Crafting a solid narrative and mobilising voters are crucial for successful election campaigns. Effective narrative management involves creating compelling messages, evoking emotions, and shaping public perception. Simultaneously, optimising grassroots operations through effective booth management helps coordinate booth committees and actively influence voter behaviour through targeted outreach.

In the high-stakes electoral battle, two potent narratives have emerged, challenging PM Modi and BJP: Rahul Gandhi’s relentless “ant-like” critique portraying the government as pro-affluent, and Arvind Kejriwal’s masterful “bee-sting” narrative pitting “Modi versus BJP,” catching the ruling party off-guard.

Rahul Gandhi’s Ant-Like Persistence

Rahul Gandhi’s narrative, persistent and tenacious like an ant colony’s labour, portrayed the Modi government as a ‘suit-boot ki sarkar’ (government for the affluent), consistently failing the ordinary people. Despite numerous allegations of corruption and mismanagement, this narrative initially struggled to tarnish Modi’s image, which was perceived as incorruptible and often described as water rolling off a lotus leaf. However, Rahul Gandhi’s relentless critique, backed by consistent evidence, eventually compelled Modi to acknowledge the allegations of black money against ‘Adani and Ambani.’

In a surprising twist, Modi claimed that Adani and Ambani sent truckloads of money to Rahul Gandhi. Gandhi swiftly retorted with a simple counter-video.

If Adani and Ambani’s channels shared Modi’s speech, they imply their financial masters are corrupt, as the Prime Minister himself claimed. If they hadn’t published the video, they would have ignored a critical speech and a key counter-narrative of their political master.

A few attempted to confuse the search by re-updating old articles mentioning Adani, Ambani, and Modi — a tactic to potentially bury Modi’s rant against Adani and Ambani, making it harder to find through searches on the same.

Rahul was very quick to counter this claim. It was a narrative Checkmate

Send CBI, ED to probe Adani, Ambani: Rahul Gandhi’s retort to Modi’s ‘tempo loads of money’ jibe

Send CBI, ED to probe Adani, Ambani: Rahul Gandhi’s retort to Modi’s ‘tempo loads of money’ jibe#rahulgandhi…

Arvind Kejriwal’s Sharp Bee-like Narrative sting

In Delhi’s electoral landscape, where voters prefer AAP for assembly but BJP for Lok Sabha elections, Arvind Kejriwal has crafted a narrative akin to a bee’s sharp, buzzing sting. This narrative aims to appeal to swing voters who have been swayed by the “Modi Magic” in the past. To bolster their chances of defeating BJP, AAP has allied with Congress, hoping to combine their transferable vote bases. However, this alliance may not be enough. The real power of AAP’s narrative lies in its potential to negate the Modi effect and sway BJP voters towards AAP. Kejriwal’s sharp and stinging narrative is crafted to precisely achieve this — to puncture the Modi aura and compel swing voters to reconsider their choices, potentially tilting the scales in AAP’s favour in this high-stakes electoral battle.

Step 1 — He begins by visiting the Hanuman Mandir, establishing his cultural credentials as a Hindu and countering the BJP’s religious narrative without alienating Hindu voters.

Step 2.1 — Kejriwal then shifts his focus to Prime Minister Modi, accusing him of being autocratic and highlighting the pressure faced by opposition leaders like Uddhav Thackeray, Mamata Banerjee, and M.K. Stalin, avoiding mentioning Rahul Gandhi and the Congress party to frame the issue as a personality clash rather than a party-driven conflict.

Step 2.2 — Amplifying his narrative, Kejriwal references Modi’s treatment of his party stalwarts, such as L.K. Advani, Murli Manohar Joshi, Vasundhara Raje, and Shivraj Singh Chouhan, suggesting an autocratic leadership style and potential isolation within the BJP ranks.

Step 3 — He then raises the spectre of Modi’s potential retirement at 75, hinting at the ascendancy of Amit Shah as the next leader, effectively forcing BJP voters to consider whether they are voting for Modi or Shah’s future leadership.

Kejriwal’s masterful narrative presents a checkmate situation for the BJP. If they agree with his assertion about Modi’s retirement, it implies that the Prime Minister will step down within a year. If they disagree, it reinforces the narrative of Modi using the age of 75 as a pretext to sideline influential BJP members for his advantage, painting a picture of an autocratic leadership style. This strategic approach demonstrates a masterclass in narrative warfare, putting the BJP on the defensive and risking the alienation of a segment of voters, highlighting the potency of Kejriwal’s narrative in the battle for swing voters.

Conclusion

Arvind Kejriwal and Rahul Gandhi have masterfully crafted narratives that have effectively trapped PM Modi and the BJP’s PR machinery. The critical question remains: will these narratives transcend mere storytelling and transform into effective campaigns, mobilizing voters and creating the required swing to reshape the political landscape? The ability of these narratives to resonate with the electorate, counter the “Modi Magic,” and translate into tangible voter mobilization efforts will ultimately determine the election result, shrouding the political landscape in a veil of suspense and anticipation.

(The author first published this reflection here)

The post The Ant and the Bee: Two compelling narratives in India’s electoral battle appeared first on SabrangIndia.

Dear Rama,

It has been a while since I spoke and wrote to you. I thought of reaching out, but things have become worse. Our influential leaders claim we are all set to inaugurate a grand temple for You.

Lord Ram, You will remember there was a Mosque; we broke it to give You a space. We claim that You were born exactly in that very place where the mosque stood. The Hindu society extacted its revenge to show their love to You.

In an ironic twist, Hindus fervently sought a designated land for You, their Lord, despite Your known attribute as Sarvagata (one who exists everywhere).

I have always wondered if mortal men must take something away from someone to provide You with something ( Who is the Lord of everything). As disciples of You, we believe in Your omnipresence; after all, you are Sarvalokapati (Lord of all the worlds), Sarvavyapi (present in everything from the smallest to the biggest) and Sarvabhutatman (Soul of all beings).

Then why would we have to take something away from someone to pray to You?

You are Sarvabhutantaratma (residing in our souls), and you live in our hearts (as my mother would say). Then, your temple is just a place to participate in rituals that celebrate your life. How can we limit you to a temple despite assuming you are everywhere?

अगर ईश्वार डटा रहता सब जगह, सब काल।

इसने बनवाकर मंदिर, मस्जिद, गिरजाघर

ख़ुदा को कर दिया है बंद;

ये हैं ख़ुदा के जेल,

जिन्हेंख यह-देखो तो इसका व्यंाग्यल-

कहती है श्रद्धा-पूजा के स्थाइन।

कहती है उनसे,

“आप यहीं करें आराम,

दुनिया जपती है आपका नाम,

मैं मिल जाऊँगी सुबह-शाम,

दिन-रात बहुत रहता है काम।”

अल्लाि पर लगा है ताला,

बंदे करें मनमानी, रँगरेल।

In this contemplative narrative, Harivansh Rai Bachchan asks about the true nature of the Divine. He invites us to seek God beyond the sacred edifices in the boundless expanses of our hearts and the universe. He is playful with his words and tells us mandirs, churches, and mosques are just “prison” of Gods, As locking the God in these sacred places grants mankind the liberty to stray from the path of righteousness, indulging in whims and unrestrained behaviours.

A temple of Yours erected on the ruins of a mosque diminishes Your magnificence.

They say it heralds the advent of Ram Rajya.

Should I look beyond the mere concept of the temple and consider its implications for everyone? The nation is built on the foundations of diversity, home to many individuals from different backgrounds. With one in every five people being Muslim, respecting and acknowledging the multifaceted tapestry of our society rather than imposing a singular way of life is imperative.

When I ponder these matters, I worry that we must fully accommodate everyone. While the notion of Ram Rajya has been widely celebrated as a utopian ideal, I question whether it was indeed a philosophy you advocated during your lifetime. People have taken the liberty to interpret your life and teachings in a way that aligns with their particular way of living. That said, we must explore other visions of utopia within the Indian context and strive to understand what they entail. In a society as diverse and complex as ours, we may find better principles of co-living that can help us build a more inclusive and harmonious future.

This was a few years before. I entered the ancient city of Ayodhya and felt the excitement. The streets were beautifully decorated with countless lamps, and the sky was lit up with fireworks. The town celebrated Diwali, the festival of lights, which held a special significance this year. It marked the return of Lord Rama (You) to Ayodhya after 14 long years of exile.

हमें अदाएँ दिवाली की ज़ोर भाती हैं ।

कि लाखों झमकें हरएक घर में जगमगाती हैं ।।

चिराग जलते हैं और लौएँ झिलमिलाती हैं ।

मकां-मकां में बहारें ही झमझमाती हैं ।।

खिलौने नाचें हैं तस्वीरें गत बजाती हैं ।

बताशे हँसते हैं और खीलें खिलखिलाती हैं ।।1।।

गुलाबी बर्फ़ियों के मुँह चमकते-फिरते हैं ।

जलेबियों के भी पहिए ढुलकते-फिरते हैं ।।

हर एक दाँत से पेड़े अटकते-फिरते हैं ।

इमरती उछले हैं लड्डू ढुलकते-फिरते हैं ।

One of the best descriptions was by Nazeer Akbarabadi, an 18th-century Urdu poet commonly called the “People’s Poet.” Here, the poet vividly describes the vibrant celebrations of Diwali, where every home sparkles with the glow of countless lamps. The atmosphere brims joyfully as candles shimmer, and every household exudes festivity. Toys seem to dance, pictures come alive with music, and sweets like ‘batashe’ appear to laugh and bloom. The pink ‘barfis’ and ‘jalebis’ twist and turn, while ‘pedas’ cling to one’s teeth, and ‘imartis’ bounce around with ‘laddoos’ playfully rolling about.

For the people of Ayodhya, Diwali meant much more than just lights and sweets. It symbolised the return of righteousness and the establishment of ‘Ram Rajya’. As I interacted with the locals, they shared stories about Lord Rama’s just and fair rule, where every citizen was content and evil found no refuge. They described Ram Rajya as an ideal state of governance where justice was paramount and the ruler served with unwavering dedication. It was a vision of a utopia that many still aspire to achieve.

I am from Kerala, but I speak Tamil. We celebrate Oman, but it is a beautiful festival. Last year, I was in Kerala during Onam. The celebration of Onam was in full swing, featuring lively processions, colourful music, and traditional dance performances.

Unlike the famous festival of Diwali, Onam honoured a different figure — King Mahabali, a demon king. This piqued my curiosity about why such a powerful and feared figure would be celebrated enthusiastically.

During the Onam festival in Kerala, traditional attire reflects the festive spirit. Women wear an off-white saree with a golden border and adorn themselves with gold jewellery and jasmine in their hair. Men wear the “Mundu,” a white cloth with a similar golden border and a white shirt. To further add to the vibrancy of the festival, colourful “Pookkalam” floral designs are made outside homes.

They say, “Vamanna betrayed the King’s trust”. His subjects love him ( the asura king) more than the God ( Vamana). This made me think.

Ram Rajya and Mahabali’s reign epitomised utopian ideals, yet their foundations were distinct. Ram Rajya, rooted in divine governance, emphasized dharma and the triumph of good over evil. However, it bore shadows of inequality, especially towards women and lower castes, as evidenced when You asked for Sita’s trial or decided to end the life of Shambuka. I am not questioning Your decision, Lord, but we must put your position in the context of other ideas. You did not proclaim the idea of Ram Rajya; a small group decided to impose an idea convenient to others.

Conversely, Mahabali’s Kerala stands for egalitarianism. Despite being an Asura king, Mahabali championed a casteless society where love and mutual respect between the ruler and subjects were paramount. While Lord Rama’sRama’s return to Ayodhya is eternal, Mahabali’s visits are fleeting. Yet, the warmth with which she’s received during Onam is profound. People adorn themselves not for vanity but to bring joy to their beloved King. Onam celebrates a king’s vision of equality, even if it means defying divine conventions.

बेगम पुरा शहर को नाऊ।

दूख अंदोह तहिं न ठाऊ।।

ना तहिं बेरा, ना तहिं जाह।

ना तहिं बाद, ना तहिं गाह।।

अब मोहि बूलन हरि बेगम।

अस गह तहाँ न जाई न तेगम।।

In his poem, titled “Begumpura”, Sant Ravidas envisions a utopian city named “Begumpura,” which translates to “the city without sorrow.” In this city, there is no place for suffering, anxiety, or pain; a place devoid of any discrimination, be it based on caste (“बेरा”) or class (“जाह”). It is a harmonious place where disputes (“बाद”) and taxes (“गाह”) do not exist.

Sant Ravidas expresses a deep desire to be called by the “Hari” (a name for God) to this sorrow-free land, a place where no sword (“तेगम”) can come and inflict pain. The poet’s longing for a place where harmony and peace prevail and where there is no distinction based on caste or economic status is vividly portrayed in this poem. It reflects a dream of an egalitarian society where happiness and peace are not just individual experiences but shared by the community. It is a profound expression of a dream for a society grounded in equality and fraternity, free from discrimination and suffering.

Ram Rajya, Mahabali’s reign, and Begumpura. Based on Lord Rama’s rule, Ram Rajya is a divine governance emphasizing dharma but criticized for instances of inequality. Mahabali’s reign, celebrated during Onam, represents an egalitarian society where rulers and subjects share a deep bond of respect and love, defying divine conventions to uphold equality. Begumpura, conceptualized by Sant Ravidas, imagines a city free from sorrow, discrimination, and economic disparities, a haven of communal harmony and peace. Utopias are not just aspirational but also values the system a society chooses to embrace.

In a diverse society, having a single prescribed way of living would be inappropriate, especially if that idea is discriminatory. Begumpura imagines a bottom-up approach that benefits everyone, while Ram Rajya is a set of rules conceived to benefit only a privileged few. The debate of your act against Shambhuka is a story of different times; you played the role of a Man-King, and must have observed you showcasing the fallibility of man rather than the perfection expected of a deity.

Hey Lord Ram, you are known as Karunasagar (Ocean of Compassion); it is said that you are Sarvabhutahite Rata (Always Engaged in the Welfare of All), being the supreme guardian and caretaker of all beings. I can only envision you as a proponent of an egalitarian society, a figure who envisages a world brimming with love and free from discrimination.

अयोध्या के सुनहरे दरबार में, एक दयालु और न्यायप्रिय शासक,

भगवान राम ने दया भरी दृष्टि से, अपनी प्रजा की सेवा की।

उसने सबसे कमजोर की आवाज़ सुनी, उसने आँसू पोंछे,

उसके दयालु शासन में, सभी भय मिट गए।

In the golden court of Ayodhya, Lord Ram, a compassionate and just ruler, he served his people with a kind heart, listening to the weakest and wiping away their tears, eradicating all fears in his benevolent reign.

Seeking your blessing,

(The author is a financial professional with a master’s degree in economics. He is intensely interested in the arts, academia, and social issues related to development and human rights)

Related:

To Lord Ram, I write again for Hope

To Lord Ram, a letter of remorse and resolve

Lord Rama Anantatma & Anantaroopa: He who is the Infinite Soul & who has infinite forms

Lord Ram , Perfect Lord and Imperfect Bhakthi

Lord Ram, in my sixth letter I appeal to your diverse forms

The post Reimagining Ram Rajya: A heartfelt letter to Lord Ram on Unity, Equality, and Compassion appeared first on SabrangIndia.

In Aldous Huxley’s “Grey Eminence,” the enigmatic character of Father Joseph, advisor to Cardinal de Richelieu, embodies a perplexing interplay between beauty and perversity. Despite composing the spiritually uplifting Les Cantiques Spirituels, Father Joseph resorted to ruthless tactics, including deception and murder. He is said to be responsible for the deaths of thousands of Huguenots, or French Protestants, during the Thirty Years’ War. 

This paradox prompts a profound question: Can art transcend its creator’s actions, allowing us to appreciate its beauty separate from its moral compass? As we grapple with the haunting reality of Father Joseph’s atrocities, his hymns resonate, inviting us to contemplate whether beauty can exist independently of ethical considerations or is intrinsically linked to truth and goodness.

The phrase “Satyam Shivam Sundaram” suggests that truth, Godliness, and beauty are interconnected. Is beauty separate from ethical considerations, or is it linked to the fundamental nature of reality and goodness?

This week, I saw two productions where ethics was not just a theme but the soul of art; they, in a distinctly brave way, search for social justice amid contractions of society. Art is just an extension of the artist; the story they told us is an extension of their life; they steal moments of their life and decorate them into art.

Indeed, if archiving is making ‘the personal public’, then Mari Selvaraj’s Mamaanan and Nish Abdulla’s  ‘We push the sky’ merge the personal and public, private and political, and the audience is not a passive observer but is invited to participate.

Mari Selvaraj achieves this immersive effect through the astute portrayal of his characters, the dynamic cinematography, recurring motifs, and the deliberate use of visible violence. On the other hand, Nisha employs a more subtle approach, gently drawing viewers into her personal world. From the shared moments over tea to the thought-provoking discussions on Uniappam, the boundaries of the stage are extended to envelop the last member of the audience.

In his latest film, “Maamannan,” director Mari Selvaraj skillfully subverts the entrenched caste hierarchy portrayed in the iconic film “Thevar Magan.” In “Thevar Magan,” the character Isakki, played by Vadivel, represents a submissive individual who faces severe consequences for deviating from the established caste structure by entering a temple. His punishment comes in the form of having his hand amputated. However, in “Maamannan,” Mari Selvaraj orchestrates a powerful narrative shift.

The film places Vadivel, who hails from a marginalised community, at the centre of the story as the protagonist. Vadivel’s character embarks on a transformative journey, arming himself with a sword to protect his family and assert his agency. Have we transitioned? No, but the film’s narrative reflects the need to change the caste hierarchies and the storyteller’s gaze.

In the movie “Maamannan,” Vadivelu plays the role of Maamannan, a Dalit MLA from Kasipuram in Salem. Udhayanidhi Stalin portrays Adhiveeran, Maamannan’s son, and Fahadh Faasil delivers an impressive performance as the caste-Hindu antagonist.

While “Thevar Magan” (drew inspiration from “The Godfather”) explores a strained relationship between a father and his son. In the film, the reluctant son ( played by Kamal Hasan) takes the mantle of leadership from his father. Thevar-Magan ( Son of Thevar, a Kshatriya caste ) is benevolent.

Unlike “Thevar Magan,” Mari Selvaraj’s film places the reluctant father (Maamannan) at the forefront as the protagonist, challenging the existing caste equations. Adhiveeran’s silence and his simmering anger inspire his father’s introspection. In this narrative, Maamannan evolves from a hesitant figure into one who confronts and reevaluates the prevailing caste dynamics.

The characters in the film, along with powerful acting and Vadivel’s transformation and body language, make it engaging. Udhayanidhi Stalin’s restrained performance and Fahadh Faasil’s versatility as Supermist also add to its appeal. Mari Selvaraj’s use of motifs, especially animals, and his dialogue and cinematography, particularly his aerial and long shots, have become his signature.

The second half needs a more cohesive narrative thread, and the ending needs conviction. It is as if the director bravely opens Pandora’s box; but struggles to control the beast he has unleased. The female characters could be better developed, and the music is not rooted in the plot.

The film Maamannan is pivotal because it turns the narrative around a community and creates a powerful arc that transforms personal struggle into public dissent. The director portrays the pain of this transformation; it is a story that needs to be told. The film engages the audience and prompts, “Are you listening?”

Nisha Abdulla presents her solo act, “‘We push the sky”, with a banner as a backdrop that reads “Are you listening?” As the audience arrives, Nisha invites them to a conversation over a cup of tea and Uniappam, making them feel comfortable. She promises them that the ‘wait will end’ and encourages them to engage with her. As she draws them into her plot, there are no spectators here- everyone is an actor (or a prop).

The story gently catalogues a series of childhood stories, a glimpse into a child’s life, friends, family and neighbours; personal stories, incidents, and inspirations weave an identity. A woman, Malayali, Mappila, Muslim, Indian Migrants in the Middle East, cricket lover, and non-Urdu speaking Muslim is transformed into a Muslim when Junaid goes missing.

The plot turns the personal into political when the nation turns the narrative into them versus us. The catalogues of complex identity turn into an archive of personal and community pain. Nisha quickly confronts her fears while questioning our cowardice in our prolonged silence; the extraordinary exchange with the audience where she asks if potatoes can be considered desi, then why Muslims who came earlier are not citizens, she lists them one by one, the laugh induced is dark as the protagonist uses the absurdist idea of the home minister coming (like waiting for Godot).

In the climax, which retells the night of solidarity, the women hold their hands at the protest site; as police stare at them, the hands rise to the sky, creating a new space of solidarity, harmony and hope. ‘We push the sky’.

The production was terrific, with exceptional scriptwriting and acting by Nisha Abdulla and lights by the team of Madhusudan and Arun. The set design was by Gowtham and Pardafash designed the sound. Shradha Raj flawlessly managed the production. Ujwala Rao as a director kept the play tight, intense and engaging. The play is a triumph of storytelling and is exceptionally brave.

The Play ‘ We push the sky’ on 9 July was dedicated to Teesta Setalvad.

Truly, in Mari Selvaraj’s Maamannan and Nisha Abdulla’s ‘We push the sky’, we see how artists take a personal moment to create a trajectory in art; art is an extension of the artist, and their dissent becomes archiving in our times. We must, as the audience must, not be mere spectators. Are you listening?

Reach out to ‘We push the sky’ at ​​​​qabilacollective@gmail.com 

(The author is a financial professional with a master’s degree in economics. I am intensely interested in the arts, academia, and social issues related to development and human rights.)

Related:

इंक़लाब, इश्क़ है, Love is rebellion

The complex design of propaganda & narrative manipulation: India

The post Is anyone listening? Two creative works that transform personal tragedies into powerful political statements appeared first on SabrangIndia.

A dear friend who fearlessly took to the stage, exposing her vulnerability as a Muslim and unwavering resolve to fight against the looming threat of fascism. Through her powerful play, Her courageous act is archiving her and her community’s vulnerability; in the theatre, I argue that love makes hope divisible and also additive.

A friend, a mathematician, for whom parenting is transformative in times of hate. Observing his interactions with his son, I witness the poignant beauty that arises when love takes root and blossoms. In these moments, love transcends mere sentimentality and becomes a tangible force intricately woven into the fabric of their relationship. His parenting is his rebellion, a gentle nudge to brush the hate aside.

Two friends, a Hanuman Bhakt, is married to the daughter of a Communist party worker. At home, love and logic take turns to make decisions about travel, food and politics; the dynamic between passion and reason weaves a rebellious tapestry within their home. It challenges societal norms and expectations, embracing a unique blend of spirituality and ideology. Their interactions are marked by a delicate balance of emotional connection and rational thinking, enabling them to navigate various aspects of life together. Their daughter becomes the embodiment of their hopes for a brighter future. Through their loving and logical upbringing, she grows up with a compassionate spirit and a strong sense of justice. Their household becomes a beacon of hope, demonstrating that embracing the heart and mind can challenge the status quo and inspire positive change. Not surprisingly, their daughter is called Meera.

A friend and her partner also take enormous pleasure in parenting. They are like a “zariwala“.A master zariwala is full of dexterity, skillfully working with stitches, boundaries, needles, and saree borders. The zariwala‘s nimble fingers dance across the surface, creating a harmonious blend of craftsmanship and artistry. This inter-religious couple stitch stories of hope and love into their parenting, like the detailing they give to the immaculate curation of their house. Their children embody a love that comes with rebellion.

Their world reminds me of a story by Basheer. The story is set in 1940s Kerala and revolves around Keshavan Nair, a Hindu bank employee, and Saramma, a Christian woman who lives in a house owned by Saramma’s father. Keshavan Nair and Saramma, fall in love.

Keshavan Nair and Saramma playfully decide on a name for their child by placing selected objects in a container, mixing them up, and drawing two chits without looking. The chits read “Sky” and “Toffee.” They combine the two names and ultimately decide to name their child “Skytoffee,” feeling excited about their choice. “Skytoffee” embodies a sense of wonder and delight. It symbolises the boundless expanse of the sky and the sweetness of life.

V and S had the task of naming the child; the name of the child has the burden to carry an entire “culture”; it is aspirational, it is identity, cultural, and it could reflect country, religion, social status and family values; yet when V and S decided that they would call their children Abeer and Meer, contrary to the family idea, there is a rebellion, the rebellion is born amid love, and love is not divisible here but expansive, Meer calls V Ammi. I do not know for sure if they will become Poets of Words, but I know they will be poets of thoughts; the rhythm of poetry cannot escape when you are born amid love and rebellion.

bavrese is jahan mein bawra ek saath ho

is saayani bheed mein bass haathon mein tera haath ho

bavrisi dhun ho koi bavra ek raag ho

bavrisi dhun ho koi bavra ek raag ho

bavrese pair chahe bawre tarano ke bavarese bol pe thirkana

bavra mann dekhne chala ek sapna

Parenting in the midst of hate is the biggest rebellion.

Bavra mann dekhne chala ek sapna (My wandering mind sets out to behold a dream,)

Poets like Kabir, Akka Mahadevi, and Basava defied conventions through their verses, advocating unity, equality, and spiritual awakening. Kabir’s poems transcend caste and religion, Akka Mahadevi’s songs emphasise inner love, and Basava’s verses call for social justice.

My colleague K has decided to marry M; she is breaking the caste barrier, like Akka Mahadevi and Basava; love is rebellion, and K and M’s rebels are who are building a paradise.

इंक़लाब, इश्क़ है,

इश्क़ इबादत है,

इबादत ही जन्नत है।

Revolution is love, Love is worship, Worship is paradise.

(Venkat Srinivasan is a financial professional with a master’s degree in economics. I am intensely interested in the arts, academia, and social issues related to development and human rights)

Related:

Lord Ram, in my sixth letter I appeal to your diverse forms

First Letter to Lord Ram: To Lord Ram, a letter of remorse and resolve

Second Letter to Lord Ram: To Lord Ram, I write again for hope

Third Letter to Lord Ram, we must talk spirituality and politics

Fourth Letter to Lord Ram, Anantatma & Anantaroopa, the Infinite Soul & who has infinite forms

Fifth Letter to Lord Ram,  Perfect Lord and Imperfect Bhakthi

The post इंक़लाब, इश्क़ है, Love is rebellion appeared first on SabrangIndia.

Last year, she received a call from a neighbour who, after a brief introduction, invited her to watch the film The Kashmir Files over the weekend. This invitation to watch a propaganda film rather than a simple coffee get-together struck my friend as odd and unexpected.

Upon further inquiry, she discovered a concerted effort within the neighbourhood through WhatsApp messages to encourage bonding over watching the film. It was presented as a civic responsibility to engage in community viewing.

This raises questions about the scale and reach of right-wing propaganda, as it has managed to infiltrate not only media houses and Twitter, but also local WhatsApp groups, shaping daily conversations and capturing local narratives. The incident prompts us to reflect on how a propaganda film with evident inaccuracies and biases could gain traction and be pushed through community platforms.

Social media platforms in India have become a breeding ground for manipulative practices to shape narratives and build public opinion.

This includes astroturfing, a technique used to create the illusion of grassroots support by orchestrating the narrative. It has been employed in various contexts, such as the targeted harassment of academics, campaigns against female activists, the politicisation of actor Sushant Singh Rajput’s death, the promotion of militarisation in Kashmir and even the online trolling of Chief Justice of India D.Y. Chandrachud.

This article will explore the methods used by right-wing propaganda machines to create a detailed framework. Through careful analysis of this design, we can gain valuable insights into how propaganda machinery operates and visualise its dynamics.

This propaganda design has distinct characteristics.

Propaganda narratives have deeply infiltrated various social media platforms and news channels, operating as a piece of well-orchestrated machinery at both local and national (even international) levels.

Numerous influencers and groups, both voluntary and ideologically driven, participate in amplifying these narratives, perpetuating a calculated narrative facilitated by IT cells, centralised machinery and think tanks. These propaganda narratives reach the mainstream through tweets, Facebook, WhatsApp, Instagram and YouTube to gain traction in the local community discussion.

Examples of such propaganda can be observed in films like The Kashmir Files and The Kerala Story, aiming to discredit Muslims while exploiting Hindu sentiments. Tragic incidents like the death of Sushant Singh Rajput were manipulated as distractions from pressing issues, concurrently targeting the Bollywood industry.

Notably, this machinery possesses the ability to transform national issues into local discussions, as seen with the transition of propaganda films evolving into ‘moral’ responsibilities, where communities are encouraged to engage in collective viewings. The exceptional nature of this propaganda machinery lies in its capacity to seamlessly shift the focus from local to national issues, such as when the Hijab debate was catapulted into a national discourse during the Uttar Pradesh election.

Right-wing propaganda machinery employs various methods to disseminate content, targeting local groups to shape narratives from the grassroots level. Issues like the sengol and Article 370 are skilfully framed through circulating materials in WhatsApp groups. Several materials are also circulating in such groups to emphasise the need for a uniform civil code. This strategic dissemination of narratives aims to influence public opinion.

Prime Minister Narendra Modi with the sengol in parliament on Sunday, 28 May, 2023. Photo: Screengrab from video

Obscure subjects like the sengol are promoted through local propaganda channels to amplify their significance. False information regarding historical figures like Nehru and Rajaji is intentionally spread, fostering discussions that favour Modi’s image.

Such manipulation of narratives sidesteps critical debates and deflects attention from crucial issues, exemplified by the overshadowing of Modi’s political motives behind inviting the Adheenam priests to inaugurate the new parliament.

Twitter serves as a national and international platform for such manipulation, with examples being the attack on the organisers of an international academic conference titled “Dismantling Global Hindutva” and the building of a narrative against the current chief justice. Twitter can shape narrative positions, with articles and TV shows following suit. Local issues gain momentum on Facebook and WhatsApp before being propelled to national media, sparking debates.

Influencers, as Cobrapost revealed, play a crucial role, being paid to promote specific messages through tweets. This ecosystem has expanded, with right-wing individuals benefiting financially and amplifying the intended message. YouTube is critical for driving local and national narratives through content creators.

The weaponisation of Hindu sentiment takes place through various methods, including the organisation of armed groups by entities such as the Bajrang Dal, Durga Vahini etc. Riots are often orchestrated to gain widespread support and foster a sense of inevitability in the midst of an enemy (read the outsider Muslim).

The orchestration of riots at local levels requires active participants and an audience who either feels threatened (in this case, minorities) or believes in justifying such acts (in this case, Hindus).

This is a challenging task, as the majority must feel that it was inevitable and that Muslims deserve the violence. This is done by highlighting recent incidents like stone-throwing on the Vande Bharat Express, “love jihad” or emphasising historical grievances.

However, this premise alone is not sufficient; the weaponisation of the Hindu mindset is equally crucial. Posters have been collected from Facebook sites and WhatsApp groups across a few states with straightforward messages that aim to revive the military achievements of Hindus. These messages are presented in a style that fits the format of WhatsApp, with large, easy-to-read fonts.

Narratives extolling the courage of local figures like Naiki Devi, Rana Sangha and Shivaji against the Mughals are disseminated through region-specific Facebook platforms and WhatsApp groups. These narratives aim to depict Muslims as aggressors and incite Hindus to adopt a militaristic stance.

Films like The Kashmir Files reinforce the notion that Hindu passivity will lead to the loss of their land, life and culture. Illustrations featuring Ram, the Pandavas and Parashurama carrying weapons during their exile are utilised to rationalise the necessity for arms and perpetuate a culture of war.

Saffron Swords, a book authored by Manoshi Sinha Rawal, chronicles 52 tales of resistance, often presenting Muslims as the antagonists. These stories, especially those involving battles with Muslim leaders, are transformed into posters that seek to incite the belief that Muslims were oppressors and Hindus fought against them. The book repeatedly characterises Muslim invasions as acts of genocide and involving the looting of temples and Indian wealth.

This narrative aligns with the agenda of the RSS, aiming to reshape the perception of Muslim arrival as an invasion, thereby casting Muslims as outsiders lacking legitimate claims to the subcontinent. The implementation of the national register of citizens can be interpreted as a legal manifestation of this narrative.

A  case study conducted at the University of Michigan sheds light on the #HijabBan discourse on Twitter. Although the total number of tweets opposing the ban was higher, a smaller yet highly-engaged group of pro-ban accounts had a significant online reach.

This suggests that while the overall sentiment leaned against the ban, a vocal minority played a pivotal role in shaping the discourse. The use of astroturfing – the creation of artificial grassroots support – may have influenced the perception of a widespread backing for the ban.

It is crucial to comprehend the deeply entrenched nature of the right-wing design and its ability to disseminate narratives across local and national scales. Understanding this network can help in building countermeasures against fake news and hate propaganda, and establishing alternative, community-centric narratives to foster democratic discourse.

Collaboration between community media houses, influencers and activists on social media is crucial to promote constitutional and secular values for fostering harmony. By emphasising community-focused news reporting, we can document the aspirations of different communities and eventually build solidarity among them. Successful examples of this model are Khabar Lahariya and Eedina, which prioritise building media from the ground up.

Venkat Srinivasan is a financial professional with a master’s degree in economics. He is intensely interested in the media, arts, academia, and social issues related to development and human rights. The article also appeared in The Wire and is being republished with consent of the author

Related:

Film as Propaganda: the months between June 2023 & May 2024

Is GoI unwilling to investigate Facebook’s ecosystem of hate?

India’s Ecosystem of Hate: Is Facebook both, a Beneficiary and an Offender?

Facebook yet to take action against Bajrang Dal due to safety concerns: WSJ

Did Facebook just play a great Indian matchmaker and unite the Right, Left, and Centre?

After algorithm glitches Facebook CEO now talks of “operational mistake”

Delhi Govt’s Committee of Peace and Harmony to examine Facebook India’s role in Delhi riots

What is the BJP’s latest status update on Facebook?

Facebook protects hate speech by ‘regime favourites’ of ruling BJP?

The post The complex design of propaganda & narrative manipulation: India appeared first on SabrangIndia.

Tuesday June 20

Dear Ram

This week, a film inspired by Your Life (Lord Ram) was released in India. However, it has been noted that the film presents a limited perspective influenced by right-wing discourse. Before discussing the film and its narrow-mindedness. I seek to discuss a captivating play called “Uttar Rama Charita.” It made me ponder the significance of dissent and disagreements when portraying You as King of Men.

“Uttar Rama Charita” is an esteemed Sanskrit play written by Bhavabhuti in the 8th century CE. Based on the Uttara Kanda of the Ramayana, it delves into the events of Your life after Your return to Ayodhya from exile. Comprising seven acts, this play is widely regarded as a masterpiece of Sanskrit drama. It primarily revolves around the testing times endured by Sita, who faces criticism and doubt from some of Your subjects despite proving her purity by undergoing the trial of fire. The central conflict in the play arises when You are compelled to banish Sita due to societal pressure and the demands of your role as a king.

Within the later chapters of the play, an intriguing conversation occurs between Chandraketu, the son of your brother Lakshmana and the general of Rama’s army, and Lava, Your son and Chandraketu’s cousin. Both characters possess inclinations about each other’s identities, yet they remain uncertain. In this exchange, Lava, whom his mother (Sita) primarily raised, has had limited contact with his father (You, Lord Rama), critically assesses and questions Your actions.

Lava’s criticisms are a significant aspect of the play, as they shed light on the complexities of the characters and their relationships. Through Lava’s perspective, the play explores the themes of abandonment, the significance of maternal upbringing, and the inherent human tendency to question authority.

These criticisms contribute to the rich tradition of philosophical debates and intellectual discourse prevalent in our literature. They serve to demonstrate that even revered figures like You, Lord Rama are subject to scrutiny, and their actions are open to interpretation. This aspect of the play highlights the nuanced nature of human existence and emphasises the importance of critical thinking and questioning in understanding the complexities of morality, duty, and authority.

While You are portrayed as an omnipotent figure, the play presents an opportunity to reflect on the multifaceted nature of Your character. It invites the audience to contemplate and introspect, encouraging them to grapple with the moral dilemmas and ethical ambiguities presented by the actions of revered figures. By doing so, the play prompts deeper philosophical inquiries and enriches the overall narrative.

Should the “Idea of Ram” be confined to a single idea or imposed as a belief structure by a select few? Ideas can become dogmatic, losing their relevance to the people and community they represent.

There is a story about You as the King; You had returned to Ayodhya after defeating Ravana, You were crowned, and the city of Ayodhya celebrated the return of their prodigal son. Burdened by the responsibilities of kingship, you made a difficult decision; succumbing to the persistence of a few individuals, you chose to banish Sita from the kingdom.

One wonders what went into your mind. As a mortal human, It may be impossible for me to fathom the complexities of Your mind. They also say You were sad and lonely after ordering Sita (Your Love) to be banished from the kingdom; the victory with Ravana had left you no better. This would hardly come as a surprise; Lord, You were always gentle and often introspective about your actions.

Overwhelmed by isolation and anger, you found solace in issuing a decree banning laughter within your kingdom. The mere reminder of Ravanas’ laughter caused you immense pain, leading to this drastic decision. Unfortunately, the consequences of the ban were distressing for your subjects. Officers diligently imposed fines on those caught laughing, and severe punishments awaited those who dared to disobey the royal orders.

One day, while walking through the forest, You encountered a group of monkeys playing and laughing. Surprised, You asked why they were not afraid of punishment. The monkeys responded that they were not laughing at You but at their silly actions. This realisation dawned upon you, and you recognized that your previous orders were irrational. In a remarkable display of your true nature, you decided to reverse the ban, allowing the people of your kingdom to once again embrace laughter. This story illuminates the essence of your character, revealing your sensitivity to criticism and your willingness to listen and understand.

Contrary to Your introspective nature, the Rashtriya Swayamsevak Sangh (RSS) presents a contrasting narrative with their approach to You. They impose a singular view of You as a symbol embodying virtues and moral values, advocating for a strong Hindu identity.

This situation evokes parallels to Umberto Eco’s renowned novel, “The Name of the Rose.”

The RSS’s unwavering and dogmatic perspective on You resembles Jorge’s (a priest in The Story Name of Rose) stance on laughter, ultimately leading to the destruction of the Abbey he seeks to protect. The absence of open philosophical discourse and the rigid adherence to a singular interpretation poses a risk to the broader fabric of society. It is crucial to recognize the significance of engaging in diverse dialogues and fostering an inclusive exchange of ideas to safeguard the harmony and progress of our communities.

The Name of the Rose follows the story of William of Baskerville and his apprentice Adso as they investigate a series of mysterious deaths in an abbey. William, a rational and open-minded Franciscan friar, seeks to uncover the truth behind the murders using his deductive reasoning skills. Jorge of Burgos, a blind and zealous monk, opposes William’s investigations and goes to extreme lengths to preserve the secrecy of a forbidden book on comedy. Their clash of ideologies and views on laughter ultimately leads to devastating consequences for the Abbey.

Jorge of Burgos and William of Baskerville engage in debates about laughter during their time at the Abbey. It is revealed that Jorge’s actions, including murder, were motivated by his desire to hide a forbidden book on comedy, the lost second book of Aristotle’s Poetics. Jorge sees laughter as a disruptive force threatening society, religion, and truth. He believes that all truth is known, and laughter undermines that truth. On the other hand, William argues for the virtues of laughter and sees truth as unknowable and mysterious. He believes laughter can be used to challenge falsehoods and absurdity. Jorge goes to great lengths to hide Aristotle’s treatise because it elevates comedy to the realm of art and philosophical inquiry, posing a threat to the religion and established authority. In the end, Jorge’s opposition to laughter destroys the Abbey and its library. William, in contrast, embraces doubt and intellectual flexibility, allowing him to accommodate new ideas.

The book shows Jorge’s readiness to resort to violence to protect his singular stance on laughter. Similarly, in India, there have been instances where people have been subjected to violence and coercion to conform to the RSS “idea of Ram”.The Film Adipurush seems to weaponize the concept of Ram and distort the character of Hanuman, portraying him as a seeker of revenge rather than a symbol of devotion and Bhakti ( Love)

This obsession with a singular idea leads us down a path of hatred. Hindu society must recognize that if we continue down this path, the venomous head of the snake we have unleashed will eventually bite its own tail.

We are already witnessing signs of this hate consuming us.

The idea of Ram should not be confined to a singular notion; instead, it should serve as a subject of discourse among people and communities. In this diverse narrative, Lava, the son, might criticise his father, while the nephew would come to Your defence. The monkey, representing humour, would argue in favour of laughter, while You may contemplate banning it. Valli, the aggrieved character, would say that his killing was a betrayal, and in response, You would grant him a boon to be reborn as the hunter Jara, who eventually causes harm to Lord Krishna.

On the one hand, the stories of You encompass morality, virtue, love, and loss, but they also provide space for dissenting perspectives and discourses.

In conclusion, Hindus must recognize the transformative potential of Ram as a catalyst for new discourses. The notion of a singular cultural identity, advocated by the RSS, stands as an alien concept detached from the true essence of our culture and community.

Let us not succumb to the limitations of a singular idea but rather open ourselves to the richness of discourse. In this embrace, Your legacy, Lord Ram, intertwines with our community and its diverse voices so that we can discover the path to a harmonious and inclusive future.

Yours, Argumentatively

Venkat Srinivasan

(Venkat Srinivasan is a financial professional with a master’s degree in economics. I am intensely interested in the arts, academia, and social issues related to development and human rights)

Related:

First Letter to Lord Ram: To Lord Ram, a letter of remorse and resolve

Second Letter to Lord Ram: To Lord Ram, I write again for hope

Third Letter to Lord Ram, we must talk spirituality and politics

Fourth Letter to Lord Ram, Anantatma & Anantaroopa, the Infinite Soul & who has infinite forms

Fifth Letter to Lord Ram,  Perfect Lord and Imperfect Bhakthi

The post Lord Ram, in my sixth letter I appeal to your diverse forms appeared first on SabrangIndia.

Lord Ram,

In our subcontinent’s culture, it is believed that a King should embody the finest qualities, much like how You, as our revered King, symbolise strength, righteousness, and nobility. You are regarded as the epitome of virtue and authority. In a famous couplet written by Allama Muhammad Iqbal, a prominent philosopher, poet, and politician from the Indian subcontinent, he acknowledges You. In this couplet, He recognises India’s pride in its spiritual and cultural heritage associated with You.

है राम के वुजूद पे हिन्दोस्ताँ को नाज़

अहले-नज़र समझते हैं इसको इमाम-ए-हिन्द।

India is proud of Rama’s very name

To the discerning; he is Imam-e-Hind

Unfortunately, in the current political disposition, the singular notion of You (Lord Ram) has been exploited to suppress the diversity of worship, contradicting the very essence of true devotion and the concept of Bhakti.

Dear Bhaktavatsala (or the Lord, the one who is affectionate towards his devotees),

If you pardon my scepticism, I must contradict this, for this idea of perfection contradicts the concept of Bhakti, which is about transforming oneself. The idea of a perfect King goes against the concept of Bhakti, and the notion of perfection goes against spirituality, which is an internal process.

The spiritual heart is filled with love, and introspection often results from love. Rumi, a great philosopher, sees spirituality as a journey of the heart and opening oneself to the divine. For Rumi, spirituality is not about achieving a perfect state of enlightenment but about living a life of love, compassion, and service.

I reiterate the story of the Son of God, also called the King of Kings. The King of Kings suffers. The Passion of Christ is the story of Jesus’ final days on Earth, leading to his crucifixion and death. It begins with his betrayal by Judas Iscariot, one of his twelve disciples. Judas betrays Jesus to the Jewish authorities for 30 pieces of silver. Jesus is then arrested and taken to Pontius Pilate, the Roman governor of Judea. Pilate finds Jesus innocent, but the Jewish leaders pressure him to have him crucified. Jesus is then flogged, mocked, and forced to carry his cross to Golgotha, the place of his crucifixion. He is crucified alongside two criminals and dies after six hours on the cross. The Passion of Christ is a story of great suffering and sacrifice. Jesus willingly endured all this pain and humiliation to save humanity from its sins.

Is it possible for the Son of God to feel pain? How did the Son of God manage to withstand the pain? What was the reason behind taking on a human form and allowing himself to endure humiliation and agony? It is widely believed that he did it to serve humanity and redeem us from our sins.

If the pain endured by the Son of God was to deliver us from sin, You, Lord Ram, also suffered the betrayal from a loved one and the agony of losing a loved one amid vanwas. Your unwavering response of calmness amid calamity is profound and inspiring. I ponder if, by choosing to become human, you took one step further to guide us. You needed to embody more of our humanity than divinity to inspire us truly. Would you, Lord, have been willing to commit sins to bear the weight of guilt? If Jesus endured physical pain as a human to save us from sin, I wonder if you experienced betrayal, love, and even the burden of guilt to be more relatable to us. This raises the question of how we should perceive you, Lord. If you, too, are capable of making mistakes, who should we look up to as an exemplar of perfection?

I find a hint in the poem by Hazrat Amir Khusrau, a 13th-century Sufi poet, musician, and scholar, where he expresses his love and devotion to his spiritual master, Ali.

Khusrau’s line “Dara Dil-e Dara Dil-e Dar-e Daani” means “The heart of the lover, the heart of the door of knowledge.”

The heart is the gateway to higher spiritual understanding and connection. It indicates that a seeker can explore and experience a profound realm of wisdom and spiritual realisation within the depths of their heart.

If the idea of Ram is internal, it cannot be perfect, like that of a lover. If we believe Bhakti is searching for this internal Ram within us, then Lord, your imperfections and sins are reflections of us. When we criticise, we find faults in You, and You become a mirror for us to reflect upon ourselves.

The notion that Sita lacks agency and your obedience to the Caste order to kill Sambhuka may be what troubles our hearts. If we strive to find perfection in your story, we will never find ourselves and create a distorted sense of justice. A just society can only be imagined when we discover love within ourselves. That is why Jains envision you as a non-violent Prince, the Buddhist Jataka portrays you and Sita as siblings, and the Mappalar Ramayana opposes the worship of The Idols. This imagination is congruent with their imagination of a just world.

In the Adbhuta Ramayana a Sanskrit text from the Shakta tradition that highlights Sita’s divine aspects and emphasises Shakti’s worship. It showcases supernatural elements, rituals, and the interplay between deities. Sita revealed that Ravana’s slaying was less significant than his older brother, Sahastra Ravana’s. Rama assembled an army and confronted Sahastra Ravana, who dispersed Rama’s forces. In their battle, Rama’s powerful weapon was shattered, and he was rendered unconscious. Sita transformed into Mahakali, destroyed Sahastra Ravana, and caused havoc. The Devatas calmed her down, and Rama regained consciousness. Sita explained her divine nature, and they prepared to return to Ayodhya, triumphant over Sahastra Ravana.

The question of whether You (Lord Rama) are the true lord or perfect deity is not the ultimate inquiry. The essence lies in discovering the presence of You within us. We are bound to encounter love; we can connect with the divine through love.

Dear Shrutavanta, the one who listens attentively.

You, Lord, cannot be confined to a singular manifestation. Exploring Rama’s essence goes beyond rigid definitions and fixed interpretations, and it is a deeply personal and transformative quest that transcends boundaries and embraces diversity.

In grand temples,

with incense ablaze,

Devotees kneel, singing hymns of praise.

They see Ram as the perfect divine,

A deity adorned in splendour and shine.

For Jains, Ram is a symbol of peace,

In non-violence, their faith finds release.

Gandhi’s Ram, the force of truth,

hope for restless youth.

No one owns the imagination of Ram,

In every heart, a unique Ramayan.

From different paths, we seek the divine,

Yet Ram’s love, in all, does entwine.

I humbly acknowledge, Lord, that I do not question your imperfections, for in doing so, I am drawn to discover my own. I recognise that the burdens of sin, the weight of the cross, and the pursuit of redemption are essential elements of my personal journey towards love.

If You find yourself bothered by my introspection, please accept my apologies.

Venkat

(The author is a financial professional with a master’s degree in economics. I am strongly interested in the arts, academia, and social issues related to development and human rights)

Related:

First Letter to Lord Ram, a letter of remorse and resolve

Second Letter to Lord Ram, a letter for hope

Third Letter to Lord Ram, where we must speak spirituality and politics

Fourth Letter to Lord Ram, Lord Rama Anantatma & Anantaroopa: He who is the Infinite Soul & who has infinite forms

The post Lord Ram , Perfect Lord and Imperfect Bhakthi appeared first on SabrangIndia.

Lord, I have always been curious about the reasons behind people’s deep connection to Your story and the diverse ways in which communities worship You. Why are you central to the imagination of this land? I hope you won’t feel betrayed by my introspection. I want to explore Your place in our collective imagination as a community.

Confining You within a singular perspective would overlook the vastness of this land and its culture. Your story reflects countless communities’ experiences, beliefs, and aspirations.

Reflecting on Hanuman’s Bhakti, I question whether his pure and pristine devotion surpasses all human acts depicted in Your story as Maryada Purushottam. Examining various communities’ beliefs tells me that the “Idea of Ram” (I mean you, Lord Ram) and its ideals are more significant than your singular story. The image of You in the consciousness of communities has no bounds. If You are Anantatma (infinite soul), You are also Anantaroopa (have infinite forms).

जो रमता नहीं, वह राम नहीं। टिकना तो मौत है।

The essay “बहता पानी निर्मला” by सच्चिदानंद वात्स्यायन ‘अज्ञेय’ concludes with the statement,जो रमता नहीं, वह राम नहीं।.

During a conversation with our school Hindi teacher, Lal Bahadur Singh, affectionately known as Singh-sir, my fellow comrade raised an intriguing query about Ram mentioned in our reading material. Specifically, he sought clarification on whether this Ram resembled the Maryada Purushottam Ram seen in the popular television series during our formative years. In response, Singh-sir expressed a peaceful dissent, suggesting that the two Ram figures were distinct entities. With infinite patience and meticulousness, in a characteristic pedantic way, he spoke about the idea of Ram in Indian consciousness.

“According to Surdas, Ram represented the physical form of Sagun Ram Prince of Ayodhya while Kabir’s Ram is a spiritual entity transcending physical boundaries and manifesting as Nirgun. However in the essay the word ‘Ram’ symbolises ‘parivartan,’ meaning change or metamorphosis. The essayist Agay’s worldview is described as ‘Ramta Ram’, emphasising the importance of wandering and exploring new experiences. The author concludes that embracing change and exploring new paths embody the divine essence while remaining stagnant risks spiritual demise.”

Limiting the interpretation of Ram to a singular idea undermines the vastness and richness of collective memory and culture. Ram’s essence is interwoven with mythology, folklore, literature, and spiritual wisdom, permeating the collective consciousness. Instead of restricting Ram to one interpretation, we should embrace the plurality of his existence. Allowing the idea of “Ram” to thrive in the boundless realm of human imagination and philosophical exploration.

AK Ramanujam was a celebrated poet, scholar, linguist, philologist, folklorist, translator, and playwright who believed that Lord Ram could not be limited to one interpretation. He argued that Ram is a complex and multifaceted character with various aspects.

In a famous couplet written by Allama Muhammad Iqbal, a prominent philosopher, poet, and politician from the Indian subcontinent. This couplet is from his Urdu poetry collection  Bang-e-Dara.

है राम के वुजूद पे हिन्दोस्ताँ को नाज़

अहले-नज़र समझते हैं इसको इमाम-ए-हिन्द। 

India is proud of Rama’s very name

To the discerning, he is Imam-e-Hind

In this couplet, Iqbal honours the You as a revered figure in the Hindu faith in India. He recognises India’s pride in its spiritual and cultural heritage associated with You. Poet Iqbal refers to those with insight and understanding as “ahle-nazar” and highlights their recognition of You, Lord Ram as India’s spiritual and symbolic leader. Using the term “Imam-e-Hind,” ( which means “Spiritual Leader of India.”), Iqbal conveys Your position of reverence and leadership in the Indian context.

Mappila Ramayanam is a captivating folk song tradition of the Malabari Muslims or Mappilas in Kerala, India. Originating in the 16th century, these songs tell the story of Ramayana in a way adapted to the local culture and language. This showcases the syncretic nature of Kerala’s traditions. Passed orally through generations, Mappila Ramayanam is an excellent example of the harmonious coexistence of Islam and Hinduism. The songs contain Islamic influences that praise Allah, Prophet Muhammad, and Islamic teachings and even criticise idolatry while promoting values of justice, mercy, and compassion. This unique fusion of Islamic and Hindu elements creates a rich and enchanting musical experience.

In Mappila, Ramayanam’s performances are a sight to behold! One will witness a lively group of male singers accompanied by traditional drums and instruments. What makes it even more enchanting is how characters from Your story (Ramayana) are humorously portrayed, bringing a lighthearted perspective to the story. These performances are a hit at weddings, special events, and among tourists, immersing them into the rich culture of the Mappilas. Moreover, it’s a perfect way to bridge the gap between different faiths and gain a unique insight into the vibrant tapestry of Kerala’s cultural heritage. In this tradition, you are called Lama, and Ravana is addressed as Lavana; in this tradition, You are even addressed as Sultan ( which in Arabic means Monarch).

Your story ( Ramayana) is called “Paumachariya” or “Padmacharitrasa” in Jainism and is believed to be written by the poet Vimalasuri. Unlike other versions, the Jain adaptation highlights non-violence, righteousness, and the principles of Jain ethics. Interestingly, it is your brother Lakshmana who kills the demon king Ravana in the Jain version, rather thanYou, as You are deemed to be an enlightened individual who would never partake in violence, in line with the principle of non-violence (ahimsa) in Jainism. Moreover, Ravana is depicted more humanely in this version and is not portrayed as entirely malevolent.

Similarly, in Buddhism, the Your story is can be read in “Dasaratha Jataka” and is considered one of the Jataka tales, which recount the previous lives of the Buddha. The Buddhist version of the You incorporates Tathagat’s  teachings and moral lessons, emphasising the importance of compassion, detachment, and the practice of the Buddhist path towards enlightenment. Additionally, in the Buddhist version of the Ramayana, there is a significant departure from the traditional narrative. This version portrays You and Sita as siblings rather than husband and wife. Perhaps The Buddhist belief influences this alteration in celibacy and renunciation, emphasising detachment from worldly relationships and desires.

Lord Rama,

Do you see ( I know you do!! ),  that Your story (Ramayana) is a significant source of spiritual guidance and inspiration that reinforces the teachings and principles of Jainism ,Buddhism and even Islam? It provides narratives that demonstrate virtues like selflessness, perseverance, and self-discipline. Additionally, it serves as a medium for artistic creativity and cultural expression within these traditions. Jain ,Buddhist and Muslim communities have passed down their interpretations of  Your epic through storytelling, poetry, music, dance, and visual arts, contributing to the diversity and richness of their cultural heritage.

Every time your story is retold (Anantaroopa), it gains a new and distinct element that reflects the values and beliefs of the community. This helps them feel a sense of ownership over your story and adds to its richness and tradition.

I realised that even our household of three had three Rams. My mother sees You as Sagun Ram (has a form), embodying the qualities of Maryada Purushottam, who guides her to be mindful of her responsibilities towards herself, her family, her relatives, and society. Those who know her would know Maryada is responsibility and dignity

Lord Ram, You are detached and stoic for Akka. Despite losing the kingdom and the hardship of Vanwas, You never complained. Embracing love, You accept Sabri’s berries after she tastes them to ensure they’re sweet.

In contrast, my understanding of Ram is Nirgun ( formless) was discovered through poetry, love, travel, and interactions with inspiring people.

My quest is not for a singular truth but an attempt to comprehend Your infinite essence, Anantatma. As a finite being, I acknowledge the limitations of this pursuit. Your Immortal story as told in the tradition of one community, to Your divine presence in the other, I wish to wander like a traveller exploring the vast landscapes of knowledge and spirituality.

नक़्शे में मैं अब भी देखता हूँ। वास्तव में जितनी यात्राएँ स्थूल पैरों से करता हूँ, उससे ज्यादा कल्पना के चरणों से करता हूँ। लोग कहते हैं कि मैंने अपने जीवन का कुछ नहीं बनाया, मगर मैं बहुत प्रसन्न हूँ, और किसी से ईर्ष्या नहीं करता। आप भी अगर इतने ख़ुश हों तो ठीक-तो शायद आप पहले से मेरा नुस्खा जानते हैं-नहीं तो मेरी आपको सलाह है,”जनाब, अपना बोरिया-बिस्तर समेटिए और ज़रा चलते-फिरते नज़र आइए।” यह आपका अपमान नहीं है, एक जीवन दर्शन का निचोड़ है। ‘रमता राम’ इसी लिए कहते हैं कि जो रमता नहीं, वह राम नहीं। टिकना तो मौत है।

हीरानंद सच्चिदानंद वात्स्यायन ‘अज्ञेय’

Exploring, Yours,

Venkat

The author is a financial professional with a master’s degree in economics; also interested strongly interested in the arts, academia, and social issues related to development and human rights.

Also Read:

To Lord Ram, we must talk spirituality and politics

To Lord Ram, I write again for Hope

To Lord Ram, a letter of remorse and resolve

The post Lord Rama Anantatma & Anantaroopa: He who is the Infinite Soul & who has infinite forms appeared first on SabrangIndia.

As citizens, there may be a valuable lesson for us to learn from this.

The recent removal of 2000 rupee notes may have little impact on the economy as they only make up a small portion of cash in circulation (10.8%). However, depositing these notes is a burdensome and unproductive for the public and bank staff. It baffles me why the central bank and Government would even consider doing this, as the notes could be gradually removed without causing immediate harm. It feels like Prime Minister Modi is giving us citizens homework to do.

The Reserve Bank of India (RBI) recently announced that the total value of banknotes in circulation has decreased from ₹6.73 lakh crore to ₹3.62 lakh crore, which accounts for only 10.8% of the total Notes in Circulation. This presents a significant challenge for the RBI. To help with the exchange of ₹2000 banknotes, the RBI has set up a deposit facility. However, it is crucial to conduct a thorough analysis to understand the scale of the problem, the underlying assumptions, and the significant effort required to successfully address this task within the limited timeframe.

The main goal is to deposit and retrieve ₹3.62 lakh crore within the given timeframe.

Assumptions:

● Each individual is allowed to deposit up to ₹20,000 per visit.

● The deposit process consumes approximately 10 minutes per visit.

● Banks operate for 270 working days a year.

● An average workday consists of 8 hours.

Required Effort: Based on our analysis of the assumptions, it has been determined that depositing ₹3.62 lakh crore would require around 18.1 crore trips, each taking an estimated 10 minutes per deposit. This amounts to a total of 3,017 crore work hours. With only 122 working days left (30 Sept 2023) until the deadline. A workforce of roughly 3,867,431 Bank staff members would need to be engaged to achieve this.

There may be disagreements about the specific number and assumptions, but altering them would still result in a significant amount of unproductive work. We must consider the opportunity cost, as the staff involved in this task would have to disengage from more productive work. Furthermore, we have yet to assess the impact on those who travel to the bank to make deposits, considering their opportunity cost. This exercise is ultimately a waste of resources and causes a massive loss of productivity.

It would be advisable for the RBI to increase the deposit limit, extend the period, or abandon it altogether, as the economy is still recovering from crises such as inflation, external pressures, weak local demand, and struggling MSME sectors.

Appendix

Calculations:

● Total trips required: ₹3.62 lakh crore / ₹20,000 = 18.1 crore trips.

● Total hours required: 18.1 crore trips * 10 minutes per trip = 3,017 crore work hours.

● Total working hours available per staff: 8 hours per day * 122 days = 976 hours.

● Staff required: 3,017 crore work hours / 976 hours = 3,867,431 staff members.

The author a financial professional with a master’s degree in economics. He is interested in the arts, academia, and social issues related to development and human rights.

Also Read:

Part 1: “Demonetisation: Modi’s Himalayan Blunder and its Lingering Consequences”

Related:

Challenge to demonetisation not academic : SC seeks affidavits of both Union & RBI, including RBI decisions at the time

RBI data reveals demonetization was a failure, 99% of banned cash recovered

Money Mayhem – Demonetisation Cartoons

Demonetisation: The grandest of blunders made by anyone in Indian political history?

Modi’s RBI and its myopic monetary measures

The post Addressing Mammoth Task of Depositing ₹3.62 Lakh Crore (2,000 Rs Notes) : Scale, Assumptions & Effort (Part 2) appeared first on SabrangIndia.

In 2016, the Indian government introduced a demonetisation policy. At that time, India’s cash-to-GDP ratio was only 12%, lower than Japan’s 20%, Germany’s 15%, and Switzerland’s 10%. The majority of cash in circulation were 500 and 1000 rupee notes. Before the policy, currency in circulation had steadily increased and reached 16.42 lakh crore rupees. As of March 2022, the Indian currency in circulation has significantly risen to Rs 31.33 lakh crore from Rs 13 lakh crore in 2014. The demonetisation policy is still a significant disaster in India’s economic history.

It’s important to mention that RBI favoured increasing cash circulation before the demonetisation event. You can find more information in the attached article.

https://thewire.in/economy/india-gdp-demonetisation

During the fiscal year 2022, the proportion of currency in circulation (CIC) to India’s gross domestic product (GDP) was almost 14%. Following the demonetisation in 2017, the CIC ratio significantly increased once again.

Share of currency in circulation to GDP in India from the financial year 2015 to 2022

‘Velocity’ of money and Currency Denomination 

The ‘Velocity’ of money measures how quickly money is exchanged in an economy, indicating the economic activity level. For instance, if ten people use 100 rupees within a specific time frame, it generates an economy worth 1000 rupees, showing the impact of money circulation. The ‘Velocity’ of money is a crucial factor in determining economic health because it reflects how often and how fast money moves within an economy, driving transactions and promoting economic development.

In the economy, the denomination of currency plays a vital role in the ‘Velocity.’  of Money.

To understand this concept, let’s use an example where you have a 200-gram weight and a weighing machine. Giving your neighbour 130 grams of sugar using a 200-gram weight would be impossible. You can measure accurately if you have standard weights like 100 grams, 20 grams, or 10 grams, and a standard set of weights allows you to provide or sell the desired weight.

Similarly, if you want to purchase something for 130 Rupees, it’s crucial to have a combination of currency denominations that adds up to that amount. Having 100-Rs, 20-Rs and 10-Rs notes would allow you to pay seamlessly. In contrast, having only one unit note would be impractical and inconvenient, and a high-value denomination like a 2000 unit note would be challenging to use for smaller transactions efficiently.

To ensure smooth transactions, currency notes come in various denominations that align with the average ticket size of transactions in a country. For example, the Reserve Bank considers typical transaction amounts when printing money in India. By providing a range of denominations, currency notes enable practical and convenient transactions, allowing individuals to make payments efficiently according to the value of goods and services they purchase.

Demonetisation – November 8, 2016.

On the day of demonetisation, a massive sum of 16.43 L crore was withdrawn from the economy, leaving a void that needed to be filled. Let us use an example to understand the options available.

● Printing only 2000 Rs notes 821.5 crores of 2000 rupee notes

● Printing 50% 100 Rs and 50% 500 Rs notes 8.215 lakh crores of 100 rupee notes and 1.643 lakh crores of 500 rupee notes.

During demonetisation, it would have been quicker to print 2000 rupee notes compared to 500 and 100 rupee notes. This could have influenced the decision to print more 2000 rupee notes to speed up remonetisation. The decision to demonetise was likely made only a few days before the event, and the RBI had to print the necessary currency without seeking expert opinions or following a well-planned program.

The abrupt elimination of currency caused chaos and difficulties, leading to despair and loss of life. When the economy was re-monetised, the circulation of only 2000 rupee notes worsened the situation. The effects of demonetisation were significant – the ‘Velocity’ of money decreased significantly due to a lack of currency, bringing the economy to a halt; the introduction of the 2000 rupee notes delayed the recovery accentuating the problem and hurting the economy further.

It was a tough time for everyone involved, and the effects were felt for a long time.

Conclusions 

If you struggle with being overweight, you cannot run like a ‘forest gump’ and lose weight overnight. Creating a plan that includes exercise and a healthy diet is essential.

In the same way, transforming the economy is a gradual process, and military terms like “surgical strikes” are just marketing tactics that don’t address the issues at hand. Demonetisation was a disastrous step that revealed a crucial lack of economic understanding, and it disrupted the circulation of money, and introducing the 2000 rupee note only further delayed recovery.

The RBI reports that the value of these banknotes in circulation has gone down from ₹6.73 lakh crore on March 31, 2018, which accounted for 37.3% of all notes in circulation, to ₹3.62 lakh crore on March 31, 2023. This now represents only 10.8% of all notes in circulation.The discontinuation of the 2000 rupee note and the deposit limit of ₹20,000 per visit creates unproductive work for banking staff. The impact on those who travel to make deposits and the opportunity cost are still unknown. This exercise is a waste of resources and causes a loss of productivity.

It would have been prudent if the Reserve Bank of India had gradually reduced circulation without a big announcement.

The mistake made in 2016 by a leader who acted without seeking consensus or expert advice has become even more apparent. Unfortunately, we are all now paying the price for this decision.

The author is a financial professional with a master’s degree in economics. He is interested in the arts, academia, and social issues related to development and human rights.

Also Read:

Part 2: Addressing Mammoth Task of Depositing ₹3.62 Lakh Crore (2,000 Rs Notes) :  Scale, Assumptions & Effort

Related:

Challenge to demonetisation not academic : SC seeks affidavits of both Union & RBI, including RBI decisions at the time

RBI data reveals demonetization was a failure, 99% of banned cash recovered

Money Mayhem – Demonetisation Cartoons

Demonetisation: The grandest of blunders made by anyone in Indian political history?

Modi’s RBI and its myopic monetary measures

The post “Demonetisation: Modi’s Himalayan Blunder and its Lingering Consequences” (Part 1) appeared first on SabrangIndia.