‘Trinity’ in Western Himalayas: Excitement, Exploration and Adventure

Travelogue

The flush road starts turning into helicoidally crude and verdant way and one feels lofting towards the sky, is the sign of entering into the land of western Himalaya, Himachal Pradesh. Himachal Pradesh is bordered by Jammu & Kashmir on the north, Punjab on the west and south-west, Haryana and Uttarakhand on the south-east and by the Tibet Autonomous Region on the east. Himachal literally means ‘in the lap of Himalayas’ named by one of the great Sanskrit scholar of Himachal, Acharya Diwakar Dutt Sharma.

The state has fascinating attractions giving the exquisite opportunity to have cultural, monumental and scenic feast. The charm of heritage village Naggar, the ethnic and crystal shops of old Manali, snow points of Rohtang pass, exciting paragliding at Solang valley, Buddhist monasteries and temples of entire region are the interesting places to sightseeing and excursion. And being a place of mountains Himachal Pradesh offers a plenty of opportunities to mountain warriors and attracts adventure enthusiasts besides tourism. For this cause Himachal Government has set up institutions like ABVIAMS (Atal Bihari Vajpayee Institute of Mountaineering & Allied Sports, which has nine sub-centers all over the state. Apart from this Governmental effort the state has a plenty of private training institutions.

ABVIAMS is a largest sports training center in the country today and so far 40,000 people have been trained. It offers mountaineering, skiing, trekking, river rafting, eco-tourism, aero-sports, and water sports etc. as areas of practice. It has tie ups with central school organization and various private institutions of different fields. As an educator I got opportunity to experience the adventure tour to Western Himalaya along with the students, and this was the purpose of going for Himachal Pradesh this summer. This 10 days trekking tour started from the head quarter of the institute which is situated in New Manali, Aleo along with a team of around 30 people including three trekking instructors named Ishan Walia, Kamal Negi and Tenjin Bodh. From Manali we went ahead to Solang Nalla, than to Dhundi and Bakkar thach. Despite of persuasive aims this journey percolated around exploring local market and tribes collection set up by the Government of India, religious places like temples and monastery, historical places like museum, art gallery and to knowing about the economy and life of the local people.

Manali is located in about 270km north of the state capital Shimla, and a part of the Kullu district. Situated in the Vyas aka Beas river valley, the town Manali is the beginning of an ancient trade route to Ladakh. About the naming of the town it is said that sage Manu had survive a great flood that destroyed the rest of the world. He then recreated mankind in this Kullu valley town, which became known as Manali. The British introduced apple trees and trout to Manali, which were not native to town’s flora and fauna. It is said that when apple trees were first planted the fruits were so plentiful that often branches were unable to bear the weight. Today, apple, plum and pear are the best source of income for the majority of its inhabitants, and because of receiving a boost in tourism, this small village has transformed into a bustling town with many hotels, restaurants, cottages, castles, guest houses and spas.  And newer guest houses are mingling with attractive old farmstead with wooden balconies and thick stone tiled roofs.

Approximately 3 km away from the town Manali, situates Old Manali which is virtually unspoiled Himalayan village. Famous for temple of sage Manu which is believed the only temple of Manu in India, this place has developed its identity into multi cultural hub entertaining both domestic and western tourists. Old Manali bears an outlook of cross cultural fusion like having Tibetan Kitchen, German Bakers, Italian restaurants and Punjabi food etc. Club house is a major attraction of Old Manali, situated at the foot of Old Manali village and on the left bank of Manalsu Nallah with all modern amenities required for holidaying elites. Club house is not less than five star comfort or luxury and greeted by courteous staff of Himachal Tourism Development Corporation. The club provides indoor and outdoor games with a nominal fee and a well stocked bar and a restaurant for the gourmets.

A Scene from Old Manali

Club House at Old Manali

Near to Old Manali and almost 1.5 km by road from main town a four-tiered and pagoda shape roofed temple of Hadimba Devi sits in the middle of a nearby deciduous forest of Deodar. Built in 1533 A.D. the temple complex has been the chief center of interest, historically and archaeologically. This ancient temple is dedicated to Hadimba Devi, sister of demon Hadimb, who is a character in Mahabharata who ruled the mountains. Hadimba went to the woods called Doongri Van Vihar to meditate in the final years of her life. So, it is also called Doongri Temple which does not contain any idol, just a footprint on a stone. The temple is built over a huge rock jutting out of the ground, which was worshiped as an image of the deity. The door of the temple is adorned with beautiful carvings of images of Goddess Durga along with other carved figures and symbols. A 24 meters tall wooden 'Shikhar'/tower lies above the sanctuary. Three square roofs, covered with timber tiles, adorn the shikhar. The shikhar also has a fourth brass cone-shaped roof at the top. 

Hadimba Temple- Left back side

Hadimba Temple- Right Front side

The Rabbit Festerers at Hadimba Temple

It is believed that the king who commissioned this temple was so awestruck by its beauty that he ordered the artist's right hand to be cut in order to avoid his ability to repeat his masterpiece. During the commencement of Dussehra celebrations, blessing of the ceremonial horse by the goddess is sought, which is called 'ghor pooja' ceremony. A huge fair is also held at the temple to celebrate her birthday. During the celebrations, rice, beer or 'longri' are relished. In the temple premises livestock like yak and rabbit festerers are seen earning their lives by providing the animals for being photographed with visitors. 

Close to these temples or while entering from New Manali town, the median way provides a huge glimpse of main market, full of diverse range of almost all kind of variety from food to cloths, accessories and daily routinely goods. Shopkeepers come here from different states having their ethnic vendible including temporary and permanent shops and stalls. Temporary shops/stalls are put up for 2-3 months during the peak time of tourism. Apart from this open market the Government of India, Tribal Affairs, has set up a showroom named ‘Tribes India’ at the starting point of invasion for the Hadimba temple. Tribes India’s collection includes the handlooms and region specific arts and crafts from all over the country which stands as a superb diverse collection available at one place. 

Inside Views of 'Tribes India'set up by Tribal Affairs, Govt. of India

Now, coming back to ABVIMAS, New Manali, Aleo from where our trekking journey began towards Solang Nalla. Solang Nalla is about 15 km from New Manali by trekking. The best time for trekking is from May to November as snow is not there during this period. It provides the scintilla of Jogini water fall, Nehru Kund and the lives of local residents in villages like Barua, Balang and Solang in between the way. One can find the trees and plants of apple, apricot, pear, palm, walnut and wild strawberry and also the farmers at work on this way. One can find animals like horse, sheep, cow and buffalo on this way mostly in flocks along with their festerers.

One of our instructors Ishan Walia was accompanying me during the way. While crossing beside the Nehru Kund, Ishan told me that Pt. Jwahar Lal Nehru used to drink water from this spring during his stay in Manali, so it has named after him. This cold clear water spring is said to originate from Bhrigu Lake that is located in the mountains. The best time to visit the Kund is from July to September, when the roads remain open. It opens at all times, except on Mondays and situates 5 kms on National Highway to Leh. Ishan also told me that all the waterfalls and rivers of Himachal are having pure water and Himalayans does not need to use water purifier for purifying the drinking water. The pure water which directly comes from earth called ‘Jerru water’.

Ishan told me that it was the place where a major accident happened in 2012 due to sudden rock fall, in which about 250 people were died. And I felt, life in Himalayas healthy and pious but some sort of risky as well. There were construction work going on at the same way, Ishan told me that it is a national highway work in process named ‘NH21’. This way from New Manali to Solang Nalla provided unforgettable scenic beauty for eyes or I shall say a visual treat. Reaching Solang Nalla Centre of ABVIMAS in afternoon added more to it. 

From the way to Solang Nalla

Solang Nalla (Valley) is a splendid valley between Solang village and Beas Kund. It derives its name from combination of words Solang (nearby village) and Nalla/Valley (water stream). It is a side valley at the top of the Kullu Valley in Himachal Pradesh, 14 km northwest of the town Manali on the way to Rohtang Pass. Solang valley offers the view of glaciers and snow capped mountains and peaks. Giant slopes of lawn comprise Solang Valley and provide its reputation as a popular ski resort. The ABVIMAS has installed a ski lift for training purpose. Located here is a hut and guest house of the ABVIMAS, Manali. Now a few hotels have also come up. The winter skiing festival is organized here. Training in skiing is imparted at this place. Snow melts during the starting summers in May and skiing is then replaced by zorbing in which a giant ball with room for 2 people which is rolled down a 200 metre hill, paragliding, parachuting and horse riding. A ropeway has recently opened.

Solang Valley

Anjani Mahadev temple situates at 2 km distance from Solang Nalla, where mother of lord Hanumana took austerity. Mahadev Shiva than blessed her son ‘Hanumana’ as a boon. There is a seasonless/evergreen water fall, under which a naturally made stone Shiva Linga is an attraction point for visitors. After reaching to Solang Nalla, during a sitting in sunshining afternoon with Ishan, I came to know few more things about the place. He told me that these Himalaya peaks are divided in two ranges, one is Peer Panjal Range where Indrasan is the highest peak having 6000 meters height. Another is Dholadhar Range in which Solang Nalla, Dharamshala and Kangra comes and Hanuman Tibba of 19,450 feets height is the highest peak of it.

Ishan is a tall, swarthy complexioned young man who seemed some sort of obscure natured. I caught this by his abstruse capacity of speaking through eyes.  That might be a reason I liked talking to him as to ‘explore’ the ‘gray’ things has always been an interest of mine. And I felt he too liked having conversation with me, as among the rushing crowd of training seekers I was the one who was more interested in exploring the life of Himalayans. I asked him that why he assorted a risky and adventurous profession rather than a more secure one? His gentle reply was worth general and satisfactory as the people like me who lives in ‘smooth’ areas chooses the ‘smooth’ professions; Himalayans being a resident in mountains takes their career according to their ‘environmental’ opportunities. As three of our instructors trained at ABVIMAS, Manali and got the job at same place after completing their trainings. Then I told Ishan that being an artist or writer is not a ‘smooth’ profession at all which was likely to crack a joke at the moment. 

Anyways, our next venture was to reach Dhundi from Solang Nalla, 7 km distance by trekking. A lot of construction work was going on through the way, as Asia’s longest tunnel Rohtang Tunnel is being constructed just north of Dhundi. After the tunnel would operational in 2016, Palchan-Solang-Dhundi road will become a part of Leh-Manali national highway and the traffic on the road will increase considerably. A snow gallery is there near to ongoing construction, which is made for winter season when heavy snow fall covers all the area including roads. That time this gallery provides a way to transportation.

Snow Gallery on the way from Solang to Dhundi

Reaching Dhundi, which is at 9,250 feets height from sea level endued us a novice experience. Lungs siphoning the fresh air, taste of pious flashy water and eyesight impinging over snow layered mountains were stimulating the senses. It was a euphonious treatment of nature for a metropolitan habitant like me, who absorb a plenty of polluted air in her lungs daily, drinks mechanically filtered toxic water and eats chemically grown vegetables and fruits.

Dhundi is the last village in Solang Valley, where Beas River meets its first tributary coming from Beas Kund and Rohtang Pass. And the last place to stock up with a few essentials before heading to the mountains. Metal road ends here. It was around 8°C temperature in Dhundi, while our arrival in afternoon which went down till 5°C in night. ABVIMAS is having a temporary accommodation here as they provide tents to stay. Now our dormitory rooms, mess hall, open lawn grounds all were replaced by ‘tenty’ bedrooms, kitchen and even toilets.  It is because during the heavy snow fall all things get packed up and goes back to headquarter until summers come back. In same day evening, our instructors took us to some more height, so our bodies could become adaptive to the heights as by next day we had to leave for Bakkar Thach from Dhundi. 

A 'Tenty' view of Dhundi

West side mountain at Dhundi

Trek from Dhundi to Bakkar Thach is an uphill walk for about 3-4 hours. Bakkar Thach is a highland meadow over 9,500 feets height and it literally means ‘Shepherd’s fields’. These sun and wind swept meadows are likely a feast for the senses indeed. Crossing the snow bridges in midway are a bit adventurous to walk over, which are actually a hardened surface of layered old snow. This has converted into a bridge like path over the year’s snow fall, under which the Vyas/Beas River flows. The danger to cross these is its possibility of having any crack in comparatively lean layer, which could lead to any unwilling event. So, one need continuous instructions here from the trekking instructors. Our instructors told us how to walk while climbing over the snow and also while getting down back, as both are the different ways. While climbing upon the snow one should use the toe cap and while getting down in the snow pressure should be on foot heel to walk smoothly and to avoid tumbling.

Our Instructor Ishan introduced us to the plants and trees which are plenty in Himalayas. Popular tree, Deodar, spruce tree (pine family), wild horse walnut, maple tree, wild cherry, sweet cherry, walnut, wild nut, golden oak, bark tree on whose leaves Ramayana was written are the main trees which one find during the all 10 days trek. Ishan showed us the state flower of Himachal, ‘Himalayan Rhododendron’ and  told us about the state animal Snow- Leopard who lives in heights more than 10,000 feet, state bird Jujurana and the state tree which is Deodar. The next stop on this trek is Beas Kund, the final destination, from where Beas River originates and said to have a place where sage Vashistha took austerity. It is a Frozen Lake at a height of 3690 meters. The trek from Bakkar Thach to Beas Kund is a day long, round trip excursion.  But reaching to Bakkar Thach was likely to complete all targets for us; the rest was to get back to our arrival place New Manali, Aleo.

Layered Snow under which Beas River flows

A Panaromic view of Bakkar Thach

We reached to Bakkar Thach at our expected time of 12:00pm started from morning 8:30am. Reaching to the place was extreme fun and adventure but sliding on to snow brought a spooky experience for few of among us. I would like to recall the moment when at the time of getting down back, heavy fog and feeble rain started suddenly. And some of the girl students who were already scared by cold, deadly skin scratching by sliding on to snow started mourning. They were actually forcefully asked to slide for getting down back otherwise it would have very time taking to walk over feets. At the moment it was deviating for me to decide whether to laugh or cry because I was feeling enthralled by the beauty of the nature rather than becoming afraid of it.

Some views from Bakkar Thach

After returning to Dhundi while having conversation to a shepherd, another instructor Tenjin Bodh made me realize that festering sheep is a productive income source for few Himalayan people. It takes 5 years to grow a sheep which one can sold out in INR 8,000-12,000 as it depends on its weight. These shepherds earn approx 2,00000- 2,50,000 per annum and lives only for six months in Himalayas, in November they go away to Chandigarh, Punjab and comes back in Himachal in May. So they live like nomads. Tenjin told me about other economical sources of Himalayans like farming of vegetables like Beans, Potato, Peas, Cabbage, Cauliflower and Onion etc.

After coming back to New Manali, Aleo I had enough time to visit some more places in Himachal. As I decided to have eye feasting and mind feasting by visiting Buddhist monastery near to New Manali and the heritage village Naggar. Kullu valley gives equal opportunities for every religion to subsist. The denizens too respect all the religions in the valley and visit other places of worship. The large number of Buddhists in the valley has resulted in two monasteries in the valley, one in Manali and the other in Pangran.

The monastery in Manali ‘Himalaya Nyinmapa Buddhist Temple’ is newly built one. Lamas (Monks) are trained as preachers and performers of religious rites in the monastery. The monastery also runs a Thanka school of arts and a carpet-weaving centre. This is done mainly to preserve ancient Tibetan art. Articles of handicraft are also kept for sale to outsiders. The paintings inside depict events from Lord Buddha's life. The Kalchakra i.e. the wheel of life painted on the wall of the monastery shows the circle of life. In the vicinity of the monastery there is the 'manne' (prayer wheels). The Buddhists believe that rotating it gives salvation.

Outside views of Buddhist Nyinmapa temple

Inside views of Buddhist Nyinmapa temple

Prayer Wheels around the Temple

After visiting the monastery, I hired an auto for Naggar. 22 km from town Manali by road, Naggar is an ancient hamlet along the banks of River Beas in the Kullu District of Himachal Pradesh. It was the capital of Kullu Rajas about 500 years ago in 1460 A.D. It is situated at an elevation of 2,047 metres above sea level. The cultural heritage of Naggar can be seen at the fairs, museums, festivals and architectural styles. My auto driver Bhupender told me that one of the prominent fairs of the destination is the Naggar Fair is organized in the month of April. I am thankful to Bhupender for guiding me about the place and also for taking my photographs at the place when I had no one along with me.

A national heritage Naggar Castle is main attraction for the visitors, which has converted into a hotel now.  This castle was the seat of the kings of Kullu that was built in the 17th century by Raja Sidh Sing. It provides a beautiful sight of Beas River, villages on the river bank, dense cedar woodlands and snow covered mountain peaks. The castle is a combination of both western and Himalayan style of architecture which exhibits the historic legacy of the place.

'Jagtipatt Temple' at National Heritage Naggar Castle

A 1930's Dodge Car of Artist Roerich

Another prominent sightseeing attraction in the village is Nicholas Roerich Art Gallery, which exhibits private collection of paintings by the Russian painter Nicholas Roerich. Paintings of Kullu, Spiti and Lahaul made by the painter have housed in the ground floor of the gallery. A 1930's Dodge car of the artist Roerich is also stationed outside in the gallery at ground floor. The artist’s private rooms have been preserved in the upper floor of the museum including Helena Roerich’s studio and Devika Rani’s office. Nicholas Roerich was a Russian painter, who arrived in the Himalayas after the revolution of 1917, where he died in the year 1947. From being the residence of the artist, the building was converted into a gallery by his son Svyetoslav Roerich.

To manage the gallery, the Himachal Pradesh Government and Russian Government have formed a trust. Photos from the early life of the artist and with the Nehru family are on display in the gallery. Close to the museum, there is the Urusvati Himalayan Folk Art Museum that exhibits a wide collection of local folk art along with Russian folk art. Carvings from Ladakh and Kullu along with idols of gods and goddesses are the highlights of the gallery. The most notable achievement during Roerich’s lifetime was the Roerich Pact signed on April 15, 1935 by the United States and Latin American nations, agreeing that ‘historic monuments, museums, scientific, artistic, educational and cultural institutions’ should be protected both in times of peace and war, and identified by their flying a distinctive flag, the Banner of Peace, bearing the ‘Peace through Culture’ emblem.

A View from the outside of Roerich Trust, Naggar

Inside View of Devika Rani's office clicked through the Window Glass

Inside view of Urusvati

An Inside view of Himalayan Folk & Tribal Arts Museum

The Banner of Piece on a flag: A view from first floor of Roerich House

This emblem consists of three red spheres surrounded by a red circle on a white field. It symbolized religion, art and science encompassed by the circle of culture or as the past, present and future achievements of humanity guarded within the circle of eternity. The sacred origin of the symbol lies in the belief of ‘trinity’ which remain central to the meaning of the Pact and the Banner today.’ And in the conclusion of the 10 days Himachal Pradesh tour, I would say it a ‘trinity’ of excitement, exploration and adventure. Himalayas are truly the wonderland and all the scenic beauty is refreshingly astonishing.

Photo Courtesy: My Sony Cyber-Shot Digicam

‘Niv’: Back to Base

Rahul Modak, Rajan Shripad Fulari & Mr. Mathew

Ambitious people want to fly high in the absolute sky. If one refers sky to ‘art field’ than ambitious people are obviously our roustabout ‘art walkers’. And to set shoulder to wheel of success the walkers tries to grow ‘wings’ over them. These sprouting wings may lead to one’s elevation from their own earth or roots. As the structure of every system let it be social, political, economical, ecological, cultural or creative; is hierarchical which put glamour and influences on its hegemonic front. The conspiracy of contemporary is not any exception of it in terms of art field. Artists are running into a rat race of dithyramb which could tag them onto contemporary notice board.  This mindset is becoming the reason to fetch the western influences; as a method, material and visual approach.  Only few can manage to go back to their roots for exploring the potential of their own palm streaks, instead of scratching them with iron nail. 

In this case, one should appreciate the sweaty strives of artist Rahul Modak, who is working consecutively since last six months in Niv Art Centre’s premises; forming, excogitating and developing his terracottas. Rahul Modak has obtained his educational degrees from Kala Bhawan, Shantiniketan and spent plenty of time there continuing his art practices. Although he has worked in various studios across Baroda, Kolkata, Ahmadabad and Hyderabad but the memories of the time spent at Shantiniketan gives him insight to work in a medium like terracotta. He took two months long workshop with slum children of Niv Vidya Mandir and also with 16 Delhi based veteran women artists named Alka Raghuvanshi, Anupam Sud, Arpana Caur, Durga Kainthola, Ela Gawade, Kanchan Chander, Kavita Nayar, Latika Katt, Nupur Kundu, Pooja Iranna, Seema Kohli, Shivani Aggarwal, Shruti Gupta Chandra, and Vinita Karim besides the solo showcasing of his own works. It reminds me the words of K. G. Subramanian considering ‘local is global’. Here these words are outshined not only in terms of material but in organizational process also, as artist’s own art practices varies touching to indigent children and goes until forefront of modern and contemporary art practitioners.

At the completion, the final outputs are displayed under the title ‘Mysterious Terracotta’ curated by Rajan Sripad Fulari at Niv Art Centre, Neb Sarai, New Delhi. Niv Art Centre is ceaselessly seen active throughout last few years in organizing residencies, workshops, providing studios and gallery space to young artists and ‘celebrating’ Saturdays recently. I have corroborated various epochal efforts of the centre, but making most of them after the openings. Around each visit I confronted to Sanjay, who is a caretaker at Centre and usually tells about the artists, their work process and progress. ‘Niv’ itself a word in Hindi which means the foundation or base, on which any exalted structure, stands.  I am delineating it hereby, because of Centre’s praiseworthy efforts towards going back to the ‘base’ thus initiating the terracotta as a medium in contemporary times. During my each visit, I also felt a homelike comfort at Niv Art Centre than of any glamorous glare which all the commercial galleries carry generally in order to look elite. So, penniless young artists feel these galleries are away from their reach.

Rahul Modak during various processes of Terracotta

Coming back to the terracotta, that is not a new medium but seen almost omitted by the contemporary art world. Terracotta may find a prestigious past in Emperor Qin Shi Huang’s Terracotta army of China (built in 210-209 BC), Terracotta female figurines found in excavation at Mohenjo-Daro (3000-1500BC), The Burney relief ; an outstanding terracotta plaque of ancient Mesopotamia (1950BC), The ancient Greek’s Tanagra figurines and fired terracotta figurines, Pre-colonial west African sculptures, and French sculptor Albert-Ernst Carrier-Belleuse’s terracotta work ‘The Abduction of Hippodameia’  which depicts the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. But apart from these historical evidences Terracotta medium has never enjoyed the elevated status like other mediums due to its fragile and delicate nature. The difficulty of medium is with its unpredictable character that usually transforms the dimensions after heating and baking, and could be destroyed through process. Even after safely heating and baking it is difficult to store as art works, which is a necessary process of marketing. Therefore, the art galleries those are major art promoters, don’t want to take the risk. It has also perused more befitting for craft than of any wider artistic platform. Despite of these convictions Niv Art Centre has taken dice having objective of revival the terracotta material; shaking hands with artist Rahul Modak and Curator Rajan Shripad Fulari, is an appreciable attempt. 

Rahul Modak with Children of Niv Vidya Mandir

The displayed works of Rahul Modak includes beam scales and forged iron bags incurring terracotta vegetables and fruits, the reliefs with various patterns, mundane household objects and expressive forms, the terracotta leaves replete into glass frames and dilated onto gallery floor and reticular terracotta bricks carrying the sprouted barleys in mud pots. Artist draws his inspiration from the years he has spent at Shantiniketan and the fascination he has experienced when his father used to come home every day with bag full of vegetables and fruits. Even banal things like an aluminum kettle or teacups in a shanty tea shop hold importance for him. Expressing simple yet the most ‘earthy’ experiences of his life, artist Rahul Modak’s hands shaped terracotta to give images to his memories. Rahul’s belief in words ‘As you mould you will get the desired shape’, that is true both in the case of clay modeling and in life of a child, led him to take initiative to work with school children also. Modak spent his time at Niv Vidya Mandir, Noida introducing, guiding and helping the children over there. And remarkably children has done an excellent job not lesser to experienced artists.

Experienced artists also played and tested their hands with leniency of terracotta. The artists were provides the kneaded clay. Few of veterans like Latika Katt and Gogi Saroj Pal already knew the material and its treatment. But for others like Alka Raghuvanshi, Nupur Kundu, Pooja Iranna who works as a painter rather a sculptor enjoyed terracotta as a medium first time. All of invited women artists created their works according to their existing or known visual languages and styles, like sculptors mostly initiated themselves in sculptural works whereas painters created slab based relief works. Obviously Rahul was there whenever any of among women artists needed him. And after visiting the final outcomes I can say that Rahul Modak has successfully initiated them all into the feel of terracotta, and this statement can be taken in the case of viewers and visitors too. A solo including group efforts is worthy to visit!!

Some views from the Gallery display

Image Courtesy: Niv Art Centre

One Should Listen to Internal Intuitions

Profile

Kunal Kalra is a discerning and prehensile Fine Arts Graduate who aims to devote himself as a renowned artist. He has recently completed his Bachelor of Fine Arts from Faculty of Fine Arts, Jamia Millia Islamia, New Delhi. I have chosen to put his profile here in Blog, not because being a Jamia student, he is known to me, but because after having conversation to him about his works, thought process and aspirations I thought I should do it. Although until last year during my study days at Jamia, I often used to see him in college premises, in canteen and in Art History Department quite few times, but never even exchange a single 'hi'. What initiated me to have any interest towards his works is he was searching someone to have the 'words' over his 'images'. 

Last yesterday while sitting afore to him, discussing over his works, I felt him an obdurate gentleman in his thinking process and life's decisions. As he told me that he is a Computer Science Graduate also, and after spending three years in a well-settled job at the age of 26, he resigned from the job and enrolled into a Bachelor degree course again with Fine Arts. For his acquaintances it was likely to start from a zero again but he responded to his 'real call' herewith. There was some inside intuition that motivated him to do so, due to his belief that Art begins with honesty, asks tough questions, comes from collaboration and from trusting on own intuition. His art fills him with a sense of accomplishment and integrity, and has proven a most apt vehicle for translating inner vision to outer reality.

Artist Kunal Kalra

Born and brought up in Gurgaon, Haryana, Kunal have been neighboring the transformation of a materialistic civilization. During last 7-8 years the pace of metamorphic process of 'Gurgaon' into a 'proposed mini-Japan' has been more than any initial period. Therewith he has experienced/is experiencing the fast-moving life of a metropolitan New Delhi also, closely attached to Gurgaon. Being an eye-witness of the process of Urbanization, which we call development replaces many existing elements, as he feels. This replacement washes its hands with both tactile or palpable and intangible aspects of life around. It happens at the cost of discrepancies in social, cultural, ecological, political and even in personal relationships in the quick desire of becoming modern. 

He takes these tangible aspects as subjects for his works and keeps the tactile aspects as objects of them. Thus, his works are depiction of internal conflicts because of external hypocrisies born out of discrepancies happening around. Hypocrisies which are sprouted and grown in personal to social or local to global milieu give birth to negligence to roots, base or purity of lives. Ecological imbalance, exploitation of natural resources, political instability, shifting belief system, declining relationships, moral and cultural values are the immediate and tardy effects of it. Kunal has chosen the daily life's mundane objects like pressure cooker, water-taps, ladders, water heating rode, electricity boards and switches, buckets, utensils, pitcher etc. to show the 'replaced' elements, engravings from past memories and calculations as a background at few place along with a form of nest. 

Nest is commonly considered as a symbol of home or a new start for a family, and here he sees the nest as a neglected object too, generally made up at desolated places by birds. These nests are ignored by human beings that there are 'lives' exists within, in the process of seeking individual comforts around them. So, he take up the nest as a symbol of negligence also; hence convert the neglected objects and elements of contemporary life like water taps, letter-box, pressure cooker and even women into a nest by giving the 'nested texture' to them. Use of the image of camel also indicates to the same. And birds along with these 'modified' or 'transformed' nests, speak of human beings as a metaphor. Thereto in many cases the earthen nests or traditional household objects are neglected in desire of designer ones for becoming modern or for the individual member's need and meanness. So he has taken guitar, buildings, headphone, designer sofa, western toilets and even Airtel dish and converted them into nest form which tells the 'sheep walk' of 'modern' beings. Birds outside the nests are symbolic replacement of neglected senior members those build up the homes but couldn't cope up with the process of modernity thus neglected. 

Three-dimensional rectangular shapes are visual memory of 'titres' game, as if concentration lacks the game gets over; similarly if attention wouldn't paid to these imbalanced acts/effects of urbanization and modernization, the game of 'life' would get over someday. The threads and pipes are for portraying the connections and communication as they are wrongly or complexly connected and sometimes lacking at their apt place. His color palette contains sometimes dark and pale colors lacking brightness to reflect his momentary moods during the thought conflictions. Color appear spontaneously and are not pre-determind. He is also intending to use three-dimentional objects along with two-dimentional surface of paintings and prints as he has done a work using a dish antenna. It presents the idea of miscommunication and ecological imbalance, where we have to pay for even natural primary needs for life like air, water, earth etc. Thus it suggests 'Airtoll' instead of 'Airtel'. These experiments he wishes to pursue as an extension of what he is doing presently as a material, method and thought process.

He believes learning is a continuous and never ending process and he wants to keep addition in his learning account throughout the life. His works deconstruct variety of thoughts comprising the deterioration of values which consists of multiple issues from life around, which recalls the past, traces the present and tries to anticipate the future. I wish him all success for his future endeavors.  

Image Courtesy: The Artist

Sun raha hai na Tu... Ro rahi hoon Main

Film Review

I don’t have any reason to cry about, but just now liking humming the lyrics of a song from recently popular Hindi movie ‘Aashiqui 2’. This Indian romantic drama film is considered more as a musical love story, which being a passionate story of two ‘niche carving’ ambitious singers it has to be. Directed by Mohit Suri and produced by Bhushan Kumar and Mukesh Bhatt under the banners T-Series and Vishesh Films, the film is the sequel to 1990’s musical blockbuster film ‘Aashiqui’. It does not follow the regular sequel format but like a franchise with no resemblance to the previous story. Presenting the fresh talents of Aditya Roy Kapoor and Shraddha Kapoor in the lead roles, in the characters of Rahul Jayakar and Aarohi Keshav Shirke, the film depicts their journey and relationship going through love and hate, twists and turbulence, success and failure in their lives. 

Poster of 'Aashiqui 2'

Poster of 'Aashiqui'

It's must not be a coincidence that the movie is inspired by Frank Pierson's 1976 drama 'A Star Is Born'. And one can draw similarities between 'Aashiqui 2' and 'Abhimaan' of Hrishikesh Mukherjee also. Mukherjee made his melodious 'Abhimaan' on the same theme portraying Jaya Bhaduri as a better artist than Amitabh Bachchan but the treatment is contrast. Here in 'Aashiqui 2' Sharddha Kapoor plays off against his hero Aditya with steel willed vulnerability that echoes Jaya Bhaduri in 'Abhimaan'. The story revolves around how obsession pulls one down and importantly there are no ego clashes between the protagonists but a lot of love for each other that eventually gives strength to both.  

A super star musician RJ is rapidly declining from his stardom but he doesn't care of it much. Amidst of this fall to disgrace, he comes across Aarohi, a middle class 'Dream to catch Moon' girl. He is blown away with her vocals and gives her a dream of making big in music. He in the entire journey to her stardom stands next to her protecting and promoting her being immensely in love with her not caring his family status. Aarohi's rise to top brings happiness to the couple but society sees brand RJ as a fallen tree who is taking solace in the rise of Aarohi. Aarohi on the other hand holds together RJ not to fall completely apart, but sadly unsuccessfully. During this unfavorable time, Aarohi who was a middle class ambitious girl but totally unhappy with her stardom bringing perplexity in her personal life, wants to go away from her success. In this case, it reminded me the ambitious character of Priyanka Chopra of 'fashion' paying the price of her fame and success. But here at the end, considering himself a stigma of being the one who is pulling Aarohi down from her rise, RJ part his way from her committing suicide for what he always dreamt for Aarohi. 

Aditya Roy Kapoor as Rahul Jaykar

Sharddha Kapoor as Aarohi Keshav Shirke

From the cast point of view, both protagonists fit their roles to the best filling up the screen with a measure of voluptuousness allowing the emotions to spill over without creating an excessive drama. Sharddha Kapoor as a middle class girl looks every bit of it, she looks ravishingly refreshing, not with lot of makeup her natural beauty does the charm all the way. Acting wise, I thought she could have done a better job but she was convincing in her role. Aditya Kapoor has appeared in few movies before but this movie would give him something better as he deserves. In pursuit of pleasure derived from the alcohol his character stays much of 'bottled' a cross between Shahrukh Khan's Devdas and Ranbir Kapoor's Rockstar. Like all the heros of Mahesh Bhatt's cinema, Aditya too has to portray a man who frequently create scenes and embarrasses the person he loves the most. 

The movie is surely director's baby and Mohit Suri needs pat on back for handling the story so well. Suri traverses the angst-soaked territory with a sincere and deep understanding of the dynamics that destroy love and trust between couples in the glamorous and competitive profession. The writer Shagufta Rafiqui ferrets out the feel-good places in the script where the protagonists plunk their emotions with a confidence and conviction that reaches out to the audience. The way two main lead actors perform their parts of two soul-mates and singers, credit should also go to the musicians and singers Jeet Ganguly, Mithoon and Ankit Tiwari stands by the characters and never lets them down. Although the singing here is not quite that what we heard Lata Mamgeshkar, Mohammad Rafi and Kishore Kumar do in 'Abhimaan'. 

Apart from the all other aspects, the story and character building is the thing, which made me to initiate some hours to sit and write about the impact of the movie it has left over me. Rahul Jayakar’s character one may find a highly unpredictable, hotheaded, careless and fidgety from outside but I felt him an intelligent, honest artist and having a vision to see the future. This inside visitation of his personality makes one to find the reasons of his genuine efforts towards the ambitions of girl Aarohi Shirke. I felt Rahul is very well known to his talent and impediments as well. He knew that he won’t ever be able to get over from his alcohol addiction, thus to continue his stardom anymore. And achieving stardom and remaining the same are two interrelated but different things. So after confronting to Aarohi and her voice while she was repeatedly looking at Lata Mangeshkar’s poster, he eventually found the one to whom he could transfer his musical erudition, resources and even stardom, thus his music can get immortality through someone who deserve it more than him. No doubt it is a love story, but in this sense it is love of an artist towards his art music than of the love of a nympholept towards his female partner. 

Stills from the movie

One another endorsement could be given to this in the form of the treatment of love story. Love stories generally contain instant physical intimacy especially in ‘reel’ life and becomes more underlinable in the case of ‘Bhatt camp’ movies or let this statement go out for ‘real’ life too. But here the intense, pure, selfless and heart wrenching form of love has presented apart from any lusty romance. I also heard from few friends that the end of the story is not well as not being a happy ending movie. But some audience are might be pretty much habitual of digesting the happy ending story only. A subtle abstract end which leaves one protagonist alone without the other is the real purpose of the story which leaves the eyes wet and throats dry. I found it the skill of the writer and director completing the ambitions of a 'bottled' man Rahul Jayakar, into a well going career of 'Aarohi Rahul Jayakar' instead of 'Aarohi Keshav Shirke' as she writes her name in the diary of a fan at the end of the movie. 

To let the love live the lover must die, whether if love is towards the better female half or towards the passion called music. It's a curious trade off and one carried off in this film with an exuberance of emotions, and finally a love story away from the standard Romeo and Juliet format. Made on a budget of Rupee 12 crore, the film is becoming a major commercial success, collecting Rupee 100 crore worldwide in four weeks collection. A good one time watch, one can mark 8/10.

Education: the System and its ‘Lollipops’

Education is a word which mostly discussed by ‘educated’ people, as being educated they can acclaim the authority over the understanding of it. With the process of urbanization the middle class mind set has changed over the years. Small town parents allow their daughters to live in hostels or paying guests in order to seek better education thus the opportunities. Marriageable boys seek for educated girls and educated girls look for educated in-law’s family besides an educated groom. 

So, what the ‘education’ is all about? Is education means obtaining the academic degrees which could generate a source of income? Or source of income can only be generated by an academic degree? The first is a question here and obviously the rest two are not the answers. This Sunday morning while putting earphones into my quenchless ears, as they hardly get to hear radio jockey’s voice these days, fortunately found Kailash Kher’s interview to listen. A self taught singer who doesn’t need to be introduced. It is said about Kailash that the way Eklavya became adept into archery by watching only to Guru Dronacharya doing it; similarly he has accomplished himself as a singer by listening to music.

Singer Kailash Kher

One could love the words when kailash said, ‘there are two kinds of people in world, one is ‘padhe hue’ (educated) and another is ‘garhe hue’ (chiseled). But are educated ones not the chiseled? Or chiseled ones didn’t need any education? These are the questions to be analyzed and answered. Etymologically the word ‘education’ is derived from Latin word ‘educatio’ which means a breeding. Few educationists say that it came from Latin term ‘educatum’ meaning the act of teaching or training, and according to few others,  the word has originated from another Latin word ‘educare’ which means ‘to bring up’ or ‘to raise’. All these meanings indicate that education seeks to nourish the good qualities in human and draw out the best in every individual. Education seeks to develop the innate capacities of man.

And to fulfill this purpose the society and government establishes institutions like schools and universities providing various curriculums and different subject lines. It is not different than our ancient ‘gurukuls’, the thing is after British rule India were introduced a western education system by Britishers, by founding a plenty of institutions which continues till the date. The question is, ‘are the institutions imparting the exigencies to the nation successfully?’ The answer may be ‘yes’ or ‘no’ but the need to analyze the ‘system’ of academic institutes is felt inevitably.

The questions of education have much floated in my thinking process, not because I consider myself educated but because I came from a business based family, where education were not given any importance. In which boys are considered to adapt according to parental business, which doesn’t require any ‘outside’ learning, as it can be transferred hereditarily. And why do girls need to do something ‘outside’? when they would be married to ‘well doing’ guys, those can avail all ‘crownery’ facilities to them. Although there were no estoppels if anyone wished to pursue something ‘outside’ but anyone should come ahead to have the experience of the ‘air’.

But ‘air’ like ‘art’ is something in which all can’t enjoy breathing. A passion only can lead to one to do so. Although during my earlier bachelor degree, I don’t remember whether I had any passion for art. But one thing was clear to me that I won’t be able to sit at home ever enjoying the stuffs availed by an opposite gender called ‘husband’, I wanted to see and experience the world containing both goods and bads. So it was the passion towards ‘work’ which was obviously the academic studies that time.

I don’t recall my school days much as comparatively being less attached to that time. Although I was a class topper student in school, participating almost in all the activities, but the reason of less attachment was may be because it was not a 'specialization' based course. Afterwards during my BA, I used to sit in second or sometimes in front row in classroom and till the end of the first year was quite less noticed girl. But the academic result at the end of the year, brought sudden changes to me, and I was noticed by my professors and also by peers. An interest towards active participation in various competitions held at college campus was raised (mostly because of the creative interests). And right from the BA second year (it was 2002), I was getting more and more involved with academics and extra-curriculars, which started giving me an insight into the importance of education.

Here, education for me was an outside learning, which I could not obtain at home, although I believe that the capacity of grasping something good by a pursuant of any educational institute depends on his/her pedigreed personality also.  An educator or teacher can affect it at some extent, as for me all my teachers’ especially of all three colleges swaddles an immortal place around the heart, even if I couldn’t able to believe in their ideas at times. They believed in me so I believed in me, they expected something so I tried to complete that expectation, otherwise I had no one who could have faith in me or could spent any amount of expectation over me.

I didn’t ever think of getting a merit at state level in Bachelor of Arts, but it was Hindi Literature's professor Dr. Madhurima Singh’s words when she said to me, ‘every degree topper’s name is written on inerasable board with the father’s name, makes you and your teachers proud, you should think on it’. I thought on it and achieved that also but why my name could not appear on that board, is a different story. I don’t want to recall the stories containing unpleasant memories but those memories showed somewhere a morbid face of education.

Although I was living the most ‘attached’ years to my work place during graduation days, but the ‘real attached’ years started with the entry into Fine Art College by starting a BFA in Painting. The first year of BFA made me realize that for first time I have taken a right decision to come up with a ‘skill’ based subject after circumambulation around medical science and arts. Now whatever I was doing, it was the self exploration and fabrication of the rusted capacities. Throughout the first three years I put all my efforts as a obedient student, acclaiming the tag of most ‘sincere’ student not even of the class, but of institute, obtaining the best student award of the initial years and becoming a topper of the academics. But nearly to the end of the BFA all the tokens of ‘sincerity’ started seeming like ‘lollipops’. Lollipops are the attractive candies, generally given to kids for propitiating and to make them deviate from their real obstinacy. 

Token of hardworks should not be considered as ‘lollipops’, but if I felt so it had the reasons. Our academic structure or the treatment of teachers tells students to explore their capacities. But in every professional course there are the fields in which every student need ‘introduction’ along with ‘exploration’. Exploration can be to a thing/quality which one already has, but what about that which one doesn’t have but hold an extreme need of it?, which called introduction. For example if a fine art student is good at work but not communicative, S/he would be facing a problem of suppression and depression at her/his most ‘energetic’ age. Similarly if another student is good at communication but cannot sit for a while and work, there will be no meaning of that communication.

And I have seen educators boosting the capacities of students which they already have, but they are neglected where they needs their teacher’s belief. If a teacher keeps confidence on a student’s ability, even if there is a lack of it, students get a plenty of confidence to acquire that lacked one. After all, Education is not about the development of innate potential only; it is about an overall development of the personality. And a person having a negative overtone to a wider structure is ultimately suppressed and depressed by his own failures, can’t become a real educator. Pursuant should learn all the qualities of head, hand and heart through the process of education. And lacking of the ‘introduction’ part all tokens of the patient hardwork may seem like ‘lollipops’. Because lollipops are given to you in order to remain yourself as you are, almost making you forget the mulishness which is not always bad. Having those lollipops into hands one could be ‘honest’ to the limitations of a structure called institution but cannot ever capable to walk over a path which leads to an ‘ambitious’ and open pursuit. 

Another biggest problem of educators is trying to make students a believer of their ideas rather than to give freedom to explore their own creativity. Abided within someone’s influence cannot give birth to a fundamental and seminal personality. It can generate only the followers and ‘following’ to someone and ‘trained’ by someone are two diverse things. And a student should feel proud to tell the world that by whom S/he has trained despite of feeling satisfied by following someone. In the time of social networking sites which provides us more easily accessible options of ‘follow’ it’s a bit tough to save the soul by influences.  

Being an educator, I have also seen educators running into a race of becoming a ‘best teacher’. Institutionally the best teachers are those who make their students to score high. And every teacher wants his/her student to score high, by assigning newer projects and more homework to them. But no one can manage to think for a while from a student’s side. If all subject teachers would be assigning and pressurizing for his/her subject’s work, what will happen to an individual called ‘student’? S/he would not be less than a restrained donkey. In this process teachers are not erroneous but system is. If a system would restrain an educator, the educator would restrain the student. And if we don’t want to continue the chain we will have to change the ‘system’ from where the chain begins.

Now let me try to attempt the answer of the question of ‘padhe hue’ and ‘garhe hue’, from where I started writing. I feel ‘educated’ and ‘chiseled’ are two interrelated terms, if education is not considered the only knowledge obtained at a specific place or institution. As books and educators need not be necessarily appendage of any institution or curriculum. At certain level curriculum has its own importance, it frames the working criteria which can bring both positive and negative aspects. By emphasizing on to necessary framing and bringing him/herself out of the limitation of curriculum, a student can do best with it. Because education not only comes from the books and institutional teachers, they are the path showers, the guides and the trainers, but most important knowledge and experience one gain by socializing in life, thus the end of an academic education should lead another education, that is the real aim of education.