Rabindranath Tagore, the Poet of All Poets.

We celebrate the great poet, philosopher, and social reformer Rabindranath Tagore’s birthday. Tagore visualized a modern, free India where people would think freely, and their minds would be without fear.

The Man Who Preached Emancipation for All

(A new series of articles, exclusively for Humanity College)
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Part 2

This is the beginning of Rabindranath Tagore week: this year, May 9 is his birthday. I am writing a series of new, original articles on the great poet, philosopher, educationist, and social reformer.

Contrary to his West-imposed image of a “mystic poet from the Orient” who wrote devotional songs and received a Nobel Prize for “Gitanjali,” Tagore was a major social reformer who preached universalism, and actively rejected prejudice, dogmatism, fanatic religion, and ultranationalism.

He also had differences of opinion with Mahatma Gandhi — especially on his vision to free India of the British clutches. Gandhi took the line of appeasement, and his Congress Party took the steam away from revolutionaries who fought the British aggressors for nearly a hundred years before Gandhi came on the Indian science. Tagore also spoke about nonviolence, but did not support Gandhi’s conservative vision. Tagore was truly a symbol of modernity and free thinking.

Rabindranath Tagore and Mahatma Gandhi had respect for each other, but they had differences of opinion too.
Gandhi visited Tagore at Vishwa Bharati, Shanti Niketan, Bengal.

But Gandhi and Tagore had respect for each other. However, they had differences. The primary difference in my opinion was that Gandhi was a traditionalist, who did not believe in a modern-concept gender equality, economic industrialization, and globalism. Tagore on the other hand was a strong believer of modernity, equal rights, and a border-less, universal human race. These are the principles on which Tagore built his university in Bengal — spending all his Nobel Prize money and personal assets. The university he built was named Vishwa Bharati — literally, the school of the world.

Vishwa Bharati University, located in Shanti Niketan (i.e., abode of peace), West Bengal is still functional. It runs on an exceptional way of teaching. Contrary to the British colonial educational system that indoctrinates students into following orders, teaching and learning methods at Vishwa Bharati are open-air, free-thinking, fair exchange, and non-punitive. In its golden days when Tagore was alive, noted educationists from across the world came on its faculty. They taught philosophy, foreign languages, art, music, science, and various hands-on skills. Tagore also built a satellite school nearby called Sri Niketan, a school that taught agriculture, pottery, textiles and such subjects — to help the local residents make a living.

Other than his world-renowned literature and music, Tagore wrote pioneering books on science and environment, and even ventured into making movies in the early years of films. He was one of most vocal environmentalists. He visited many countries including Soviet Union, and wrote about the major contributions of socialism. But Tagore did not believe in communism.

Especially in today’s pervasive social and political climate of hate, fear, violence, illiteracy and fascism, Tagore can answer our many questions. He actively preached against ultranationalism, religious bigotry, hate and violence, and conservative orthodoxy. Some of his major novels and plays highlight the above.

Rabindranath Tagore was a product of the now-forgotten “Bengal Renaissance” — a major historical phenomenon that took shape under the leadership of social reformer Raja Ram Mohan Roy (1772-1833), brilliant young teacher Henry Louis Vivian Derozio (1809-1831), and Tagore’s father Maharshi Debendra Nath Tagore (1817-1905). This school gave rise to a new generation of Bengalis and Indians who challenged orthodox, ultraconservative Hinduism and Islam, and even created a religio-cultural sect called Brahmoism.

(continued…)

The Passing of Rituparno Ghosh

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I just got some bad news from Calcutta. Noted filmmaker Rituparno Ghosh suddenly died this morning. He was 49.

In some ways, Ghosh reminded us of Fassbinder. In their separate social contexts and possibilities, they both challenged the “normal” society and the larger limitations of humanity. Both had a “libertine” lifestyle. Both probably died of strange, out-of-the-ordinary reasons — prematurely.

Both Fassbinder and Ghosh were exceptionally talented and extremely hard-working. Both cut a new genre of powerful, artistic movies.

Art critic, film professor Dilip Basu at University of California at Santa Cruz wrote me: “He was an idealist/realist, and an iconoclast.”

Prof. Basu is right. Ghosh carried forward the bright torch of Bengali liberal intelligentsia, a torch passed on by the likes of Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Tapan Sinha and more recently, Buddhadev Dasgupta, Aparna Sen and Gautam Ghose. All these noted movie makers, Ray and Ghatak being the two globally-famous names, showed us how progressive thoughts and anti-status-quo intellectualism and politics can thrive — even in an extremely conservative and patriarchal society. Yes, they can survive an onslaught of MTV, Beyoncé, Spielberg, Titanic and Jolie.

Or, in the Indian context, Amitabh Bachchan, Aishwarya Rai and Amir Khan.

Fassbinder (1945-1982)
Fassbinder (1945-1982)

The Bengali poets, artists, musicians and intellectuals have created an indelible path of free and futuristic thinking. Indian filmmakers and playwrights such as Ray, Ghatak and Ghosh as well as Badal Sarkar, Shyam Benegal, Girish Kasaravalli, Adoor Gopalakrishnan, M. S. Sathyu and Ketan Mehta vigorously put up a strong resistance against the quicksand kitsch of Bollywood. Millions of Indians and Bengalis are proud they have refused to be a part of the Bollywood imbecility. They drew inspiration from the vibrant, alternative, pro-real-life, anti-fantasy genre. They needed the inspiration now more urgently than ever before.

Ghosh’s sudden, untimely departure is thus truly difficult to grasp today.

Professor Basu wrote me: “A Bollywood friend told me once, ‘If you are looking for real innovation, you will not find it here as much as in Kolkata [Calcutta]. Where is a Rituparna Ghosh in Mumbai?'” For those who do not know, Bollywood movies are all made in Mumbai (previously Bombay — thus the name Bollywood: Bombay-Hollywood).

There was never a Satyajit Ray or Ritwik Ghatak in Mumbai Bollywood. There was never a Rituparno Ghosh or Aparna Sen in Bollywood Mumbai either. Especially if you think about the exquisite art Rituparno Ghosh held in his frames.

Many smiled at him. Many more laughed.
Many smiled at him. Many more laughed.

Especially, Ghosh was indeed an iconoclast. For India’s extreme, and often violent male chauvinistic society, his coming out as a gay/transgender was itself a revolutionary act. Some say, his sexual orientation and fiercely individualistic lifestyle made him a lonely man.

A Calcutta critic Yajnaseni Chakraborty wrote today: “…the jibes at the way he dressed and talked, the personal attacks on his films and those he acted in, the insensitivity of a society he was trying to change and educate, the seeming disloyalty of those he considered friends, and his inability to really, truly, trust anybody. Beneath his nonchalant facade, the hurt and the loneliness dug deep.”

I was not so much for his almost exhibitionist, somewhat bizarre lifestyle. In fact, as a movie enthusiast, I was not even one of his biggest fans. I never liked the way he filmed Tagore’s Chokher Bali (Eyesore) and cast Bollywood queen Aishwarya Rai as the lead, feminist character (Bollywood is polar opposite to women’s equality, in case you didn’t notice; and the Bachchan-Rai family has been one of the lead torchbearers of this anti-feminism street swear). I strongly disliked the way Ghosh distorted Tarashankar Banerjee’s novel Antar Mahal (Heart Quarters). I always thought Rituparno, in a zeal to break down any social norms, customs and traditions, took it too far too quickly, and did not do justice either to the original authors or to the core messages they wanted to pass on to us. His cinematography took over his body of work, not only from a film-language point of view, but also from a social message point of view. His much-pronounced individualism thus unfortunately alienated me from some of his otherwise memorable creations.

Indian Rituparno Ghosh, at the end, perhaps gave in to Western Ayn Rand’ism. Or, perhaps, to Fassbinder’ism.

But I still want to remember him as one of our greatest artists and filmmakers; Ghosh brought the Bengali-Indian audience back to Bengali-Indian cinema from kitschy-glitzy-variety Bollywood. I want to remember his movie Dahan (Crossfire), where Ghosh took on the rampant street violence on women in India as well as the cowardice of Bengali middle class failing to prevent it. He took it head-on. I want to remember how he used our beloved Tagore singer Suchitra Mitra as a major actress on the movie and brought the best out of her. I would want to remember Chokher Bali, not for the film interpretation as much, but for the celestial music Ghosh’s music director Debojyoti Mishra created for the movie. I would close my eyes and just listen to the music for its entire two hours — non-stop.

Mastery in art. Captured in the frame.
Mastery in art. Captured in the frame.

Again, I was not a major fan of Rituparno Ghosh the filmmaker. But even without blinking for once, I would rank him as one of the most important artists — a cultural icon — of our time, who defied kitsch-for-entertainment, and had opted for intelligence and humanism — the essence of Bengali-Indian identity.

Or, rather, the way I have always considered our Bengali-Indian identity. Or, for that matter, my present Bengali-Indian-American identity.

Rituparno Ghosh and his art are going to be dearly missed.

Sadly Writing,

Partha

Brooklyn, New York

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Everybody knows, Nobody cares. Nobody dares. Nothing changes.
Dahan by Rituparna Ghosh. Everybody knows, Nobody cares. Nobody dares. Nothing changes.