Life within Life

Life within Life

Life within life surprises all

A seedling growing so tall.

It is a miracle witnessed often

Its manifestation hearts soften.

A bud sprouts from no where

Grows in size to blossom in air.

Fragrance spreads far and wide

In its pollen, many seeds hide.

Seeds scattered hither thither

Pregnant  lives lie buried there.

These come to life with nurture

 Lo, Amazing  wonders of nature .

Life’s cycle turns a full circle 

Making minds whirl vernal .

Life within life is a wonder to behold

Though seen often, it’s mystery never unfold.

Vandana Pathak

Companionship-Its Need, Social Relevance and Acceptance: A Critique of its Apt Expression in U Turn 2

Companionship-Its Need, Social Relevance and Acceptance: A Critique of its Apt Expression in U Turn 2

I am a theatre lover and this year, not too many Marathi plays were staged in Nagpur.  Recently, I had watched Mahesh Elkunchawar’s Magna Talyakathi and loved it. It was second in the part of a triology. Immediately after that, I came across the Press Release of U Turn 2. U Turn was such a thought provoking experience. Naturally the sequel was something to look forward to. And it did not belittle my expectations.

The very title of the play is symbolic and suggests that taking a ‘U turn’ in life is not a smooth process. One has to overcome too many obstacles and cross barriers to do it. The play has been written and directed by Ananad Mhasvekar. U Turn is based on the relationship of a divorcee Major Sudhir and a widow Ramabai Gokhale and their need for companionship. Major Sudhir’s faith in the institution of marriage is destroyed because of Swati-his first wife. He has a daughter-Manju who is settled in Bangalore and Ramabai’s only son, Sahil, is settled abroad. The son and daughter are concerned about the parents and their being on their own. Major Sudhir and Rama meet each other and though their perspectives on life are different, develop a companionship and spend a year with each other in the Major’s home at Mumbai. Problems crop up when both decide to unite and the children tooth and nail oppose it. Ramabai does not want to make kids unhappy and so returns back to her home town Pune. The Major insists on living in the present where as Ramabai is always living in the past. Their two children represent the parochial Indian mentality in opposing their relationship.

The script of U Turn 2 has been written and directed by Ananad Mhasvekar.  The story of U Turn is narrated at the beginning of the play in a very interesting manner using the cinematographic technique of flash back. It is one year after their separation and Ramabai is living all alone in an apartment scheme in Pune. To alleviate her loneliness, she has become an avid reader and devours Marathi poetry and literature G.A. She quotes Grace in the play and at pertinent places in such an exquisite manner resulting in goose bumps. She checks her blood pressure and sugar regularly at home, having purchased Gluco-Meter and B,P. Monitoring apparatus and knows that these are stress induced disorders. She watches all health related shows on TV. One day, out of blue, the Major knocks at her door and later on due to heart related issues stays with her and undergoes angiography, angioplasty and treatment. Ramabai copes up with this emergency very bravely despite of the break up. Ramabai has not contacted him because she thought that he might have found another companion or reconciled with his ex-wife. Yet paying heed to his suggestion, she has started living in the present and pushed her past behind. He is an integral part of her life in his absence too. Her concern and anxiety about his health is obvious and she persuades him to stay with her. As the stay of the Major with her lengthens, she tells her neighbours that he is her cousin from Mumbai. She shoulders the entire responsibility of his hospitalization and further treatment, including expenditure. The Major is against her lies but she informs him that the Pune culture is unique and different from Mumbai. Soon they start facing problems in their apartment scheme as well as outside in the society. The so called ‘Sanskruti Rakshak’ ill treate them by abusing them, drawing their posters on the compound wall, subject them to noise pollution, harass them in multiple ways, smear faces and thus deprive them of peace and sound, secure living. Major suggests shifting to Mumbai where people don’t interfere and provide more space. But how can Ramabai accept this suggestion? Major Sudhir has been a warrior and fighter throughout his life and now he can’t run away from the situation. The smearing of the face provokes a strong reaction from the media and results in solidarity of the senior citizens and Major and Ramabai become its pro-active office bearers. They get wide publicity in the media and their cause is recognised. This fame ushers in unhappiness and distress in the life of their children who articulate their resentment eloquently. Ramabai insists on a wedding but Major holds back due to his bitter experience. Ramabai too would have loved to marry of her own volition but is not ready to do it under coercion. What to do in such a situation- a tight corner? They want to be together but it is not acceptable to the society. Too many questions pertaining to relationships and its complex natures, social norms, values and culture versus their freedom, personal space and decisions, raise head and remain unanswered. The writer does not show the expected culmination of the relationship in a marriage and leaves the play open ended. Even though many of my friends were disappointed with this end, I find it appropriate. It is very difficult to provide a readymade/tailor made solution of this problem.  Movements of senior citizens have gathered momentum and how much should we pay heed to these moral custodians and their policing is a question each one has to ponder over for himself/herself. How can each one of us, irrespective of age, help change society for better by getting rid of our parochial mindset? This change is the need of the time and we, who are otherwise very broadminded and modern, should open our eyes wide and redress the problem. Of course, the play does not convey any message or preach us, but we have to put on our thinking caps. New and fresh spectacles are necessary to understand this mature, seasoned and platonic relationship. A famous dialogue from U Turn says, “Aata sukh-dukhaakade baghnyaacha drishtikon badlayla hawa. Nahitar evdhe varsh angaawar nusta paani padala aani vahun gela asa hoil.” It can be interpreted as ‘Palthya ghadyavar pani takane’. It can be literally translated as “Now in this ripe old age, the perspective towards ups and downs should change. Otherwise it would mean that the experience acquired in all these years is in vain”. Then we realize that the play is an effort to provide a new dimension and perspective to human life and  a take on relationships.

There are only two characters on the stage: Ramabai Gokhale and Major Sudhir. Their children, Madhu and Sahil with Goldie, make their presence felt through telephone conversations. The play centres round Ramabai, assayed by Ila Bhate, with grace and ease. She emotes brilliantly and her body language and modulations in voice are just amazing. She comes out as a very sensitive, caring and positive person ready to take cudgels against the society but wants to surrender when kids start suffering. She has accepted Major’s daughter as if her own, without any feeling of resentment and prejudices. She stands by her side in her hour of difficulty. She responds very positively to her son’s request to help assist in delivery in spite of the Major’s efforts to expose their selfishness. Kudos to her for living her character. And in sharp contrast, the Major’s character is rather stark, in keeping with his military career and showing his strength as a fighter and his disgust of “bloody civilians.” He is disciplined, practical and does not mince words. He is detached from his daughter but yet concerned about her well being. This detached behaviour is not possible for Ramabai whom he respects and admires for her qualities of the head and heart. He expresses it very subtly in the play. Girish Oke is very restrained in his acting. This veteran’s prowess is noteworthy in his reaction and response to the disconnection of electricity and bolting of the main door from outside scene.

I think, the writer, Anand Mhaswekar’s choice of the setting of the play is justifiable. It is set in Pune which is known to be an epitome of Maharashtra culture, values and traditions. Places, symbols and images associated with this culture have been showcased and employed in an effective way in the script. These include Saras Baag with its temple, Shaniwarwada and Chitale Bandhu. (Many digs also find a place in the script at Pune and Punekars almost reminding us of all those messages that we enjoy on What’s App about them.) Naturally, Sanskruti Rakshaks of Pune, who are torch bearers of Sanskruti, cannot accept such a dynamic, pure relationship and are shown to be unsympathetic, narrow minded and conservative in their outlook. This is the grim reality of life and that is why, a strong movement has begun against this conservative mentality.

Before I wind up, let me mention that in spite of the grave subject matter, the play abounds in many moments of light banter and subtle humour. The best dialogue, perhaps I would always love and remember it, is about clicking of a selfie. The Major in his formal suit boot attire and Ramabai in a beautiful brocade saree are ready to leave for a candle light march and he suggest clicking of a selfie. Ramabai laughs at this and the Major in a bantering manner says that ‘when you click a selfie, all those who oppose you, are behind your backs, as if supporting you and you are in the forefront.’ Grace and Soumitra’s poem on life have been embedded perfectly in the script. On the whole, U Turn 2 is play not to be missed at all for all the above cited reasons and many more which I can’t encapsulate in words. 

महती चिटोऱ्याची  

गांधीजीनी केला योग्य वापर कागदाचा 

उपयोग केला व्यवस्थित साध्या  चिटोऱ्याचा.   

मी ही नकळत ती छान सवय  स्वीकारली 

कागदांच्या चिटोऱ्यावर काहीतरी लिहू   लागली. 

मी हे असे अनेक खरडलेले चिटोरे  जपलेत 

जीवाच्या पलीकडे वहीपुस्तकात  सांभाळलेत . 

लिफाफ्याची कोरी बाजू असो वा असो पत्रिका 

त्यांच्यावर कोरल्या गेल्या सुप्त इच्छा आकांक्षा. 

त्यांच्यातच सापडतील माझे सर्व अक्षांश रेखांश 

कुठेतरी लिहिले असतील आयुष्याचे मर्म व   सारांश. 

कधीकाळी केली असेल  नाना हिशोबाची मांडण 

कागदाच्या तुकड्यावरच केले रांगोळीचे चित्रण . 

आवडणाऱ्या पंक्ती असो  वा पाककृती आईची

यादी त्यात   भावलेल्या पुस्तकांची व विचारधनाची. 

मनन, टिपण, चिंतन, लेखन, वाचन, संभाषण

सर्वांचे विषयवार तपशीलवार यातच विवेचन. 

सांभाळून ठेवलेत ते चिटोरे जीवाच्या पलीकडे    

टाचून जतन करून ठेवलेत पानांमध्ये इकडेतिकडे. 

कधीकाळी अवचित ते चिटोरे दृष्टीस पडतात    

हरवलेला खजिना मिळाल्याचा आनंद देतात. 

तसा काही दडला नाही त्यांच्यात खजिना फार मोठा 

पण छोटे छोटे क्षणच  फोडतात मनातील दुखाला वाटा.  

जीवनाचे अंकगणित व भूमिती दडली त्यांच्यात 

म्हणूनच दडवून ठेवले आहे मी अनेक चिटोरे संग्रहात. 

वंदना पाठक 

       

गुणगुणणे आईचे 

माझी आई गुणगुणत असे सतत
वेगवेगळ्या वेळी विविध गीतं
श्लोक व   हिंदी मराठी चित्रपट गीतं
अनेक दुर्लभ अर्थपूर्ण सुभाषितं .

भूपाळीने  होई दिवसाची सुरवात
घनश्याम सुंदराची लकेर गात गात
नंतर गुंजे थंडगार वात सुटत
शरीर मग्न कामांच्या भाऊगर्दीत.

अर्चनाच्या सुरांसोबत लागे सूर
काम चालू राही कुठेतरी खूप दूर
मधूनच धरून ताल एखाद्या ताटावर
मधुर मस्त लकेर गुंजत राही घरभर .

म्हणे कभी कभी मेरे दिलमें खयाल आता है
तर मध्येच अभी अभी दिन था अभी अभी रात  है
नवीन जुन्या दोन्हींची बेमालूम सरमिसळ होई
गायिका व आम्हाला  पण ऐकण्याची  मजा येई.

आता फक्त त्या गाण्यांची आठवण उरली
सुरेल लकेर व गायिका काळप्रवाहात विरली .
कुठून तरी  अजीब दास्तान है कानांवर आलें
भावना, मन  व अश्रुंचे बांध संपूर्ण ढासळले.   

आठवणींचे गाठोडे अवचित उघडल्या गेले
सूर-लकेरांचे मज आज मर्म  उमजले
सुख दुःखाचे, असह्यतेचे  घोट पचविले
संगीत साधनेने उत्स्फूर्त स्व:विरेचन केले. 

मी ही आजकाल गुणगुणायला शिकले
सहजतेने मनावर नियंत्रण ठेवू लागले
राग ,क्रोध, निराशा व दुःख दूरवर पळाले
आईच्या गाण्यांनी जीवनगीत शिकविले.   

वंदना पाठक

 I 

कोणती कारणे तू देणार , माझ्या मना , इतक्या सर्व उणीवांकरिता  ?

इतकी निष्ठा जीवलगाची , इतका विश्वासघातकीपणा  तुझा!

इतकी उदारता त्याच्याकडून, तुझ्याकडून इतका   क्षुल्लक विरोध ! त्याच्याकडून इतकी जास्त कृपा, इतके दोष घडलेले तुझे !

इतकी इर्षा, इतकी दुष्ट कल्पनाशक्ती आणि इतके वाईट विचार तुझ्या मनात, इतकी रेखाचित्रे, इतके अनुभव,  इतकी उदारता त्याची.

का हे सर्व अनुभव! तुझा कट्टर आत्मा व्हावा गोड म्हणून. का ही सर्व रेखाचित्रे? तू संतांच्या संगतीत जावे म्हणून.            

तुला पश्चाताप वाटतो तुझ्या पापांचा, देवाचे नामस्मरण तुझ्या ओठी; त्याक्षणी तो आकर्षित होतो तुझ्याकडे,  कारण    तो मुक्त करू इच्छितो तुला जीवंत अवस्थेत.  

तुला भीती वाटते अखेरीस तुझ्या चुकांची , तू  शोधतोस हताशपणे  मार्ग मुक्तीचा;  त्याक्षणाला का पाहत नाहीस तू त्याला तुझ्या बाजूला.  त्याला जो भीती भरतो अशी तुझ्या मनात :

जर त्याने बांधले आहेत तुझे डोळे, तू आहेस एका खड्यासारखा त्याच्या हातात; आता तो गडगडवतो आहे तुला असा, आता तो फेकतो आहे तुला हवेत.

आता तो बिम्बवतो तुझ्या स्वभावात उत्कट आवड चांदी,सोने व स्त्रियांची; आता तो बिम्बवतो तुझ्या मनात
प्रकाश  मुस्तफासारखा.

या बाजूला आकर्षित करतो तो तुला प्रियजनांकडे , त्या  बाजूला आकर्षित करतो तो तुला अप्रिय गोष्टींकडे;
या सर्व  भोवऱ्यातून जहाज जाईल पुढे किंवा बुडेल.  

पाठवा वरती इतक्या प्रार्थना, रडा इतक्या दु:खाने  अंधाराच्या ऋतुत, की प्रतिध्वनी पोचेल तुमच्या कानावर क्षेत्रातून सात स्वर्गाच्या.

जेव्हा शोएबचे कण्हणे आणि विलाप आणि अश्रू
 गारावर्षावासामान साऱ्या मर्यादा पार करून गेले,
तेव्हा सकाळी एक घोषणा आकाशातून त्याच्याकरिता झाली.

"जर तू पापी आहे, मी तुला क्षमा केली आहे आणि तुला माफ केले आहे तुझ्या पापाकरिता? स्वर्गाचा शोध घेत आहेस तू ?  अहा, तुला मी तो दिला, शांत हो, थांबव या सर्व प्रार्थना!"   

शोएब उत्तरला, " मी याचा किंवा त्याचा शोध घेत  नाही.  माझी इच्छा देवाला आमोरासमोर पाहण्याची आहे. जरी साती समुद्रांचे आगीत रुपांतर झाले, मी मारीन त्यांच्यात उडी; जर माझी त्याच्याशी भेट होइल. "  

पण जर मला रोकण्यात आले या दृश्यापासून, जर माझे अश्रुपूर्ण डोळे वंचित राहिले त्या दृश्यापासून, तर मी योग्य आहे आगीच्या नरकात राहण्याच्या; स्वर्ग माझ्याकरिता नाही.     
,        
चेहऱ्याशिवाय त्याच्या , स्वर्ग माझ्याकरिता तिरस्करणीय नरक आहे. मी केलेय सेवन या रंगाचे व वासाचे मृत्युच्या; कुठे आहे तेजस्विता अमरत्वाच्या प्रकाशाची?"

ते म्हणाले, " कमीत कमी संयत कर तुझे रडणे; नाहीतर दृष्टी होईल तुझी अंधूक, कारण दृष्टी होते कमी जेव्हा रडणे होते पलिकडे मर्यादेच्या. "

तो म्हणाला, " जर माझे दोन्ही डोळे शेवटी पाहणार असतील या पद्धतीने, प्रत्येक अवयव माझा होईल डोळे : का  करू तक्रार मी अंधत्वाची?

पण जर शेवटी हे डोळे माझे वंचित राहिले नेहमीकरिता,  तर ती नजरच  होऊ देत अंध जी आहे अयोग्य पाहावयास  जीवलगा. "   

Mystical Poems of  Rumi

Free Translation

Vandana Pathak       

१
 The Gardener माळी /बागवान

सेवक 

दया करा आपल्या सेवकावर, राणीसरकार !

राणी 

दरबार आटोपला आहे आणि माझे सेवक सर्व गेलेत . तू का इतक्या उशीरा  आलास ?

सेवक 

जेव्हा तुमचे  इतरांबरोबरचे  काम निपटते , ती माझी वेळ.

मी विचारायला आलो की काय शिल्लक आहे तुमच्या शेवटच्या सेवाकाकरिता.

राणी 

काय आशा करतोस तू जेव्हा इतका झाला आहे उशीर ?

सेवक 

करा मला माळी तुमच्या  बगिच्याचा.

राणी 

काय  मूर्खपणा आहे हा?

सेवक 

मी सोडून देईन माझी इतर कामे.

मी फेकतो माझ्या तलवारी आणि भाले खाली जमिनीवर.  नका पाठवू मला दूरच्या दरबारांमध्ये; नका
आज्ञा देऊ करण्याची नवीन विजय. पण करा मला माळी तुमच्या  बगिच्याचा.

राणी 

काय राहतील तुझी कर्तव्ये?

सेवक 

सेवा तुमच्या फावल्या वेळा मध्ये.

मी ठेवीन ताजा हिरवा रस्ता जेथे तुम्ही फिरता सकाळी, जेथे तुमच्या  पाउलाचे अभिवादन होईल प्रशंसेने प्रत्येक टप्प्यावर फुलांनी जे उत्सुक आहे मरायला.

मी तुम्हाला झोका देईन झुल्यावर  फांद्यामधील सप्तपर्णीच्या, जेव्हा लवकर उगवलेला संध्याकाळचा  चंद्र करेल धडपड स्पर्श  करावयास तुमच्या  परकरास पानांमधून.

मी करीन तरोताजा सुगंधी द्रव्याने दिवा जो जळतो तुमच्या पलंगाजवळ, आणि सजवीन तुमचे पाय ठेविण्याचे आसन चंदन आणि केशराच्या मिश्रणाच्या अदभूत मांडणीने.

राणी 

काय तू घेशील तुझे इनाम  म्हणून ?   

सेवक 

मुभा पकडण्याची तुमच्या नाजुक मुठी जशा   कोमल कमळाच्या   कळ्या  आणि सरकवायची फुलांच्या साखळ्या तुमच्या मनगटात; रंगविण्याची तुमची पाऊले पायांची लाल रसाने अशोक पाकळ्यांच्या आणि हलकेच  झटकून टाकण्याची   कण धुळीचा जो संधी पाहत होता तेथे रेंगाळण्याची.

राणी 

तुझी प्रार्थना मंजूर  आहे, माझ्या सेवका, तू होशील माळी माझ्या बगिच्याचा.

Poem  1

Gardener by Rabindranath Tagore

Free Translation by Vandana Pathak

 

Message Rangolis

 I have come across beautiful or meaningful paintings, sand sculptures and photographs conveying socially relevant messages. My childhood friend Sadhana (Sadhana Rajhans Tembhekar) is a very sensitive lady who believes in social commitment immensely. She is an excellent artist and possesses a hidden talent of which we all friends became aware recently.

The culture of drawing a Rangoli or making a Rangoli pattern in the front yard of the home is an integral part of Hindu culture and tradition. These rangolis are a creative art and showcase the mastery of the artist in colour combination, symmetry, neatness, fineness and drawing. The lady of the house, whatever may be her social status or strata of the society, gets up in the morning,  cleans the courtyard and sprinkles it with water and at times, smears it with cow dung. Then with fine rangoli powder, she makes a rangoli pattern. The size of the rangoli does not matter. (As I write this article, in my mind's eye, arises a graceful lady, like the one in Raja Ravi Varma's portraits ,squatting down on her haunches and drawing a rangoli). Then she fills it in with colour or at times, puts a pinch of red vermilion and turmeric powder in it. On festivals and on the occasions of celebrations, huge colourful rangolis adorn the court yard. Now due to changes in the lifestyle of the people and work culture, the number of women drawing these rangolis has decreased. The flat culture or apartment culture too has affected this age old art due to space constraint. With the passage of time, the patterns of Rangoli have changed or new patterns have emerged. Free hand Rangoli is in vogue due to its adaptability and ease. Another noteworthy factor is that in modern times, the art of  rangoli has become gender neutral.

I don't know if my usage 'Message Rangolis' is appropriate or not. I believe Rangoli with a message, as it is described, gives prime importance to Rangoli and a little less  subservient status to the message. A message rangoli is drawn because of a felt need, out of social consciousness and a sense of commitment, to make people aware of certain social ills, stigmas and problems. Here the message is in the forefront. 

So going back to the topic with which I began this essay, my friend Sadhana should be appreciated and applauded for her excellent craftsmanship. In these ten days of Ganesh Puja, Sadhana has each day drawn a Message Rangoli and has uploaded its photo on Facebook as well as on What's App to spread her message among people at large. Not only this, she has elaborated upon the importance of each day of Ganeshotsav in her write ups. Her attempt to take people back to their roots is laudable. 

She wished all her friends on day one of the puja through the medium of rangoli and as she had done it in the past, this year too decided to depict ten different facets of Lord Ganesha to highlight ten social issues. The idea itseif was so exhilarating that after the day one, at least some time in the day, would be spent discussing her that day's  rangoli with other friends and the theme of the next day's message. 

On day one, her Ganesha arrived dressed up gorgeously in a red purple sovala and blue purple uparana and with a kamandalu in his hand and a chhatra overhead, walking elegantly, and bestowing upon the devotees the confidence and trust that the Rain God would accompany him to bless all his devotees. It was simply breathtaking.  In her next effort, Ganesha arrived with the message of water conservation. At this time, when most of the Maharashtra was grappling with acute water scarcity,   her message of 'Jal hai to kal hai' and 'Save water' was significant. Very aptly she projected a bucket overflowing with water, the scorching sun, cracked land surface and dry clouds. In the midst of all these, were palms holding a drop of water.  A lot of previous planning, consideration and thoughtfulness must have gone into the execution of this rangoli. The next surprise was on a rare kind of donation-the most noble donation-blood donation.It gives one the satisfaction of giving and saving some one's life. God has the ability to give us life. All we can do is to save it. The rangoli conveyed the message that blood donation done once, can save up to three lives. Blood transfusion, the red colour of blood and blood being supplied to three human beings went on to complete this message.

Mahalakshmi Pujan or Gauri Pujan is done for three days during Ganpati. Adishakti has always been worshiped in our culture. In the same culture, female foeticide and infanticide is very common. It is a misconception that female foeticide is common in illiterate, uneducated, rural, poor classes of the society. Women's Studies reveal that the percentage of both is more in educated, urban, civilized sections of the society. Gender discrimination too is observed in our surroundings. As responsible members of the society, is it not our duty to make people aware of how unjust and wrong it is. This too is a part of social awareness campaign, according to the crusader Sadhana. Very symbolically she has shown a tear drop from a female eye. This tear drop is the womb of the foetus and a scissors is touching the umbilical cord. An imbalanced, lopsided  weighing scale apperas with the message that her tears will not correct the imbalance. Timely action is necessary to save the girl child. What a message and the day on which it was delivered! Simply awesome timing.

In her next social endeavour, she sheds light on the epicurean life style of people.People are becoming more materialistic and addicted. In this rangoli, she mentions smoking.A cigarette is depicted as a man with a yellow butt end as a cap and hands on its waist and is shown smoking a man. The caption reads as 'Kill Smoking or It Will Kill You." In an informative comment, Dr. Anita (an erudite scholar) said that deaddiction from smoking requires immense will power and moral strength. She pointed out that the percentage of smokers is on the decline in the West due to its evil effects and in India, the young are falling prey to it "just for thrill." Another alarming fact in India is the increase in the number of female smokers in India. The rangoli unknowingly became a platform for dissemination of information and exchange of ideas. This kind of give and take is noticed in almost all the mesage rangoli posts.

to be continued . . . 

Watch out for more tomorrow . . .