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 . . .

More on TV Commercials and Human Relationships

It is Rakhi time in India. The festival celebrating the bond of siblings, brothers and sisters is to be celebrated on 29^th August 2015. A precocious brother says that the sister ties Rakhi so that the brother can/ should protect her. The sister tells him with a twinkle in her eyes that she knows how to protect herself. She ties a Rakhi so that he can gift her Cadbury Celebration sweets that he has bought for her by saving money from his pocket money. She ties the Rakhi and the bother gifts the box to her. She open and eats one and loves its yummy taste. The brother tries to snatch away the box from her hands. She pushes his hand aside and tells him with a laugh that she knows how to protect her sweets as well. This commercial is very simple and yet very touching. The love, warmth and camaraderie shared by the duo finds an echo in every heart and is very appealing.  The commercial also projects how confident and strong and yet sensitive the present day Indian girls are.

Another commercial that holds immense appeal is that of the Lloyd Washing Machine. A couple visits a showroom to purchase a washing machine. On entering the Showroom, the husband tells the salesperson to show washing machines to ‘Madam’. He stands aside and starts fiddling with his Mobile phone as if he has nothing to do with the purchase. The lady with a glint in her eyes and a mischievous smile asks to be shown ‘Unisex’ washing machine. Both men are flummoxed. She points out that the husband has never used the previous machine and hence she would like to go in for a ‘unisex’ machine. The salesman shows her a machine with a touch screen menu which the husband can use easily and effortlessly. The commercial shows the changing nature of the society and how the stereotypes are being broken every day. It shows equality and equal distribution of work in a home. "It's so easy, that even Sir can do the washing," says the wife in Lloyd's latest commercial for its washing machine range, before a male voice-over goes on to highlight the "easy swipe touch panel" and other cool technology. Nipun Singhal, Director, Lloyd Electric & Engineering says, “The campaign targets urban women and at the same time inspires men to stop taking women for granted. Men tend to abdicate their responsibility towards helping their wives out in this chore.”

Now days, taboo products and subjects like Sanitary Napkins, Condoms and Pregnancy Test kids are being advertised on Radio as well as TV to increase sales and enhance public awareness. Balika Vadhu Star and Shilpa Shetty have featured in Pregnancy Test Kits. One TV Commercial highlights the emotional, mental and moral support rendered by a husband in a very friendly, supportive manner by a husband to his expecting wife. The wife has learnt that she is pregnant and hence is a little jittery and nervous. She is a little reluctant as she feels she would become fat/ obese and would face mood swings. The husband says that he too would become fat with her and they would be together. The ad shows the openness, warmth and sharing cum concern of the partner for his wife.

The Rin ‘Chamkate Rahana’ adv commercial deals with the relationship of a father and daughter. On the day one of daughter’s job in a bank, the father, an auto-rickshaw driver drops her to her workplace- a bank, in his auto. She meets her boss outside the bank and he compliments her on her white blouse and skirt and says she looks a perfect professional in her outfit. Then he notices the auto and asks her as to why she has come in an auto. The girl, Shreya Pilgaonkar, hugs the auto driver and with immense pride declares that he is her father and puts her ahnd round his shoulders. The boss’s embarrassment is obvious and he is flummoxed. He does not know how to respond. He regains his composure and shakes hand with the auto driver father. The daughter walks with pride to the entrance of her workplace. I love this commercial for its frank and realistic portrayal of the father-daughter duo bond and pride in each other’s achievements.

The nature of the commercials is changing so fast and to maintain simulacrum, they are now focused on the projection of human relationships.

 

आज मला असे वाटतंय 

      आज मला असे वाटतंय -

     गवताच्या पात्यासारखे आनंदाने डोलावे 

    उमलणाऱ्या कळीसारखे हळूच लाजावे 

   टवटवीत गुलाबासारखे धुंदीत हसावे 

  भिरभिरणाऱ्या फुलपाखरासारखे बागडावे 

  इवल्या चिमण्यांसारखे चिवचिव करावे 

 आम्रवृक्षावर झुलत कोकिळेसारखे गावे 

 वसंत ऋतूत निसर्गात रमून जावे. 

  आज मला असे वाटतंय -

 बकुळीच्या फुलासारखे शुभ्र फुलावे 

मोगऱ्याच्या गंधासारखे धुंद दरवळावे 

कृष्णकमळासारखे नाजूक हेलकावे घ्यावे 

इवल्याशा जांभळ्या केन्यासारखे अलगद लपावे 

दवाच्या टपोऱ्या थेंबासारखे रंग झळकवावे 

निंबोणीसारखे कुठेही सहज मजेत रुजावे 

डेरेदार वटवृक्षासारखे पाराम्ब्यांसह जगावे . 

आज मला असे वाटतंय -   

बाल्यांच्या जगात मी मनसोक्त रमावे 

वृद्धांच्या असहायतेला अलगद झेलावे 

चंचल निर्झरासारखे अवखळ वहावे 

छोट्या मास्यांसारखे मुक्त विहरावे 

रातराणीसारखे दृष्टीस न पडता बहरावे 

प्राजक्तासारखे  गालीचा होवून मोहित करावे.   

आज मला असे वाटतंय -   

प्रकृतीकडून  बरेच काही अनायास शिकावे 

स्वार्थीपणाचे, ढोंगीपणाचे मुखवटे टाकून द्यावे 

कमळासारखे भुंग्याला अलवार कवेत घ्यावे 

वृक्षांसारखी सर्वांना शांत सुखद सावली  द्यावे  

इंद्रधनुसमान सर्वांना  हर्षाने मंत्रमुग्ध करावे  

आणि बरसणाऱ्या मेघाप्रमाणे तृषार्थाना शमवावे . 

वंदना पाठक 

  

                                                        साधन होईन मी देवाचे 

जिथे जिथे वेदना आहे; औषध तिथेच लागते ;

जिथे जिथे गरिबी आहे; मदत तिथेच लागते.

मानव या जगात पूर्णपणे अवलंबून आहे देवाच्या इच्छेवर:

जर तो करेल मला प्याला, मी होईन प्याला,

आणि जर तो करेल मला कट्यार , मी होईन कट्यार,

जर तो करेल मला झरा,  मी देईन पाणी ,

जर तो करेल मला अग्नी, मी देईन उष्णता,

जर तो करेल मला पाऊस, मी उगवेन पीक, 

आणि जर तो करेल मला बाण, मी शिरेन शरीरात ,

आणि जर तो करेल मला साप, मी ओकेन विष,

आणि जर तो करेल मला मित्र, मी करीन सेवा .  

(रुमी, स्वैर भाषांतर )

वंदना पाठक   

TV Commercials and Relationships: Appealing Ads

This summer (2015) while watching the Idiot Box, certain advertisements caught my attention and appealed to my heart. The first was the advertisement of Mother's Day of Tanishq featuring Deepika Padukone with her mom Ujjwala Padukone. Deepika is shownn trying on different ornaments in the Tanishq showroom and then she returns home. The mother is laying the table and seems a little put off. Deepika is shown muttering to herself about how even in spite of being a celebrity, she can not leave any food on her plate and how her mother scolds her on reaching home late. Her mother wants her to arrange and tidy up her bedroom first thing in the morning. She can not stand it even if a single light remains on in her daughter's room (a true disciplinarian). In these 28 years of togetherness, she has never thanked her mother for being with her. She looks gorgeous and dazzling in white. She gifts a beautiful necklace to her mother who too again is in white. The daughter puts the necklace round her mother's neck and hugs her with moist eyes. The expressions and body language convey something about their bond which is beyond words. This bond is as precious and adorable as the Tanishq jwellery is and both the bonds, that of the mother daughter duo, and a woman's love for ornaments, are priceless and treasurable. The piece of jwellery is as pure as the love of a mother for whom the daughter would always be a little one. A daughter, is a daughter, first and foremost, even if she is a celebrity. The ad beautifully encapsulates their relationship as " timeless" and adds further," Somethings never change with time." The situations depicted are a daily occurrence in most of the families and experienced by everyone and hence immensely identifiable. These odd every day incidents are instrumental in moulding a persona and how well it has been projected in Deepika's monologue, "Socha tha famous hone ka kuchh to fayda hoga." The mother treats her daughter as an ordinary girl. The mother has kept the daughter rooted to her values. Christina Perry's “A Thousand Years” has been employed as the background score and enhances effectively the emotional appeal of the advertisement. The song declares, " I have loved you for a thousand years/ I 'll love you for a thousand more." I love the soulful song-

How can I love when I’m afraid to fall

But watching you stand alone

All of my doubt, suddenly goes away somehow...
Now another hair oil commercial featuring Alisha Bhat and her mother Soni Razdaan is being telecast. Yet it lacks the magic and emotional appeal of the Deepika -Tanishq commercial.

Usually, I don't like soft drink ads and soft drinks too. Given a choice, I would not recommend them as well from the point of view of language or Sociology. These ads are endorsed by celebrities most of the times to attract masses and lure them. This summer's Coke ad appealed to me for its depiction of relationships. The ad features Siddartha Malhotra and Alia Bhatt as newly weds. The couple is not yet very close and maintain distance and quietness while travelling in a car. Alisha as a bride is still in her bridal red. The groom turned husband, still in his sherwani and red pagree, tells her that she can tell him about anything that she wants and likes. She demurely tells that she loves the taste of Coke. The car halts and the  'new' hubby gives her a bottle of Coke and she offers it to him. He is taken aback and says that she had said that she liked it. She coyly says that she likes him too. So he first takes a sip and then gives it to her. The ice is broken. The way in which this delicate relationship has been projected makes the ad more appealing and human. The couple looks adorable and Alia is the perfect coy, shy bride, trying to overcome her inhibitions.

 One more advertisement that focuses on human relationships is that of Tata Salt Lite. father and his little daughter are on the dining table eating together. The father is coaxing his daughter to share at least one bite from her plate with him. The daughter firmly says no to him. The father then tries to cajole her by offering/ bribing her with an evening out. The daughter firmly says no and calls her mother. The mother then offers the same delicacies to the husband by using Tata Salt lite instead of depriving him. The entire family is happy and contented. Health and happiness are topmost priorities in any family and no compromise can be made with it at any cost. The husband and wife relationship and its changing facets are depicted in yet another commercial ad. The girl Iliana has to shift to London for her work and is concerned about the reaction of her beloved and how he would take it or react to it. The husband after listening to her remains silent for sometime. This pause is a pregnant pause and then declares that he too has been hunting for new headquarters and does not mind shifting it to London. Of course, the sweet lingering fragrance of the talc has been the motivating factor for him. This seems a little unbelievable but the very fact that a man is ready to shift with his wife willingly to promote her career is amazing and perhaps will be instrumental in changing male psyche in patriarchal India where a woman's decision, economic independence, and career have always taken a back seat.

Watched Wahida Rehman Cadbury Ad? The family has just finished dinner. Wahida is the granny in the family. The dessert dish is kept at the center of the dining table. There are  pieces or cubes of Cadbury in the plate. One small last piece remains in the dish. The father says he should have it as he has worked the entire day and the child wants it as he has studied for the whole day. The granny, sitting quietly, opens her mouth and says that she does not know for how long she would live. The atmosphere becomes a little serious and everyone is distracted. The granny, with a twinkle in her eyes and a naughty smile, like a precocious child, grabs and eats the last piece.
The 'Wish' advertisement of Flipkart is an amazing advertisement based on human relationships. It ushers in a chain reaction and the relationships unfold in an excellent manner. The advertisement of Dalmiya Cement is also very touching. The first time I viewed it I remembered Sudha Murthy's quotation from Gently Calls the Bakula that a house is a structure and home is a place of feelings and relationships. We see a father and a son talking to each other outside their home. The son points out that he would shift some where else as the existing house is now small and due to the size of the family, all members could not live in comfortably. The father suggests that instead of shifting somewhere else, he should demolish the old house and construct a new one. The son is taken aback and says the home is the legacy of his grandfather and the father would not be able stand it. The father's reply is just heart touching. He says that he would be destroying the structure and not the home. He adds that if he shifts elsewhere he would be destroying the home. He is ready to grant permission on the condition that Dalmia Cement should be used for the purpose of construction.

In this article, I have enlisted some advertisement commercials close to my heart. I think advertisements make us aware not only of a particular product or brand  but also of culture, traditions, human relationships and language. I will discuss few more ads in my next write up.

प्रेम 

प्रत्येक प्राणी जाणतो प्रेम काय आहे,

लांडगा, कोंबडा,आणि सिंह ;

तो जो आंधळा आहे प्रेमासाठी 

तो निम्न आहे कुत्र्यापेक्षा.  

रूमी 

वंदना पाठक 

प्रेम 

प्रेमाचे पूर्ण वर्णन अजूनही अकथित
जरी निर्णयाचे दिन- शेकडो येवोत व जावोत
कारण व्यापकता निर्णयाच्या दिनाची  ठरली आहे
पण कमी कसे होईल वर्णन देवाचे?

प्रेम  पकडता किंवा जकडता येत येत नाहीं शब्दात
प्रेम समुद्र आहे अगणित खोलीचा
तरी सात समुद्र , छोटे , प्रेमापुढे.

रूमी  

वंदना पाठक 

Life's Express Way

I am travelling on the Express Way

On this fresh, pleasant, windy day,

Admiring the sylvan greenery all around,

wishing to continue  beyond bound.

Gray clouds throng the sky all around

Wind scatters them like hay in mound.

Goats and sheep graze on the meadow,

Farmers sowed seeds in the dark shadow.

Women,  covered with sacks, bent double,

Planting paddy, smeared with mud till ankle.

Their colourful rows look simply amazing,

Moving, dancing bodies rhythmically swaying.

The  green hill gives thumbs up to the sky

as if offering tributes to  the almighty high.

The wild flowers enhance aesthetic appeal,

Vivid hues, shades of green my heart steal.

In mind's camera I capture this image  beautiful 

As I go farther it  multiplies being immutable.

The  undulating Express Way is the way of life

Its charm increases in spite of mutable strife.

Vandana Pathak

मन ते ओले 

काल धो धो सतत पाऊस  पडला
आणि आम्हाला उगाच उपास घडला
बाईक वरून हिंडली मुले चिंब भिजत
भजे , पकोडे , भुट्टे, चहा, मस्ती करत. 

माय पण पाण्याने घरातच अडकली
गळणारे पाणी उपसून खूप थकली
रद्दीचा धंदा मला करता नाही आला
घरात शिल्लक नाही पैका खायला.

माझा बाप दारू पिऊन धिंगाणा घाले
मायच्या तोंडपट्टा मात्र चुरूचुरू चाले
मी व बारकी भावंडे चिंब  व उपाशी  
बसून होतो ओलेते हातपाय पोटाशी.

सर्वत्र दिसते नजरेला माझ्या तफावत
काही भिजतात उगाच हसत खिदळत
काही बसतात उपाशी थंडीने कुडकुडत
फुटक्या आयुष्यातील दु:खे उपसत .

वंदना पाठक 

The Overcast Mind

The sky is overcast

So is the mind

A number of stray thoughts

My mind binds.

This spell is momentary, I know,

The clouds will fly and drift

A shower may feel like a treat.

This dark night would soon be over

The golden rays will be a magical shower,

A rainbow will brighten the sky.

The cool breeze  slowly dispels the clouds

The blue sky my life surrounds.

The sun and clouds play hide and seek

Why should I then remain bleak?

These clouds teach me a lesson

to get rid of deep and dark sessions.

Vandana Pathak

उड्डाण छुप्या आकाशाकडे

मुक्त व्हा तुमच्या चिन्तांपासून 

आणि व्हा पूर्णपणे नितळ 

जणू आरसपानी  . 

ज्यात दिसत नाही एकही प्रतिमा. 

जेव्हा तो रिक्त असतो आकारांशिवाय 

सर्व आकार सामावलेले असतात त्यातच. 

एकाही चेहऱ्याला वाटणार नाही लाज 

असण्याची इतके नितळ. 

हे प्रेम करणे आहे: उड्डाण एका छुप्या आकाशाकडे,

ज्या मुळे गळून पडतात हजारो आच्छादने प्रत्येक क्षणाला 

प्रथमतः, मुक्त व्हा जीवनापासून 

अखेरीला, उचलण्याकरिता  एक पाऊल पावलांशिवाय. 

विचार करा ह्या जगाचा अदृश्य म्हणून 

आणि दुर्लक्ष करा त्याकडे जे वाटते आहे मी व माझे. 

(रुमी : सिलेक्टेड पोएम्स, ccxiii , स्वैर भाषांतर )  

वंदना पाठक 

   

 अतिथीगृह 

 हे मानवी शरीर एक अतिथीगृह 

रोज सकाळी एक नवीन पाहुणा. 

आनंद ,निराशा किंवा स्वार्थीपणा 

जणू एखादा अनपेक्षित येणारा पाहुणा. 

काही क्षणभंगूर होणारी जाणीव:

स्वागत आणि आदरातिथ्य करा त्या सर्वांचे;

जरी तो असेल जमाव दु:खांचा 

जे भीषणपणे पाडतील तुमचे घर 

रिकामे करतील  त्यातील फर्निचर 

तरीही व्यवहार करा प्रत्येक पाहुण्याशी सन्मानाने

तो तयार करत असेल तुम्हाला एखाद्या नवीन आनंदासाठी. 

काळेकुट्ट विचार, शरम , द्वेष, 

भेटा  त्यांना दारातच हसत हसत. 

आणि आमंत्रण द्या त्यांना आत येण्याचे. 

कारण प्रत्येकाला आले आहे पाठविण्यात 

मार्गदर्शक म्हणून पलिकडून .         

( रुमी : सिलेक्टेड  पोएम्स, ccxiii ,  स्वैर भाषांतर )

वंदना पाठक 

   

माझे नागपूर 

हरवली आहे माझी आवडती एक न्यारी व्यक्ती

माझ्या रोमरोमात वसते तिची  तीच आकृती.

पुरातन वारसा ल्यायलेली तिची अनोखी संस्कृती

सर्वांना एकत्र घेऊन नांदण्याची होती तिची वृत्ती.

तीनशे वर्षांचा अदभूत  अपूर्व इतिहास लाभलेली

कलागुणांच्या वारस्याने अमुलाग्र  ती नटलेली

तमाशा, जलसा, कुस्ती,  नृत्य, संगीत व मंत्र

सर्वांना आपलेसे करायचे अवगत होते तंत्र .

टेकडीचा गणपती, राजाबक्षा व  ताजबाग 

लाकडीपूल, चितार ओळ आणि केळीबाग

मोमिनपुरा, इतवारी, सीताबर्डी, सदर  भाग

अतिक्रमणाने व्यापली  दुकानांची रांग. 

अनोख्या  संस्कृतीने नटले आमचे नागपूर

काळी,  पिवळी मारबत,  शोभायात्रा  भरपूर

दिक्षाभूमी, किल्ला, तलाव, बगीचे,हिरवळ सर्वदूर 

ह्या संस्कृतीचा वारसा टिकेल का हीच  हुरहूर.  

हरवले आहे माझ्या मनातील नागपूर

लहानपणापासून हळूच होत होते दूर.

गांधींची उचलबांगडी जाहली एका कोपऱ्यात

व्हेरायटीची जागा  सिनेमेक्सने घेतली थाटात .

धनवटे रंगमंदीर व राणी झांशीचा पुतळा

सीताबर्डीची शान होता आगळा वेगळा

त्याच्या शेजारीच वसली होती संगम चाळ

मागे नदीकाठी जणू रचलेली मंदिरांची माळ .

बर्डीचे आता अमुलाग्र रूप स्वरूप  बदलले

भर रस्त्यावरून चालणे कठीण झाले

दुकानांची दुतर्फा  गर्दी झाली दाटीवाटीने

परिचित गायब होऊन आली नवीन स्थाने.

सर्वदूर झालेत मोट्ठे मोट्ठे उडानपूल  सुंदर

त्यावरील दिवे रात्रीचा पाडतात विसर.

दिवसरात्र अहर्निश  धाव धावते हे शहर

आता मेट्रो रेल त्यात पाडणार अजून  भर.

मिहानने फिरवली  जणू  छडी जादूची 

कमाल  व हद्द झाली तेथे कायापालटाची 

भर पडली अनेक नूतन उद्योग धंद्यांची 

पण वाट लागली त्यात कापड गिरण्यांची.  

उड्डाण पुलांनी  शहरात कमालच केली 

वेळेची व वेगाची गणिते बदलूनच गेली 

संत्रानगरी भारताचा  केंद्रबिंदू जाहली 

नागांची वसाहत  बहरली, फुलली, विकसली.  

परिवर्तन अपरिहार्य  ही काळाची वर्दी 

सुकते, प्रदूषित होते, तरीही  वाहते नागनदी 

संस्कृतीची सरमिसळ, लोकांची भाऊगर्दी 

मायमराठी आमुची नव्या-जुन्याची दर्दी .  

माझ्या नागपूरचा मला सार्थ अभिमान 

हीच कर्मभूमीच आहे माझे जन्मस्थान 

जुन्यानव्याची गुंफण ही  संस्कृतीची   खाण   

हरवलेल्या व्यक्तीला शोधायचे स्वीकारले वाण. 

वंदना पाठक  

माझी गाथा 

मी पडते 

उठते 

सावरते 

धडपडते 

धडपडताना 

मी घडते. 

मी घरी 

लहानशी परी 

लेक साजरी 

सर्वांची दुलारी 

मोदाच्या सरी  

दुनियाच  न्यारी . 

सरले बालपण 

तारुण्यात पदार्पण 

नवनवीन  आकर्षण 

विचारांचे संप्रेक्षण 

बंधनांचे कुंपण 

सखा फक्त दर्पण. 

सरलेत वर्ष  

शिक्षणाचा  हर्ष 

प्रेमाचा स्पर्श

मोरपिसाचा स्पर्श 

घरी विचारविमर्श  

नात्यांचा  संघर्ष.  

एक सर्ग नूतन 

हवेहवेसे बंधन 

नात्यांची गुंफण 

सुखांची पखरण 

बाळाचे आगमन 

सुखद जीवन.  

कमळातील भ्रमर 

करी हळूच जर्जर 

आजाराचा वावर 

सुरु झाली घरघर 

भविष्य दुर्धर 

हसू मात्र निर्झर.  

समोर भीषण छाया 

सोडवत नव्हती माया 

हात सुटले, कंपित काया, 

अस्तित्वाची जाणीव  द्याया

दोन टोकांची गाठ घालाया 

धडपडले मी, नको फुकाची दया.   

 मी  पडले,उठले,

सावरले, धडपडले, 

प्रयत्नांचे सार्थक केले 

धडपडताना मी घडले.  

मी घडता घडता  घडले

 व इतरांनाही घडविले.   

  वंदना पाठक