The Moral Politics of Diwali

“ek baras meiN ek baar hee jagti holi kee jwaala

  ek baar hee lagti baaji jalti deepoN kee maala

  duniya waaloN kintu kisi din aa madiraalay meiN dekho

  din meiN holi raat diwaali roz manaati madhushaala”

 But once a year do the flames of Holi rise.
 But once is the dice rolled and the garlands of lamps lit.
 Yet, come to the tavern people of the world and behold,

 Where every day is Holi, a every night Diwali.

The verse above is extracted from the poem Madhushala penned by the celebrated Hindustani poet Harivansh Rai Bachchan. Drawing from the tropes of Islamic mysticism, while using the trope of alcohol, the tavern and worldly excess, the poem was in fact intended to be a mystical allusion to the exercise of finding truth in the world. 

Poor Bachchan, up in heaven, must probably be thanking his stars that he wrote the poem when he did, because he would have probably been at a loss to find the appropriate metaphors in a day and age when every day is treated as Holi and every night Diwali.

In an age of consumerist excess, especially in the urban world, we seem to have forgotten the meaning and the existence of the darkness of the night. The beauty of Diwali of yore was that the lamps that were lit could be read as an invitation to philosophical contemplation; a testament to the power of nature, the determination of the human being to overcome the challenges of nature, and an invitation to recognize that overwhelming nature made human existence itself bare.

Unfortunately, however, like so much of Hinduism, Diwali too is being held hostage by the forces of the Hindu right. I am referring in particular to a post from Dr.Subramanian Swamy that suggested that the pleas that Diwali be marked by a restrained use of fireworks was one more conspiracy against Hindus. His argument was that given that the larger amount of noxious gases are released by industries and automobiles, one should really not create a problem about the pollution caused by fireworks on a single day’s celebration.

As usual Swamy misses the point, that the point is not about the amount of pollution, but about the concentration of it in a single evening. If only the noise and smoke were restricted to a single evening though! Further, Swamy seems to not see that given the Diwali occurs just once a year, the fact of abjuring noise and smoke pollution would make a powerful symbol that would aid our tackling with other pollutions through the rest of the year.

 

Suggesting to some neighbours that we hold a Diwali celebration without fireworks, a neighbor responded “Diwali without fireworks is like Holi without colour or Christmas without Santa!” I was struck by the comment since, as Bachchan observed in his poem, Diwali was originally about the strings of lights, not of noise. What made her response odd was that Santa Claus can hardly be seen as integral to Christmas. Indeed, some Christians would argue that the problem is that the emphasis in our consumerist times has shifted from the infant Jesus to Santa Claus.

Given that this Christmas-is-about-Christ-not-Santa argument is often articulated by right-wing Christians, I am hesitant to endorse it totally. I endorse it only to the extent that despite the fact that Santa Claus is the tool through which Christmas has become more than just a Christian festival, it has also become the symbol of the consumerist excess that has demolished the potency of Christmas as a festival of hope and sharing.

A better example that one could give when arguing for a softer Diwali is that eschewing crackers would perhaps make it a more moral festival. It would assert celebrations that are based not on selfish pleasure and the assertion of privilege, but the assertion of a politics of justice. After all this is what the politics of Diwali is made out to be isn’t it? The politics of a just Diwali would be a politics that asserts that noisy crackers are a violence on those who are not bursting the crackers, those who are old and infirm. The abjuring of crackers would make a statement in favour of labour and against the perilous conditions, often endured by children, in which most crackers in India are produced.

The search for the morality in our celebrations of Diwali would perhaps also awaken us to the moral economy of the festival. This moral economy suggests that excess is best appreciated when it occurs as an aberration. A festival of lights loses relevance when our every night obliterates all form of natural darkness. A reference to nature would also suggest that it is against the background of nature that excess can be ideally judged. The moonless night (Amavasya) of the month of Kartik is held to be the darkest night of the year, and it against this darkness that the brave lights of Diwali shine forth. This could be argued to be the context of Diwali. Lose this context of darkness and one loses the meaning of the festival itself.

I have often thought that the lamps of Diwali offer a remarkable statement of bravery in the face of vulnerability, possibly from a recognition of the fact that those brave lights last only so long as their oil, and only as long the wind does not snuff them out. A shift of emphasis away from these oil (or wax) lamps, to electricity and noise shifts the emphasis away from resolute vulnerability to rude assertion. It is perhaps for this reason that members of the Hindu right would prefer that Diwali be celebrated with the violent assertions of noise and absolute assertion of masculine power over the softness of the autumn night.

Whichever way you choose to celebrate Diwali, however, Diwali Mubarak.

(A version of this post was first published in the O Heraldo dated 31 October 2014)

Naraka Shoora: Turning Traditions on their head

Some weeks ago, sometime around the eve of Diwali, a friend of mine posed a question that would have made proud the masters who crafted the Agamas and Dharmashastras. ‘At what time is it’, he asked, ‘that the Narakasura, whom we consign to flames on the eve of Diwali, becomes a Narakasura?  Is it when the head-mask is put on? Or when the lights are put on? Or is it when the music starts? Or the moment the frame is made? Is there a specific moment?’ Continuing in this Agamic tradition, a friend of his opined that the real moment should actually start, when the effigy of the Narkasur is burnt down and the Diwali lamps are lit up. At the same time however, this respondent lamented that nowadays, we concentrate more upon creating Narkasur (the symbol of evil) than that quintessential mark of the Goan Diwali, the Akashdivo.

Kancha Ilaiah

When lamenting this inversion of the ‘traditional’ rules of the Diwali celebrations however, this contemporary Agamist may have grabbed the wrong end of the stick. Take the example of the public Ganesh festival, which has come a long way from the time of its invention by Lokmanya Tilak, and is today marked by loud film-music and often by drunken young men dancing to these popular tracks. While the poor Lokmanya must be turning in his grave, the contemporary intellectual Kancha Ilaiah has suggested that these trends, rather than being lamented should be seen as the Dalitisation of the Ganesh festival. Ilaiah’s argument would be that while Tilak’s public festival was intended to consolidate the population along nationalist, brahmanical, and thus elitist lines, the trend otherwise so lamented, should be seen as a populist correction of this trend.

In other parts of the country, the Dalitisation, or de-brahmanisation, of popular Hindu festivals has proceeded apace along rather different patterns.  This trend has been led by Dalit student organisations who have argued that the myths surrounding Hindu gods and goddess and their festivals are in fact symbolic representations of the history of 'upper' castes’ domination over the indigenous population of the country – SC, ST and OBCs.  To correct this history, they therefore re-interpret these events from a Bahujan perspective. Thus for example, the members of the All India Backward Students Forum (AIBSF) in the JNU campus in Delhi suggested that Dussehra was in fact a celebration of the killing of the Sudra king Mahishasa by the upper-caste woman Durga.  Similarly on the campus of the Osmania University, on the eve of Diwali, some students cast Naraka Chathurdashi as “Narakasura Vardhanti,” the death anniversary of Naraka. They reinterpreted the event as commemoration of the killing of the Dalit hero Naraka by the brahmanical figure Krishna, who killed Naraka to suppress the revolt by Dalits against upper castes.  Arguing that the Asura was appended to a name to demonise the character, Narakasura was now called “Naraka Shura”. In this reworking of the name, Naraka remains the name of entity, while the Asura is cast away to make Naraka a Shur-Vir, or brave warrior.

The event at the JNU campus not surprisingly, did not go down well. Upper-caste students taking offense to this inversion and demonization of brahmanical deities assaulted the students of the AIBSF. This sort of confrontational violence has not been universal however, and the modern history of Kerala and the Onam festival is perhaps an interesting example.

Mahabali returns to Kerala

Most people today, both within Kerala and without, see the festival of Onam as the moment when the mythical king Mahabali returns to his former realm, thanks to a final boon by the Vishnu’s Vaman avatar, to check on the well-being of his subjects. It is to welcome him and reassure him that all continues to be well, that Onam is celebrated with pomp and style. Writing on the historical evolution of this festival however, J. Devika argues that ‘Onam used to be, in many parts of Kerala, … more a celebration of Vishnu, rather than Maveli — Mahabali — and domestic rituals associated with Onam celebrated not Mahabali but Vamanamurty.’ She points out that a different interpretation of Onam was forged ‘in the decades in which the movement for uniting Malayalam-speaking regions into Kerala gathered force, one in which the left was certainly a hegemonic presence. Brahmanical mythology according to which Kerala was founded by Parasurama the warrior sage was insistently attacked by left-leaning and anti-caste intellectuals …who launched a scathing attack against the setting up of a depiction of Parasurama outside the venue of the Aikya Kerala Conference in the 1940s.’ As in the case of Goa, Puranic legends cast Parashurama as the mythical creator of Kerala, and clearly, the Aikya Kerala movement, set up to consolidate the Kerala state was seeking to draw on this origin myth to create a  popular history for the nascent Kerala sub-nation. As a result of this attack, Onam was converted from a festival focused on the Vaman avatar, to a celebration of the benevolent asura king Mahabali, an idea that was spread in school text books, and through them into popular imagination.

Mahatma Jotiba Phule

This overturning of the Mahabali- Vaman avatar relationship however, has a much longer tradition than that involved in the consolidation of Malayalam speaking territories into the State of Kerala. This tradition can be said to date back to the efforts of the 19^th century philosopher and social reformer Mahatma Jotiba Phule. In a recent book,  The World of Ideas in Modern Marathi: Phule,Vinoba, Savarkar, G. P. Deshpande points out that Phule con­trasted Baliraja, the shudratishudra king, with Vamana, the brahmanical avatara, to make a point about the nature of power relations between caste  groups in the sub-continent.  Deshpande argues that the extent to which Phule returned to this myth in his work would allow us to see Phule as possibly constructing all recorded history as the history of the Vamana-Baliraja struggle. Not surprisingly, Phule is an important figure in the political pantheon of Dalit political groups.

The exploring of the social relations and social history encoded within the myths that form the basis of Hindu festivals may not be as simple a task as a merely intellectual discussion however. The attempt of the AIBSF on the JNU campus ended up with upper-caste students assaulting the members of the AIBSF. Given the sensitivity with which we in India take our religious figures, one can see that suggesting that it is not the Asura, but the Vishnu avatar who is the bad guy, may fall nothing short of asking for the cataclysmic to break down on us. The Dalit activist on the other hand, would argue that the un-deifying of the Vishnu avatar is central to undoing the brahmanical violence, perpetuated on Dalit communities on a daily basis, and in allowing Dalit communities to construct a history that explains the conditions that they find themselves in.

The options are admittedly not easy, and we don’t have to necessarily take a call now. We need to merely recognize that this social process is on, and watch for what happens. The Agamas were/are scriptures that lay out the ritual guidelines for the appropriate construction of an image that will subsequently be infused with the spirit of the deity. Given the attempts that are on to re-evaluate popular myths and interrogate belief-systems, it appears that the almost Agamic questions that were referred at the start of this column, are not entirely out of place?

(A version of this post was first published in the Gomantak Times 25 Nov 2011)

The Diwali I Loved: Saudades after an Explosive Naraka Chathurdashi

If there is one thing that I absolutely adore about Diwali in Goa, it is the relative quiet as compared to other parts of India. It is as if all our explosive tendencies get used up in the course of Chathurti and it is only the die-hards who actually make a bang at Diwali. It could also be a reflection however, that the rhythms of our Hinduism is markedly different from that present in the rest of India, especially North India. Diwali is definitely not that big a deal for us, as compared to Ganesh. And if it is, then Diwali has still not been reduced to the consumeristic orgy that marks Diwali at least in the north of India.

Perhaps the fondest image that I have of Diwali in Goa is an image captured from a rather modest house in Taleigão. It is late on the night of Diwali, and all the world is asleep. It is the proverbial silence of Christmas in the air and before me, was the façade of this little house and its courtyard in front of it. All that one can make out of this house are the tiny, red fairy lights that hang from the eaves of the house’s roof, bathing the Tulsi and the rest of the court yard in the softest and most delicate red hues. I return often to this house, and simply drink up the scene. Having quaffed this scene so often, I can regurgitate it whenever I am away, drinking in once more the beauty of a silent, but light filled Diwali. What is perhaps most beautiful about this remembered scene, is that for me, the weak but constant light of the fairy lamps represents what Diwali could be all about. The weak, yet insistent commitment to good, over evil, that is always more powerfully arrayed and always returns with a vengeance.

If there is one thing that I abhor about the Goan Diwali however, it is this supposedly ‘unique’ celebration of what is now being called Naraksur Nite (shudder!). I used to be under the impression that the Narakasur effigy was this peculiarly Goan Hindu observance, until an anthropologist friend dragged me out of this dream. It is apparently, an invention that came to Goa from Goan migrants who had traveled to Bombay and then returned. Authentically Goan or not, my early recollections of Naraka Chathurdashi are fond. These memories remain fond despite the fact that I now recognize that they brought children and youth together in bonhomie under the umbrella of secular Hinduism. They remain fond, because there was nevertheless a spirit of innocence that we all shared. It was a time when it was possible to not be aware that there were problems with the way this nation was being sutured together. After all in the 1980’s we were just 2 decades away from being Indian and still without the bitter experiences that the last couple of decades has brought.

If there is a Diwali-related orgy in Goa, then it has to be Narakasur Nite. I use the word orgy very deliberately, since the event as it has been arranged does in fact have the necessary requirements for an orgy, which is an out-of-control mob. There is this awful din of pre-recorded music that allows for no conversation, and no meaningful participation. One becomes merely a spectator, who can only watch, ideally with open mouth, stand a while and then move on to view the next creation somewhere down the street, and then watch again. What Naraksur nite becomes is a night for the rowdy young man.

There is more than the environment that allows for the emergence of the rowdy young man, the image of Narakasur has over the time come to also represent the body of the violent young man. The Naraksur of perhaps a decade ago displayed something of the physical types of most, lets say, Goan men. Solid chest and arms no doubt, but definitely the pot-belly! Have another look at the Narakasur from a few days ago. He had the sculpted male body that is sold by Hollywood and Bollywood. This is not just a male body, it is the embodiment of untrammeled male power; muscled and hard. Funnily enough, these contemporary Narakasurs represent the same mistakes made by a number of Indian men who engage in ‘body-building’. So obsessed with cultivating the image of the powerful and strong man, they focus entirely on the chest, growing like bulls around their torso, but running around on stick-like legs. Just like the boys who fashion these Narakasur then, the effigy too is top heavy, and has to necessarily be built sitting down! Talk about worshipping gods with feet of clay!

There is definitely an element of worship that has crept into the celebration of Naraka Chathurdashi. Perhaps this is what the Sanathan Sanstha (SS) and the Hindu Janajagruthi Samiti (HJS) have also sniffed out. This seems to contravene a certain code that they have, as to what Hinduism actually is. I cannot pretend to make sense of this code, because I am as yet puzzled by the contradictions between this group that encourage militancy, and simultaneously discourage it. Could it be the contradictions of Hindutva itself? The contradictions of an ideology that rests on lower-caste/class mobilization and militancy, and yet must bind these cohorts to upper-caste/class leadership. Refering to the ‘dancing, drinking and singing and loud filmi music’ at the ‘Ganapati festival’ Kancha Ilaiah suggests that there has been a certain ‘Dalitisation’ of what had been intended to be modes of conversion to Brahmanism. Given the response of the SS and the HJS, that seek to clean up these acts of their bawdry, perhaps Ilaiah has a point. Perhaps the bawdry does represent a challenge of the ‘lower’ orders to brahmanical norms!

As perplexing as these contradictions are, it is crucial that we make sense of them if we are to ensure the kind of low-intensity Diwali that we seem to be used to in our little State. A rather belated, but nevertheless heart-felt Diwali Mubarak to all.

(Published in the Gomantak Times, 21 Oct 2009)

Image Credit: Cecil Pinto via www.goa-world.com