mortality and immortality.

To overcome the stress and tension of body and mind, which is the outcome of selfish ego and arrogance, which is represented by Ravana, the transformation of the inner self is required. This transformation needs mental detachment which results from spiritual discipline. The spiritual discipline protects human rights. Sri Rama protects people with individual happiness. The real power comes from within us. That’s why the inner self (Atma) administers actual codes of living. It is the embodiment of peace, love & effectiveness. It acts through the body, mind and all the senses of human being. In the character of Sri Rama this wisdom of the universe is revealed to a great extent.

The farsighted Sri Rama realized his forthcoming coronation ceremony was the apple of discard between his father and his stepmother Kaikeyi. He had to consider the affairs of state as well. But as a dutiful son he had to fulfill his duty as well. Kaikeyi may be an opportunist. But a word is a word. It cannot be broken and the Solar dynasty had been true to its words. Kaikeyi had a great motherly love towards her stepson Sri Rama. It was only the turn of situation that changed her attitude towards him. As a dutiful son Sri Ram had duties towards Kaikeyi too. So, it was the sense of duty and love of a son towards his parents that Sri Rama decided to help his father Dasaratha get rid of his dilemma and give mental satisfaction to his step mother Kaikeyi. This depiction of duty and love of a son towards his parents is incomparable.

For the smooth run of society authority must have a strong but just hand in maintaining in law and order situation so as to ward off all evil from society. But when unwanted , evil forces affect law and order, then the society is in turmoil and human values and beliefs lost their stand in society. Then the society needs a strong able reformer to administer changes so as to renovate the worn-out society. In the Ramayan too, there is this particular concept . Its ultimate aim is always the same-- aspire for peace and harmony in society. Throughout their years in exile, Sri Rama and Lakshmana, fought against the evils of society in the forms of demons, cursed demigods and monsters etc. These were the dominant forces of evil and immorality. Sri Rama, the human incarnation of Lord Vishnu came down to earth with the sole aim to redeem Vasumati i.e. mother earth, from her cursed off springs the forces of evils such as-- the rakshasas, danavas, daityas, etc. The powerful Ravana was a nuisance to the three worlds. Sri Rama was born to free the three worlds of this nuisance. His struggle to upheld the peace and prosperity of the three was one of his uncompromising duty as the human incarnation of Lord Vishnu. In that great mission he had to make numerous sacrifices. But he was not to compromise. As the Maryada Purushuttama Rama he accomplished his duties to the pleasure and satisfaction of all concerned . In this context we can describe Sri Rama as the formidable sentinel of society who was staunch concerning the preservation of human as well as moral values at any cost.

Concerning the character of Sri Rama, the projection of love is manifold. Whether be it from the perspective of personal life or social life, Sri Rama was a perfect ideal of love. As a son, Sri Rama was obedient, dutiful and quick to perform his duties with full responsibilities. As a brother he was friendly cooperative cheerful and at times a good mentor. From the point of conjugal life Sri Rama was an ideal husband -- sincere, devoted, energetic, responsible and proved to be a true, ideal lover of his wife Sita. His relationship with Bivhishana and the monkey king Sugreeva can be described as ideal example of friendship. As a king and for those who asked for his favour, he was most benevolent and looked through each and everyone’s problems with a humane attitude. The manifold love of Sri Rama can be closely observed from the above mentioned relationships. This is also a feature of his majestic personality.

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London Updates

Dr.Bhabendranath Saikia memorial

Film Screen at the Nehru Centre

Dr. Bhabendranath Saikia is in simple language a legend in Assam whose stories writings and films have left an indelible mark not only in Assamese society for the past four decades but the world over. Authenticity was his signature theme, the hallmark of a genius credited with putting Assamese films well and truly on the national scene.

Dr. Bhabendranath Saikia, the man with indigenous career that dominated the creative spheres of Assam for a good number of year bid aideu to his mortal world three years ago 13.08.2003. He was born on 20th February, 1932 in Nowgaon district. He obtained his Ph.D in Nuclear Physics from London University. From studying Physics in Cotton College to become a reader at Gauhati University, where he picked up his interest in film making. He would have a glorious life abroad but the artist, the writer in him brought the maestro back to Assam to render services for uplift of Assamese culture.

He is considered one of the greatest Assamese of the 20th Century whose life began in a non despict locality in Nowgaon town. From studying Physics in Cotton College to become a reader at Gauhati University, where he picked up his interest in film making.

He followed the normal cause of a commoner as a child he was perhaps baffled by the mystery and illusion unfolded by the nature and behaviour of his penniless father, whom he described in his autobiography "Jiwan Britta" (life circle) as one who was in the habit of fleeing his home on various occasions, the reason for that discovered later was nothing but poverty, what a long, sometimes heart breaking always arduous road he trod to reach the pinnacle that he ultimately scaled. All these personal feelings or happenings have got a general phraseology with robust optimism in his short stories. Prahari, Brindaban Shringkal, Taranga, are a few to name.

He is also considered the main pillar behind the success of the great Assamese mobile theatre, which can only be compared to the Yatra of Bengal. Today the mobile theatre of Assam is a huge industry with a turn over exceeding about Rs 20 crores.

He has done this regularly since 1977 through seven Assamese films all of which have won the Rajat Kamal award as the best regional film. Sandhya Rag, Anirban, Agnisnan, Kolahal, Sarothi, Abarton and Itihas. Saikia also won the national award for best screen play, Agnisnan. Besides he also made a film in Hindi Kaal Sandhya, dwelling on the complicated issue of militancy but where he refused to take sides.

Many of his films have been screened at International Film Festivals held at various places. New Delhi, Kolkata, Hyderabad, Bangalore, Karlovy Vary (Czechoslovakia), Nantes (France), Valladolid (Spain), Algeria, Pyong Yong (Noreth Korea), Sydney, Munich, Montreal and Toronto. He has also directed one episode of Rabindranath Tagore's stories for Doordarshan in Hindi.

Recognised as one of the top ranking writer of Assam many of his stories have been translated into English, Bengali, Hindi, Telegu, Malayalam, Marathi and Gujarat which testify to their universality and simplicity.

Agnisnan is the most touching an award winning film of Dr. Saikia in 1985. In this film he has depicted the true life of the commoners, their hopes and despair, dreams and nightmares, values and morals struggle for a survival both physically and intellectually, individual as well as social obligations and many more. The boldness with Dr. Saikia establish the independence of a woman's self, in "Agnisnan" was not only a trend setter but also was an example of cizematic expertise. Most of his films revolved around a woman's character, thus rendering his film women oriented at least thematically. The maestro has acknowledged that women have been a source of inspiration both in their bold and weak versions. And as his writings have expressed his feelings towards this "so called" weaker sex, so have done his films.

Preeti Saikia (Aarohan): A true companion - wife of Dr.Bhabendranath Saikia. With her disarming smile simple down to earth and charming manner, the bespectacled Preeti Baideu you everyday at "Aarohan" the dream institution of her husband. It is a unique endeavour, the first of its kind in the North East a centre dedicated to the all round development of children using novel concepts and programmmes.

Dr. Bhabendranath Saikia had established the Bhabendranath Saikia Children Welfare Trust in February, 2001. On 20th February, 2002 construction for Aarohan, the first project of the Trust started.

Unfortunately Bhabendranath Saikia passed away on 13th August, 2003. With a dedication and determined mind Preeti Baidew along with the family and well wishers have resolved to continue the construction process of Aarohan to meet Dr. Saikia's goal of being functional by 20th February, 2004.

Today Aarohan started at Beltola at Dr. Saikia residence, the land he donated to the welfare of the children. With a message "It is my wish .... by the time you are grown up, our land will become beautiful and prosperous. The problems that are present today will no longer be there. All of you have to do your duties well from this moment onwards in order to prepare yourself for the days to come".

This year on Tuesday 14th August, 2007 the film: Agnisnan will be shown at the prestigious Nehru Centre in London (the Cultural Wing of Indian High Commission) to commemorate the 4th death anniversary of Dr. Bhabendranath Saikia organised by Rini Kakati.

Today I feel very happy that my wishes will be completed. When I met B. Saikia (Sir) along with Preeti Baidew (Nanu mami) Nanu Dutta in 1986 at London 21 years ago on their return after attending Nantes (France) film festival, we talked about a lot of things, his days at Imperial College, London and his wish to have a seminar. Deep down I promised myself "may be one day ......"

Call him a professor, journalist, story teller, editor, film maker or administrator. For the rest of us he is just "Sir". So, when he is gone, the icon-less Assamese society has taken a lengthy pause. One of its last remaining icons has left a void difficult to fulfilled.

Pictures: Dr. Bhabendranath Saikia receiving National awards from several Presidents of India: Sanjeeba Reedy, Dr. Sarbapally Radha Krishnan, Gyan Singh & Atal Bihari Bajpayee, with Prime Minister of India: Jawaharlal Nehru at the Gauhati Univerity. His staying days in London during his study for Ph. D degree. With Debashree Roy and Ashish Bidyarthi for the film Kalsandhya. With Dilip Kumar. Busy in editing his magazine Prantik. Attending Karlovivery Film Festival in Montreal, Canada (with Amita Mallik, renowned film critis of India, Mrinal Sen, renowned film maker etc), with Preeti Baidew and elder daughter. With Derek Malcolm, critic, London and another Film Director.

Rini Kakati, London

This article has not been edited. Comments & content are as given by the author herself.

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