History
Of democracy and democratic traditions…
There has been a raging debate on the origins of Indian democracy on Twitter ever since I tweeted about Christophe Jaffrelot’s latest Foreign Policy Review Essay, comparing democracy in India and in Pakistan. I strongly recommend that you read Jaffrelot’s article and Nitin Pai’s superb fisking of the essay at The Acorn, before moving on with this blogpost.
The one problem I see with Jaffrelot’s approach to India and its democracy is that he tends to view everything Indian democracy stands for from a western perspective. I am saying this after studying not just his articles and essays, but after having studied under him during my two-year masters at Sciences Po, of which CERI, his parent organization, is a part. First, he believes that all democratic tradition in India is a legacy of the British Raj, without which India would still have been a nation of barbarians who do not know how to rule themselves. He completely discounts the influence of native cultures and traditions, which may be called democratic in the vaguest possible sense. Second, he attributes the success of democracy in India, during his lectures as well as through his writing, to the en masse politicization of the Indian population by the Indian National Congress and the independence movement. The role of other political movements however marginal, tend to be completely ignored, not just by Jaffrelot himself but by most western indologists, including Philip Oldenburg whose book he reviews in Foreign Policy. To them, democracy in India is a western legacy that its people have unquestioningly accepted to the extent that we are today, the world’s largest democracy.
This standpoint is often accepted by many Indians themselves and this acceptance triggered a raging debate about whether democracy was actually Indian in nature. This is where I feel compelled to clarify certain popular misconceptions, prevalent even among the well-read, intellectual elite. My claim is not that democracy as it is practiced today is entirely Indian in nature and we had it all before the British came along and conquered us. My contention is merely that democracy survived and prospered in post-independence India the way it never could in Pakistan because the Indian traditions of pluralism, tolerance and multi-culturalism are derived mainly from certain traditions that may be considered democratic in nature. At this point, it is impossible to ignore the obvious differences between the Indian and the Pakistani State: pluralism vs. monism, federalist union vs. unitary state, non-interference in religion vs. Islamist governance. Viewing the two countries through the politically-correct prism of secularism is neither sensible, nor desirable.
It becomes important, at this juncture to clearly define those democratic traditions, so as to dispel the perception that I claim democracy to be purely Indian in origin. The example of democracy in India that I am personally most familiar with is the “kuda-olai” system of electing village administrative officers. K.A. Nilakanta Shastri explores this system in detail in his two volumes on the Cholas. The books are now out of print and can only be found in colleges and public libraries. This information, unearthed from stone inscriptions in Uttiramerur near Chennai, date back to the 12th Century A.D, especially during Rajaraja’s reign between 985 and 1014 A.D. To put things in perspective, the Chola administrative system pre-dated the famed Magna Carta signed in 1215 A.D. With the signing of the Magna Carta, the western world finally accepted the limitations on the right of the king, whereas in southern India, the system of electing representatives who were governed by rules already existed two hundred years previously.
If we go further back in history, we have archaeological and documentary evidence of tiny clans and even some bigger ones like the Lichchavis of modern-day Nepal, who practised a primitive form of democracy in choosing the leader of their tribe. They are often called “republics” by scholars like Steve Muhlberger to whose work I have linked earlier.
That said, these primitive systems can, by no means, considered a precursor to modern-day democracy because voting was largely restricted to men aged between 18 and 60 years, who in addition, must be land-owners. This constituted approximately 20 percent of the total population, excluding large groups like artisans, laborers, and most importantly, women. However, by that definition, no system predating the universal suffrage movement of the 20th century can be called democratic. Looking for a replica of democracy as we know it today in the Arthashastra or the Manu-Smriti is an entirely pointless exercise because much of what we hold dear today, including human rights, civil liberties, individual freedom and universal suffrage have evolved over the last two hundred years. Not even the famed democratic nation-state of Athens would qualify for that title. The Magna Carta, often considered the precursor to the British writ of haebeas corpus, and to modern democracy was actually devolution of power from the monarch to the feudal lords and not to the “people” as we qualify them today.
Finally, no country can adapt a completely foreign system if it goes against its political ethos, unless founded on complete destruction of earlier cultures and imposition of a new religious, social and political order as in the case of some South American countries. If democracy has succeeded in India, it is because our basic political ethos is not fundamentally different from the one imposed by western-style democracy. While British rule accelerated India’s acceptance of multi-party democracy as the only possible system of governance, it would not have survived the various threats posed, first by the bloody massacres of partition and subsequently by the state of Emergency imposed by Mrs. Gandhi, had that democratic tradition not existed in the first place. It is only intellectually honest to accept that a native discourse in democracy-studies is not an entirely-flawed approach, unlike indologists like Jaffrelot and Oldenburg who seemed determined to negate that influence.
Of democracy and democratic traditions…
Tanjavur
I leave for Tanjavur by car from Srirangam on Thursday morning. A long night on train, a freezing cold air-conditioned coach ensuring I get hardly any sleep and the fact that the train arrives in Trichy at an unearthly 4 AM result in me falling asleep barely fifteen minutes after leaving Srirangam. About 50 minutes after our I fall asleep, my mother shakes me awake, prompting me to look out of the window and says we are almost there. We only just enter the city of Tanjavur and the 13-storey high Vimana of the Big Temple looms majestically on the horizon. The minute I set my eyes on the Vimana, I instantly wake up, forgetting that I haven’t slept properly for more than 24 hours. Our driver, presumably atheist, mutters under his breath about how nobody ever decides to go on a 4-day long pilgrimage from temple to temple. I decide to ignore it and get ahead with the task at hand: that of visiting the famed Big Temple, a decade-old dream, getting more and more irresistible over the last few months.
We stop right in front of the Rajarajan Gopuram, the main entrance. We get out of the car, leaving the driver to park and wait. We offer that he comes in with us. He refuses. Mom and I decide to go ahead. My first reaction on seeing the Gopuram is one of awe. I am awed that someone could construct something so exquisitely beautiful and so immensely grand a thousand years ago. It then strikes me that the temple is celebrating the thousandth year of its consecration in 2010. In fact, that was one of the reasons that took me all the way to the place this year. It’s still early in the morning, about 9 AM. The sun is mild and the skies are blue without a trace of cloud. I decide to make the best of the weather. I enter the first Gopuram and spot the elephant, standing guard over the Lord. I continue my way, telling myself the elephant can wait. The temple beckons. I can’t seem to wait to see the temple itself.
I enter through the second Gopuram and spot the Nandi, blocking my view of the great God. Mom asks me if I want to look around first or enter the temple. She obviously wants to enter it first, but doesn’t want to spoil my enjoyment of the architecture. I decide that there is something so profoundly spiritual about the temple that the priority is darshan. When I enter the sanctum sanctorum, I feel a sense of all-pervading peace, a peace that seemed missing in my life these past months. Something assures me that everything will be ok. Now, I am not particularly religious and ritualistic, but there is something about Tanjavur that makes even the sceptic in me believe. When I left Chennai on Wednesday night, I told myself everything would be ok if I just saw Tanjavur. As I enter the temple the next day, my belief that I will see a silver lining to those dark clouds is only reinforced. I go up the inner prakara and the ardha-mandapa right up to the inner sanctum. What I see leaves me speechless. A Sivalinga, about 20 feet in height I am guessing, looms ahead. There is nothing small about this temple. From the Vimana, to the entrance, to even the Sivalinga itself, everything is massive. It is at this point that I truly realize the meaning of the Tamil saying “Iraivan miga periyavan.” God is unimaginably big. Every sculpture, every carving, ever pillar seems to scream these words out to me. God is omni-present, omnipotent and omniscient. There is a sense of majesty and royalty about Tanjavur that I haven’t encountered in any other temple as yet.
My second reaction, much better thought-out and patiently analysed is that this temple is a masterpiece. I feel a sense of pride in belonging here, to this soil where kings thought of making temples that would last a thousand years. I begin to slowly regain the power of thought and overcome the initial sense of awe. I realize that the very existence of such a structure is symbolic. Men may come and men may go. But certain things are permanent. Like the Tanjavur Big Temple, like the power of the almighty, however we may choose to represent him. I recover and continue my exploration. I wonder if Arulmozhi Varman knew his construction would last so long. I wonder if he knew that a thousand years on, a 28-year old who first discovered his existence through the fictional world of Ponniyin Selvan would wonder what his intentions were in building this. I remember my teenage crush on the fictional Arulmozhi of Kalki’s novel, and wonder how he would have conceived something so beautiful and how difficult it would have been for him to realize that dream.
As I continue to look around, clicking tens of photos from every conceivable angle, while trying desperately to remember the temple plan from my art and architecture course of 7 years ago, I notice that everything about the temple is masculine. Even the intricate carvings that figure on the Vimana have a certain masculinity about them that is impossible to deny. Every stone of the temple seems to reassure the visitor that nothing can happen without the sanction and approval of the God Almighty. “Don’t worry because there is no greater power than me,” he seems to tell me through that structure. I come back to the Nandi Mandapam after taking close to a hundred photos and sit down next to my mother. I turn around and tell her,“I don’t know why Ma, but there is a strange sense of peace that I can feel right now.” My mother smiles and says, “Perhaps it’s His way of assuring you things will be ok!” Maybe. Just maybe.
It’s our heritage dammit!
I had a conversation with someone yesterday that went something like this.
Me: I really want to go back and see Sadras. There is so much more to see in that fort.
X: Sadras? Where is that?
Me: Behind the Kalpakkam Atomic Power station.
X: Oh! That old building? Yeah! I know of it. I have been there…we used to use it as a bar, since you don’t have one inside Kalpakkam!
Me: What the F***?
This kind of an attitude pains me. My heart breaks when I see a part of my history and my culture being used as open-air urinals and bars. Such monuments of historical importance are meant to be valued, cherished and protected. I was always under the impression that it’s only people who were uneducated and uncouth did this kind of thing. But my conversation with X effectively rid me of this perception. I now realize that smart, educated, urban young men (and women) are as ignorant of the value of such historical monuments as the uneducated village youth of my imagination.
Sadras is not the only fort to meet with this fate. Some time ago, there were ads by the Ministry of Tourism, as part of the Incredible India campaign to sensitize people to the value of their heritage. I honestly don’t think that has worked. I myself saw several empty beer bottles, plenty of plastic waste, and graffiti inside the Sadras fort. I remember pointing out a random declaration of love to Sriram and fuming at the mouth about it. I can only hope that at some point in the future, people will stop treating forts like Sadras as urinals and bars and start giving them the respect they really deserve.
After all, they are not just old, ruined buildings. They are a part of our culture and our heritage. They constitute bits and pieces of history using which we can rebuild the story of our past, brick by brick. When will people understand that?
Therukoothu – spontaneous street performance?
The September 21 issue of Outlook carries an article by Shruti Ravindran titled Life’s A Proscenium. If you can read this article, and not take offense, then it means one of two things. Either you have an inordinate amount of tolerance for bullshit, or you have no clue what Therukoothu is all about. In the latter case, Shruti is even more responsible for having created an entirely wrong impression of Therukoothu. Before I go on, check out this justifiably angry piece by Sriram.
Sriram quotes a few lines from Shruti’s article that infuriate and disgust.
“Urban denizens who’ve actually heard of this art form often mistake it for its disreputable half-cousin ‘Therukuttu’ (street performance), unpractised, spontaneous roadside performances that take place during temple festivals—and indeed, the word Therukuttu has also come to mean “making a disgraceful spectacle of oneself in public.”
Several things about this sentence infuriate. First, calling an art form a disreputable half-cousin of another is entirely uncalled for. Secondly, Therukoothu, as the name suggests, is indeed played out on the road. In fact, it is at the origins of the three Tamils (Iyal, Isai, Natakam) and is performed on crossroads (naarchandi in Tamil). The fact that an art form is performed on the street does not demean its worth in any way.
In fact, Bharatanatyam, the much-revered classical dance form of Tamil Nadu has its origins in what was called Sadir Attam or Dasiattam – the dance of the Devadasis. This is precisely why dance as an art form was considered demeaning for a woman from a good family to practice until its popularization by Rukmini Devi Arundale. Devadasis, for a certain period were nothing but courtesans (prostitutes to be blunt), and maintained by the Saraboji Rajas of Tanjavur. Does this mean that all Bharatanatyam dancers today are not worth respecting? Also, Therukoothu is by no means unpractised. Practice sessions for Therukoothu stretch over several days, sometimes weeks or months.
If Therukoothu were indeed the disreputable half-cousin Shruti claims it to be, why would there be organized groups, as Sriram so rightly points out, working tirelessly to promote the dying art? For those who need the stamp of “international recognition”, there is even a course on Therukoothu offered by the Singapore National Arts Council. What more do you need?
This article by Shruti Ravindran is nothing more than a piece of shoddy journalism at best. It simply proves, once again, that journalistic standards are at rock bottom today. If Outlook can allow publication of such an article without editing or verification, it makes me wonder what kind of media we have today. I suggest Shruti look for an alternative career, that has nothing to do with either journalism, art or even writing.
Azhagana Thenmadurai…
The Meenakshi Temple, fragrant strands of jasmine, the three Tamil Sangams…these are what you generally associate with the city of Madurai. And of course, the beautiful and lyrical way in which people there speak the Tamil language we, here in Chennai, are so accustomed to massacring.
But, actually arriving in Madurai in August 2009 is a different matter altogether. The city is still relatively small, and retains much of the old world charm. But, one can’t help but notice that ugly hoardings, plastic waste and unmanageable traffic are an integral part of the city. And to me, it signifies a loss of innocence. A loss of all that was good with small-town Tamil Nadu. It’s been a good seven years since I last visited Madurai. A lot of water has flown under the bridge. Or should I say, a lot of silt has accumulated. For, there is no water in the Vaigai any more. Apparently they only open the dam in April for the Kallazhagar temple festival. Otherwise, it’s just a vast expanse of sand and silt. That’s sad, considering that one of the indications that you had arrived in Madurai was crossing that bridge over the Vaigai, with the river gushing furiously below you.
But, all said and done, it feels good. It feels good to enter a city you know is almost 2000 years old. A city that hosted not one, but three Tamil Sangams. The city that nurtured and developed Muthamizh (edit: the three Tamils, referring to Iyal, Isai, Natakam, as pointed out by Santhakumar in the comment). Because, unlike Chennai, Madurai has a history distinct from the white sahibs. Talking to people there, you realise that although things have changed, they haven’t changed so drastically that you don’t realise the difference. The people are still rather more helpful and less abusive than in Chennai.
The Thirumalai Nayakar Palace still holds the same charm it did all those years ago. It’s still as beautiful, and much cleaner. It is heartening to see that the ASI is finally taking an interest in restoring that beautiful structure. And of course, in keeping the place clean. You cannot see a single plastic bag, or bubble gum, or broken bottles any more. The management makes sure of that.
Life in the city still revolves around the famed corridors of the Meenakshi temple. Yes, the temple is rather commercial now, with the management charging 100 rupees for a special darshan. But, you can still enjoy the stroll in the hallowed corridors, appreciate the nuances of the Silver Hall (analogous to the Golden Hall in Chidambaram), and walk around the famed “Pond of the Golden Lotus”. The only problem is that there was no water in the pond. It had been pumped out a few days earlier for cleaning. The Golden Lotus (Potramarai) is clearly visible. It would have looked much more beautiful had the pond been filled.
I spent a long and exciting weekend in the area. What used to seem like a lifetime of drudgery when I was ten suddenly seems much more exciting now. I want to go back. Go back and see more temples, more palaces, more hills, and more of life. I know I will. The only question is…when?