Early Life and Spiritual Influence

Baba Chamliyal is believed to have been born in the village of Chamliyal, where he spent his life dedicated to serving the community and offering spiritual guidance. Although specific details about his early life are sparse, the legends surrounding him paint a picture of a saint deeply connected to the land and its people. His teachings emphasised compassion, humility, and service to all, regardless of their religious or social background.

His ability to cure skin diseases and other ailments earned him the affectionate title of “Healing Touch Saint.” The exact nature of his healing powers remains a matter of faith for many, but countless testimonies from devotees suggest that his blessings were truly transformative. Baba Chamliyal’s reputation as a healer spread far and wide, drawing people from various regions who sought his help for their ailments.

The Shrine of Baba Chamliyal

The shrine of Baba Chamliyal, located at the international border between India and Pakistan, is unique not only for its geographical positioning but also for its cultural and spiritual significance. The shrine serves as a bridge between two nations, symbolising peace and harmony. It has become a focal point for pilgrims from both India and Pakistan, who come to pay their respects and seek blessings.

Architectural and Cultural Significance

The architecture of the shrine is simple yet evocative, reflecting the humility and spiritual depth of Baba Chamliyal’s teachings. The shrine’s central courtyard is often filled with devotees who come to participate in the rituals and offer prayers. The surrounding area is lush with vegetation, adding to the serene and tranquil atmosphere that characterises this sacred place. The shrine’s significance is further underscored by its role as a cultural hub, where people from diverse backgrounds and beliefs come together, fostering a sense of unity and brotherhood.

The Annual Mela and Its Traditions

The annual Baba Chamliyal Mela is one of the most significant events in the region, drawing thousands of devotees from both sides of the border. Held every year in June, the mela is not just a religious gathering but also a celebration of cultural diversity and communal harmony. The fair is marked by vibrant processions, devotional singing, and various cultural performances that showcase the region’s rich heritage.

The Healing Shakkar and Sharbat

One of the most distinctive traditions of the mela is the distribution of “Shakkar” (sacred soil) and “Sharbat” (holy water) from the shrine. Devotees believe that these items possess healing properties, particularly for skin diseases. According to local lore, Baba Chamliyal himself blessed the soil and water, infusing them with his healing powers. The soil is often mixed with water to create a paste that is applied to the affected areas of the skin, while the “Sharbat” is consumed by the devotees.

The Indian Border Security Force (BSF) and the Pakistan Rangers partake in the annual ritual of exchanging “Shakkar” and “Sharbat” across the border, a gesture that symbolizes goodwill and mutual respect. This cross-border exchange is a testament to the shrine’s role in promoting peace and understanding between the two countries, even in times of political tension.

Healing Powers and Spiritual Legacy

Baba Chamliyal’s reputation as a healer remains central to his legacy. He was known for his ability to cure not only people but also animals suffering from various skin ailments. His healing powers are believed to be a divine gift, and many stories recount miraculous recoveries attributed to his blessings. For over three centuries, the shrine has been a destination for those seeking relief from physical ailments and spiritual solace. The faith and devotion of the pilgrims are seen as a continuation of Baba Chamliyal’s compassionate spirit, which transcends the boundaries of time and geography.

A Symbol of Unity and Communal Harmony

One of the most remarkable aspects of Baba Chamliyal’s legacy is his role in fostering communal harmony. His shrine is a place where people from different religious backgrounds—Hindus, Muslims, Sikhs, and others—come together, reflecting the saint’s message of peace, unity, and brotherhood. The shared reverence for Baba Chamliyal demonstrates how spirituality can serve as a unifying force, bridging divisions and bringing communities closer.

Conclusion

Baba Chamliyal’s enduring legacy as the “Healing Touch Saint” continues to inspire and bring together people from diverse backgrounds. His shrine stands as a beacon of hope, healing, and unity in a region often marked by conflict and division. Through his teachings and the traditions that have grown around his memory, Baba Chamliyal remains a symbol of compassion, healing, and the enduring power of faith.

His story is a reminder of the universal values of love, peace, and service to humanity, transcending all boundaries and inspiring generations to come.

Sahil Razvi is an author and research scholar specialising in Sufism and history. He is an alumnus of Jamia Millia Islamia. For inquiries, you can email him at sahilrazvii@outlook.com.

The post Baba Chamliyal: The Healing Saint of Unity and Faith across Borders appeared first on SabrangIndia.

Surendra Bhai, a resident of Akhara Bazaar in Kullu, has been the caretaker of this sacred shrine, a role that has been lovingly passed down through generations in his family. “Our family came to Kullu in 1908,” says Surendra Mehta. “My grandfather had a deep devotion to this shrine, and ever since, our family has been devoted to Baba.” The legacy of their devotion has been maintained by continuing to open the shrine to people of all faiths, fostering a sense of shared spirituality and community.

The shrine witnesses a large influx of devotees, especially on Thursdays and Sundays, when people from all walks of life and different religious backgrounds come in droves to seek blessings and fulfil their wishes. It is said that those who visit the shrine with genuine prayers, whether they are childless couples or individuals suffering from illnesses, find solace and solutions here. As a token of gratitude, offerings such as sweet rice and floral sheets are presented to Baba when wishes are fulfilled.

A beacon of communal harmony

In a country as diverse as India, where religious and cultural differences have sometimes led to conflicts, places like the shrine of Pir Baba Lala Wale stand as powerful symbols of communal harmony. The shrine is known for its all-embracing nature, welcoming people of any caste, creed, or religion. This inclusive spirit is especially significant in India, where Hindu-Muslim relations have had a complex history marked by periods of both collaboration and conflict.

The Hindu family that oversees the shrine’s maintenance, led by Surendra Mehta, plays a pivotal role in promoting unity and peace. They ensure that the shrine remains open and accessible to everyone, irrespective of their religious affiliation. This openness has not only strengthened the faith of the Hindu community in Baba but has also drawn Muslims and people of other faiths to the shrine, creating a microcosm of interfaith harmony.

The broader context of Hindu-Muslim relations in India

The example set by Surendra Mehta and his family is particularly important in the broader context of Hindu-Muslim relations in India. Historically, India has been a land of religious diversity, where different faiths have coexisted for centuries. However, there have been instances where political and social tensions have led to communal strife. In such a landscape, the actions of individuals and communities that promote understanding and cooperation are invaluable.

Surendra Mehta’s dedication to maintaining a space where people of all religions can come together is a reflection of the broader ethos of India’s pluralistic society. By fostering a spirit of inclusivity at the shrine, Surendra and his family are helping to counteract the divisive forces that sometimes seek to exploit religious differences for their gain. Their work ensures that the shrine remains a sanctuary of peace, where communal harmony is not just an ideal but a daily practice.

A call for unity and peace

Despite the occasional tensions between communities across the country, Surendra and his family remain hopeful. “It saddens us to see discord, but we strive to ensure that the shrine remains a beacon of peace and harmony,” they say. The family hopes that their efforts will help foster a spirit of unity and mutual respect in the nation. Their work is a testament to the idea that, even in the face of adversity, it is possible to find common ground and work towards a shared future.

In a world often divided by differences, the shrine of Pir Baba Lala Wale and its caretakers offer a powerful example of harmony and devotion, where faith transcends religious boundaries and fosters a sense of shared humanity. Their efforts remind us that communal harmony is not a distant dream but a reality that can be achieved through dedication, empathy, and a commitment to the common good. As India continues to navigate its diverse religious landscape, the story of Surendra Mehta and the shrine of Pir Baba Lala Wale stands as a shining example of what is possible when communities come together in the spirit of mutual respect and understanding.

Related:

Tamil Nadu sets example of communal harmony amidst a polarised country

Professor VK Tripathi and his pamphlets of hope, social justice and harmony

Thiruvananthapuram, Kerala to Malerkotla in Punjab, spontaneous community initiatives celebrate harmony & syncretism

The post Harmony in diversity: Surendra Mehta’s mission of unity at Kullu’s Pir Baba shrine appeared first on SabrangIndia.

Described by many as a living example of long enduring syncretism of coastal Karnataka, Jaleel was a sixth generation Muslim artist. Jaleel Saheb’s father Babu Saheb, grandfather Imam Saheb, great-grandfather Mugdam Saheb and great-great grandfather Matta Saheb had been serving the Goddess at Kaup with musical instruments reported Deccan Herald (DH). Udipi has lost a legendary fifth-generation Nadaswaram player who played regularly at all three Marigudi temples in Kaup.

Sheikh Jaleel Saheb’s father Babu Saheb, grandfather Imam Saheb, great-grandfather Mugdam Saheb and great-great grandfather Matta Saheb had been serving the Goddess at Kaup with musical instruments. “I am continuing the tradition which was passed on to me with love,” Jaleel Saheb had told DH in an interview a year ago.

Before him, Sheikh Jaleel Saheb’s grandfather Kaup Imam Saheb had also played the music at Marigudi for over 60 years. Thereafter, his father Babu Saheb continued the tradition. Sheikh Jaleel Saheb too, had been playing the music for the past 35 years. “I am satisfied with the service offered to the God, though I hail from a different faith,” he had said.

“I don’t want to break the tradition which our forefathers have followed. I don’t have sons. I have a daughter. I want to pass on the tradition to my brother Sheikh Akbar Saheb’s children,” he was quoted as saying.

Netizen Rizwan Arshad, in his post on X, said Sheikh Jaleel Saheb had performed at Sri Lakshmi Janardhana Temple in Kaup on the occasion of Deepavali festival. “Sheikh Jaleel Saheb’s death is a terrible loss to Udupi,” wrote another netizen Vishnu in his post.

Hosa Kaup Marigudi temple manager Govardhan Sherigar said on Monday that Jaleel was not only a great Nadasaram player, but a very good human being too. He even used to miss his Friday payers while rendering service to the temple, he remembered.

Related:

Understanding Syncretic Islam of Kerala from a historical perspective

Remembering Kazi Nazrul Islam: Syncretic secularism in face of a communal divide

The Syncretic History of Music in India

The post Karnataka: A sudden heart attack takes away Sheikh Jaleel, Nadaswaram player 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.

Locals from both the communities displayed cameraderie and unity. Hindu and Muslim brotherhood was seen at the place of occurrence. Given the seriousness and sensitivity of the incident, instant repairs were carried out by both the Hindu and Muslim community within an hour.  According to reports the shrine was destroyed by unknown mischievous elements.

The police appears to also have shown some initiative cautioning the public that due to the suspicious social media campaign deliberately being spread about the shrine and hence it would be open to visitors again once the situation calmed down. According to Tarum Bharat, the  Superintendent of Police Shailesh Balkawade has appealed not to believe any rumours.

Related:

Political Power & narrow vision demonising Muslims, destroying harmony & defaming Varkari tradition says Sant Suhas Maharaj Phadtare: Trimbakeshwar row

The post Kolhapur: Destruction of shrine at Panhala fort rebuffed with local Hindus and Muslims rebuilding the shrine within an hour appeared first on SabrangIndia.

“The samadhi of Nivruttinath is here. So Hindus. Muslims, Christians, Dalit Bouddh, Adivasi Nath Community, Naga Sadhus all live here together. Performing the Oodh dhoop ritual/ceremony during the sandal of Gulabshah is an ancient tradition. Today condemnable attempts are being made to provoke disturbance in this harmonious coexistence and Muslim brothers are unnecessarily being criminalized,” says the report.

The entire taluk of Tryambak in Nashik district has a history and long tradition of upholding human values. The majority population living here is from among the Adivasi communities who hold nature sacred. Similarly in this region you see the traditions of Gorakshanath of the Nath tradition, Nivruttinath the elder brother of Gyananath of the Varkari tradition and also some Sufi followers. There is also a mythological reference to this being the kingdom of Queen Shurpanakha.

Last week, around May 13, media reports of a “conflict” there was a dispute around the traditional Arti of Tryambakraja during the Sandal procession of Gulab Shah dargah were splashed in Mumbai editions of newspapers and played up on television channels. The statement given at this point by the Brahman Maha Sangh was a “false complaint (given to) the administration misrepresenting this event that traditionally happens and maliciously misled the common people in this already communalised atmosphere.” States Vidrohi. To get to the bottom of this propaganda and understand the real situation in Tryambak, Dr Jalinder Ghige and Swapnil Dhande, the secretary and deputy secretary of Vidrohi Chalwal visited Tryambak on May 21, 2023.

Speaking to Sabrangindia, Dr Jatinder Ghige said the team was shocked to find that the news relayed by the large sections of the news media “was completely false and tourists, pilgrims and citizens were moving around as usual.” “Apart from the security at the temple’s North Gate where the alleged incident happened, there was no extra police deployment anywhere.” There is more. The report by Vidrohi also states that a “new flex banner announcing that the entry to the temple was restricted to Hindus alone was also not being heeded to. The atmosphere in the temple complex and at other places of worship seemed normal as usual.”

The team spoke to some local citizens. They were clear that in this area the Adivasi population was the largest. They do not believe in any of the established religions. So according to the local people the complaint was given by a “social organization”.

In conversation with BJP leaders the team was given the following information: “90% of the workers in Trimbakeshwar temple are Adivasis and they are in contact with the social organisation so there is no possibility of a riot there. The incident that happened was very minor.”

The report of the Vidrohi states that the tradition of the “Urs” is part of an age-old assimilative tradition and hence the attack on the Oop Dhoop practice is people’s assimilating tolerant traditions. The samadhi of Nivruttinath is here. So Hindus. Muslims, Christians, Dalit Bouddh, Adivasi Nath Community, Naga Sadhus all live here together. Doing an Oodh dhoop during the sandal of Gulabshah is an ancient tradition. Today condemnable attempts are being made to provoke disturbance in this harmonious coexistence and Muslim brothers are unnecessarily being criminalised.

According to the team of the Vidrohi who visited there, the motive behind the move to provoke violence was the ploy to undermine the Karnataka election results. “Organisations affiliated to the RSS tried to create a riot like situation in Maharashtra. The Brahman Mahasangh and the media houses are responsible for creating a hostile environment in the state by using a usual event like this in Tryambak.”

“We as Vidrohi Chalwal strongly condemn this and demand that the Maharashtra state government should register a case against the Brahman Mahasangh for inciting communal violence in the state by spreading false rumours around this incident. We also appeal to ordinary citizens to not fall prey to the vicious and false propaganda of the RSS influenced organisations and media houses. This is a call from the Vidrohi Sanskrutik Chalwal, Maharashtra.”

On May 17, Sabrangindia had carried a report that explained:
The Muslim community leaders have expressed surprise and remorse over this controversy and the move to order a probe into this as the ritual of showing loban or frankincense from the temple entrance steps is a practice that has been followed by local Muslims over the last several decades, reported Indian Express. “There was no attempt to enter the temple or put any chadar inside the temple premises. Muslims in Trimbakeshwar have for generations been following the practice of sending the fumes of frankincense from the steps of the temple premises during an annual gathering at a nearby dargah. This practice has been going on for decades and the local Hindu community has never taken exception to it. We are surprised that this issue has now been raked up and it has taken a communal turn,” Avez Kokni, the former president of the Trimbakeshwar Nagar Parishad, told The Indian Express.

Even a local resident of Trimbakeshwar confirmed that this was an age-old practice and a symbol of syncretism. “Muslims make up a very small percentage of the city’s population and have stayed in harmony. Our city has been peaceful and non-communal which would explain why in spite of being a Muslim, I was accepted as a leader. I am surprised why this age-old custom is now suddenly being questioned,” Parvez Kokni, former chairman of the Nashik District Central Cooperative Bank, told the publication. However, a section of temple trustees have said they do not know of any such tradition.

Members of the Muslim community have submitted to the police evidence such as videos of previous years where a similar ritual was conducted at the entrance of the temple.

Related:

SIT to probe Muslims offering respect from steps of Trimbakeshwar in Maharashtra ?

Maharashtra: 5 injured after 2 communities clash over Sambhaji Maharaj Jayanti procession, tensions simmer in Ahmednagar, Nashik

The post Brahman Mahasangh responsible for hostile environment at Trimbakeshwar, Nashik, prosecute them demands Vidrohi Sanskrutik Chalwal, Maharashtra appeared first on SabrangIndia.

In response to the incident, Deputy Chief Minister and Home Minister Devendra Fadnavis has ordered a Special Investigation Team (SIT) probe to look into the allegations of forcible entry and the claims surrounding the decades-old ritual. This decision by Fadnavis has further intensified the political tensions surrounding the controversy. Trimbakeshwar Temple Trust has also written to Nashik Commission of Police demanding action against the group for trying to enter the temple, reported Times Now.

The Muslim community leaders have expressed surprise and remorse over this controversy and the move to order a probe into this as the ritual of showing loban or frankincense from the temple entrance steps is a practice that has been followed by local Muslims over the last several decades, reported Indian Express. “There was no attempt to enter the temple or put any chadar inside the temple premises. Muslims in Trimbakeshwar have for generations been following the practice of sending the fumes of frankincense from the steps of the temple premises during an annual gathering at a nearby dargah. This practice has been going on for decades and the local Hindu community has never taken exception to it. We are surprised that this issue has now been raked up and it has taken a communal turn,” Avez Kokni, the former president of the Trimbakeshwar Nagar Parishad, told The Indian Express.

Even a local resident of Trimbakeshwar confirmed that this was an age-old practice and a symbol of syncretism. “Muslims make up a very small percentage of the city’s population and have stayed in harmony. Our city has been peaceful and non-communal which would explain why in spite of being a Muslim, I was accepted as a leader. I am surprised why this age-old custom is now suddenly being questioned,” Parvez Kokni, former chairman of the Nashik District Central Cooperative Bank, told the publication. However, a section of temple trustees have said they do not know of any such tradition.

Members of the Muslim community have submitted to the police evidence such as videos of previous years where a similar ritual was conducted at the entrance of the temple.

The temple incident has triggered a debate on religious tolerance and coexistence. Some might argue that it is important to respect and accommodate various religious beliefs and rituals and to promote syncretism in a culturally diverse country like ours. Others who differ from this point of view are the ones up in arms against this practice which a sizable population has claimed to be a tradition of many years.

Related:

Suresh Chavhanke’s hate mongering continues with immunity: Shrirampur, Ahmednagar

Bajrang Dal threatens Muslim seller: Shop’s name “Zayed” instead of “Raju”

The real Kerala story

An unusual Pilgrimage, Reclaiming Hindusim from Hindutva: Hindus for Human Rights

Now ‘Hindu Rashtra’ enters temples in Maharashtra, Goa and Karnataka

The post SIT to probe Muslims offering respect from steps of Trimbakeshwar in Maharashtra ? appeared first on SabrangIndia.

Hindus of Hirebidanur village in Karnataka, have developed their own ways of commemorating the holy month of Muharram, even tough there are no Muslim families living here.

During Muharram, Muslims grieve the death of Prophet Imam Hussain at the battle of Karbala, and the month is dedicated to mourning and introspection. However, as there are no Muslim families among the nearly 3,000 residents of the village located in the Saudatti taluk of Belgavi district, it is the non-Muslim villagers, mainly hailing from Valmiki and Kuruba communities, who have taken it upon themselves to observe traditions.

According to a News18 report, communal harmony can be seen at the Mosque of Fakireshwar Swamy, the name itself a sign of India’s syncretic and plural culture – Fakir (an Urdu word for an alms seeker), Eshwar (a Sanskrit word for God) and Swamy (a Sanskrit word for acetic) all come together to form the name of the acetic to whom the shrine is dedicated.

The Mosque was built by two Muslim brothers long ago. Now, every Muharram, a Muslim cleric from the neighbouring village stays at the Mosque and performs traditional Islamic prayers, while a Hindu priest also visits the mosque to offer Hindu prayers. Villagers also come here to fulfill their vows. `

“We invite a moulvi from nearby Bevinakatti village during Muharram every year. He stays in the mosque for a week and offers prayers in the traditional Islamic way. On other days, I take the responsibility of the mosque,” Yallappa Naikar, a Hindu priest, told Times of India.

In another example of how villagers commemorate Muharram, residents bearing torches carry out a colourful procession and carry traditional tajias to the tunes of folk music. This is followed by a village fair where children exhibit folk art. Villagers told the publication, this tradition has been going on for over a century.

Related:

Everyday Harmony: Kashmiri Pandits welcome back Hajis with Na’at recital

Everyday Harmony: Muslim employer performs last rites of Hindu employee

Everyday Harmony: Muslim groups organise drinking water in flood ravaged Silchar

The post Hirebedanur: Non-Muslims villagers commemorate Muharram in this Karnataka village that has no Muslims appeared first on SabrangIndia.

Image Courtesy: Vishwanath_Negi

Badruddin- a Rudraksh-wearing Muslim:
It is historicallybelieved that the aarti, ‘PawanMandSugandhSheetal’, was written by FakhruddinSiddiqui, a postmaster at Nandprayag in Chamoli district in 1865 when he was only 18 years old. Fakhruddin, who later changed his name to Badruddin, after the Badrinath temple, was a devotee of Lord Badri.

According to folklore, Badruddin was so mesmerised with the beauty of the shrine that he immediately wrote the invocation, in which he described the religious importance as well as the beauty of Badrinath, which is sung till date. Later, he even became a member of the BadriKedar Temple Committee (BKTC), apart from being a member of the then Muslim community. He reportedly died at the age of 104 years in 1951.

Priests from the BKTC, which manages the shrine, said that there is a general consensus over the years that Badruddin is the author of theaarti. A priest, PanditVinay Krishna Rawat, says that his grandfather knew Badruddin. He says, “In fact, Badruddin told my grandfather that he’d written the aarti. My grandfather would often talk of how the rudraksha-wearing Muslim man could be seen at the steps of the temple lost in bhakti.”

Badruddin’s descendants, who now live in Dehradun, visit their hometown Nandprayag every year and participate in the Ramleela. Badruddin’s great-grandson, Ayazuddin, said, “He was devoted to Lord Badrinath, which is why the family has continued to keep his faith alive.” However, they are disheartened with the recent controversy and say that they have been “robbed of the family legacy.”

Claims by the Uttarakhand government and the Barthwal family:
Reportedly, a doctoral student under the guidance of Dr. MPS Bisht, director of Uttarakhand Space Application Centre, “discovered the original manuscript” during his research in Rudraprayag last year.

“I asked him to provide me with the details and he promptly sent me a copy of the manuscript. I later realised that there may be truth in his contention. I will now take the manuscript to the secretary in the Ministry of Tourism, and officials in the Culture department and the state archives department so that they can scrutinise the manuscript and bring the facts to light,” Bisht said. He also alleged that the locals in Rudraprayag believe that Badruddin could have merely been the singer and not the real author.

Dhan Singh was a village revenue collector. The manuscript was claimed to have been discovered in 2018 in a container kept at the basement of the Barthwal family. Speaking to the Times of India, Mahendra Singh Barthwal, the great-grandson of the alleged author Dhan Singh Barthwal, said, “It was kept along with some other manuscripts. I showed it to a few friends who suggested I take it to the government.” Adding further, he said, “I am glad that my great grandfather has finally got due credit. He was a well-travelled man. It is possible that Badruddin heard him recite the aarti somewhere and started singing it.”
“We had always heard from our ancestors that he (Dhan Singh) had written the aarti of Badrinath temple that is sung to this day. The manuscript was kept in our family home for centuries and it mentions the year (1881) when it was written,” said 87-year-old Avtar Singh Barthwal, who is the fifth generation after Dhan Singh Barthwal.

Dr.Bisht conducted a carbon-dating test on the manuscript and claimed that the manuscript was from 1881. Consequently, last month, the BJP-led Uttarakhand government announced that Dhan Singh Barthwal had penned the hymn. Carbon-testing however is disputed as a technique to prove exact historical date ot accuracy.

What do the experts say?
While the government as well as the Barthwal family have claimed that the aarti was written by Dhan Singh Barthwal, experts, locals as well as the priests have refuted the claims.

The BKTC does not have any manuscript of the aarti sung at the temple, although a book reportedly written by Badruddin in 1867 and kept at a museum managed by writer Jugal Kishore Petshali near Almora, contains the lyrics of the invocation.

PetshalisaidBadruddin had written the invocation in a book format. “The name written on the book published in 1867 is Al Mustahar, MunsheenNaseeruddin,which was the title of the writer Badruddin, and mentions his address as post office Nandprayag (in Rudraprayag district),” said Petshali.

AS Maurya, associate professor at the earth sciences department at IIT-Roorkee, cautioned that carbon dating results cannot pinpoint a particular year. “It would be very hard to narrow down on a particular year using carbon dating to determine age. The actual age could vary plus or minus 80 years,” he said. “This means that carbon dating cannot be used to conclusively say that Barthwal’s manuscript was written in 1881.” Predictably, Dr.Bisht has denied any inaccuracies in the test.

SS Negi, professor of ancient history at the Garhwal University in Srinagar, said he couldn’t comment on Barthwal’s manuscript till he sees it. “There has been a general perception here that Badruddin wrote the aarti but I cannot comment whether it was original or not,” he said. Adding further, Negi said that it is believed, though not historically verified, that Badruddin wrote the aartiin 1865, two years before the book was published. “He was supposed to have been named Faqruddin but changed it to Badruddin on the name of the Badrinath temple,” said Negi adding that Badruddin was from Nandprayag, which was then a common route for yatra and Muslims were part and parcel of the pilgrimage.

One of the shopkeepers near the temple, Deepak Saini, speaking to the Times of India, said “The government is saying that someone called Dhan Singh had written the Badrinathaarti. But ask anybody here and they will tell you that a Muslim devotee has written it. That’s what our forefathers believed and that’s what we believe.” Many other shopkeepers like Saini have never heard of Barthwal.

Discrepancies:
Amidst the controversy about who is the real author of the aarti, it is essential to mention the discrepancies in the newly-found Barthwal’s “original manuscript” and Badruddin’s version that has been sung since decades.

While broadly both the versions are similar, there are certain differences in the composition and some words. Barthwal’s manuscript has eleven stanzas while the present aarti has seven. Barthwal’s version starts with ‘Agam pant apaargamita, nirmalmannsarovaram..”while Badruddin’s version starts with “PawanMandSugandhSheetal..,” which is the fifth stanza in Barthwal’s manuscript.However, instead of “PawanMand” the manuscript mentions “Paunmandir.”

Further, in place of “Siddhmunijan”, the manuscript mentions “Shakalmunijan”, “Shree shaktigauriganesh” as opposed to “Shakti gauriganesh”, “Chandra Indra” as opposed to “Indra Chandra.”

Historical evidence of syncretism:
Although, the Badrinathaarti has become a point of controversy, one cannot ignore the historical evidence of syncretism in India. Many Muslim poets have recited Hindu bhajans and Hindus, Muslim sermons. To give a few references, a 17^th century Muslim poet, Salabeg, wrote paeans in praise of Lord Jagannath of the Puri temple in Odisha, one out of the four most important pilgrimates sites of the Hindus. According to local folklore, Salabeg began writing his bhajans in praise of Jagannath after his supplications were answered by the Lord.

UstadBismillah Khan, a Shehnai maestro, is considered the pride of Kashi, the holy city for Hindus. Khan used to playshehnai at the much revered Kashi-Vishwanath Temple after receiving training from his uncle, Ali BuxVilayatu, who was attached to the temple as well. Mohammaed Rafi, a renowned playback singer, sung the song “Man tadpat hari darshan ko” in the movie ‘BaijuBawra’. Notably, the song was written by Shakeel Badayuni and composed by Naushad. Poet Abdul Rahim Khan-I-Khana, better known as Rahim, have written some of the best poems on Lord Krishna. Indian poet SahirLudhianvi wrote the bhajan“Allah tero nam ishwar tero nam” from the movie ‘Hum Dono.’

There are multiple such examples where people have engaged in reverence beyond their religious boundaries. However, such controversies pose a severe threat on our heritage and our foundation itself.

Destruction of heritage:
While for almost 150 years, Badruddin was considered to be the author of the Badrinathaarti, within a period of 2-3 years (since the time Trivendra Singh Rawat-led BJP government has come to power), the credits have been given to the Barthwal family and a Hindu-Muslim controversy created.

A Muslim composing a Hindu aartireflects the Indian culture, the harmony and the fraternity among people cutting across religious lines. However, such strategic moves by the government seem to be a step towards the larger ambition of a ‘Hindu Rashtra.’ This is nothing but a systematic destruction of a synthetic heritage that unites India.

Related Articles:

1. “Hindutva is waging a war against those whom it calls Others”
2. Only minorities have to prove their nationalism under a Sanghi India
3. Another example of communal harmony: ShriSita Ram temple holds Iftar in Ayodhya

The post Badrinath Aarti controversy: A systematic destruction of syncretic a heritage? appeared first on SabrangIndia.

The Ramlila, performed in folk form across the length and breadth of the country has sought to be appropriated by a supremacist ideology and it’s off shoots as ‘its own’ and popular and multi-faith participation in this drama –that continues for the nine days of Dussehra—seen as a ‘threat’ to this mono-chromatic appropriation. [The Rashtryiya Swayamsevak Sangh-RSS and its offshoots including have for three decades now sought his cultural ‘domination’ and ‘purificaton’ and this time it was the Shiv Sena who was at the root of the current move to ‘disallow’ one of India’s much sought after celluloid stars from performing in this drama, in his home village.]

Malini Nair in The Times of India, last Sunday wrote on how, whether it's the Meo jogis of Rajasthan, the patuas of Bengal or Malabar's retelling of the Ramayana, Muslims across India have made Ramayana their own. In fact in the uniquely Indian and syncretic way of absorption of each other’s faith rituals, Muslims often begin their participation in the ritual after performing wazoo, the act of purification before namaaz (offering prayers).

M.F. Hussain, India’s celebrated artist on the world stage who was exiled from his home country when a supine government bowed to the very forces that rule India today, in his powerful autobiography, writes of his initiation into the world of public culture and art, in Indore, in Madhya Pradesh, with the participation in the Ramlila.

The account in his own words, accompanied by powerful sketches was made available to Sabrangindia by photographer Ram Rahman.

M.F. Husain's Story In His Own Words

It’s the month of October. Fields of wheat are ready for harvest. Its beginning to feel good now soaking in the sunshine. At dusk, grandfather would wrap a blue coloured muffler around his grandson and the young boy goes running to watch the local Ramlila. There is no theatre troupe performing here so no tickets need be bought.

Its underneath a tamarind tree inside the compound of a primary school, with a few borrowed lanterns; a few saris from the washerwoman form the “backdrop”. The show begins the moment the rolling pin bangs the thali. Donning the shorts of the school’s drill master, dust rubbed all over his face, paanwaala Shankar’s brother plays Hanuman. Yes, who better than the amiable fat man from the flour mill to assume the role of Ravanaji. But who is this, posturing as a female, soot pasted over the face? The little boy does not recognise who this Kaikeyi is offstage. Qasim Miyan is a band master from the Indore cantonment. Here at the Ramlila he rolls the drums and plays the flute.

Later, part of the crowd heading home, the boy fantasises himself in the role of the many characters he has just witnessed at the Ramlila. He takes his time in reaching home so that on his imaginary stage he may briefly reenact the role of each of the actors in the Ramlila.

Today, while returning home after witnessing the Ramlila on a glittering stage in Delhi, it’s a flashback to the past. He fondly remembers Shankar paanwala’s brother, the sweet fatty from the flour mill and Qasim Miyan band master.
 
To the boy from Indore, it was Dr Ram Manohar Lohia who showed the path that led to Valmiki and Tulsidas. We are nearing the end of the 50s decade. Badrivishal, son of the affluent Hyderabadi, Pannalal Pitti, is lounging amidst bolsters in the upper story of the sprawling family home — Moti Bhavan –, adjacent to the Raj Bhavan. It’s time for lunch and enters Dr Lohia. Socialist party workers, clad in khadi and sporting badges on their jackets, stand respectfully around the sitting area. The boy from Indore grabs a pen from Badrivishal’s pen-stand, captures the scene for posterity. His pen sketches Dr Lohia’s unruly hair, moves down to his half-closed mischievous eyes, then nose and stops at his lips. Seeing the boy and his sketch, Lohiaji breaks into a smile. He hugs the boy very tight. It’s an embrace that will last for many a year.
 
One evening, the Indore boy takes him to Karim Hotel in Delhi as Lohiaji loves Mughlai food, sheermaals etc. Lohiaji remembers a portrait of Jawaharlal Nehru which the boy had sketched at the PM’s residence. Gently stirring the korma in his bowl with a spoon, he looks up at the boy and says, “What made you think of drawing a portrait of Nehru? One portrait of his which I did like was the one published in the Illustrated Weekly because in it he seemed to be drowning, already neck deep in water”.
 
“Lohiaji”, the boy replied smiling, “That is the interesting complexity of modern art. Here the viewer has the right to interpret it the way he likes while a still photograph offers no such latitude. From that point of view, modern art is not elitist but democratic. Here you may depict a royal personality, use tense lines proclaiming individuality and a splash of colours suggesting self-esteem.”
 

Lohiaji patted the boy on his back as if in compliment and changing the subject he asked: “You are surrounded by this world of portraits adorning the drawing rooms of Birla and Tata; why don’t you come out of it for a bit? Paint the Ramayana. It’s an engrossing eons-old tale of this country. India’s villages are resonant with song and music. Take your paintings to these villages. Behind the closed walls of what are called galleries in cities, people with hands in their pant pockets just stand before your paintings. They are not like people from the villages who, immersed in your colours, will break into song and dance”.
 
These words of Lohiaji pierced my heart like an arrow, pricked me for years. Soon after his demise, in his memory, with pen and brush, I splashed the walls of Moti Bhavan with nearly 150 scenes from the Ramayana. It took me 10 years. I asked not for a paisa for my labour. It was only for honouring his words to me. 
 
(Translated from Hussain's original in Hindi, Excerpted from his autobiography M.F. Husain's Story In His Own Words).

This 27 minute film made by the Film’s Division by director, Santi P. Chowdhury in 1976, A Painter of Our Time-Hussain, has, the iconic painter’s rendering of the Lohia  Ramlila mela towards the end

                                      .

Background:
Maqbool Fida Husain (September 17,1915 –June 9, 2011)^] commonly known as MF Husain, was a modern Indian painter of international acclaim, and a founding member of The Progressive Artists Group of Bombay (PAG).

Husain was associated with Indian modernism in the 1940s. His early association with the Progressive Artist's Group, or "PAG of Bombay" used modern technique, and was inspired by the "new" India after The Partition of 1947. His narrative paintings, executed in a modified Cubist style, can be caustic and funny as well as serious and sombre. His themes—sometimes treated in series—include topics as diverse as Mohandas K. Gandhi, Mother Teresa, the Ramayana, the Mahabharata, the British raj, and motifs of Indian urban and rural life. Early in his painting career, and until his death, he enjoyed depicting the lively and free spirit of horses in many of his works. Often referred to as the "Picasso of India", M.F. Husain is the most celebrated and internationally recognized Indian artist of the 20th century. Husain is primarily known for his paintings, but is also known for his drawings and his work as a printmaker, photographer, and filmmaker.

He was targeted and attacked by vicious and violent groups, wedded politically to a ‘Hindu nation’ with a narrow interpretation of ‘culture’ and ‘faith’ who directed a campaign against Hussain’s rendition of epic figures in modern and non traditional ways.

The post M.F. Husain’s Brush with the Ramlila: In His Own Words appeared first on SabrangIndia.