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Layout 3 - India Foundation for the Arts - IFA

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52<br />

ArtConnect: The <strong>IFA</strong> Magazine, Volume 6, Number 1<br />

It is written into <strong>the</strong> processes of nation-building that<br />

<strong>the</strong> ruling culture of <strong>the</strong> state is more com<strong>for</strong>table<br />

with <strong>the</strong> classical and <strong>the</strong> canonical.<br />

boisterous democracy as opposed to a<br />

quiet, disciplined meritocracy. Even<br />

<strong>the</strong> rulers of democracies that are<br />

large, diverse and unruly like to have<br />

despotic regimes around <strong>the</strong>ir borders;<br />

<strong>the</strong>y are easier to manage or<br />

manipulate. Democracy is a dirty,<br />

messy affair that involves coping with<br />

a whole range of political <strong>for</strong>ces, many<br />

of <strong>the</strong>m unmanageable. Epics and<br />

<strong>the</strong>ir myriad variations represent that<br />

diversity, chaos and resistance to <strong>the</strong><br />

ambitious projects of <strong>the</strong> state. No<br />

regime, however deeply committed to<br />

multiculturalism, likes to fur<strong>the</strong>r<br />

complicate matters <strong>for</strong> itself by<br />

entering <strong>the</strong> domain of popular<br />

culture and dealing with <strong>the</strong> inner<br />

diversity of religions, castes and <strong>the</strong><br />

countless customary practices with<br />

<strong>the</strong>ir tacit normative frames<br />

(lokachara).<br />

In sum, it is written into <strong>the</strong> processes<br />

of state <strong>for</strong>mation and nation-building<br />

that <strong>the</strong> ruling culture of <strong>the</strong> state is<br />

more com<strong>for</strong>table with <strong>the</strong> classical<br />

and <strong>the</strong> canonical. Accepting <strong>the</strong><br />

plural, <strong>the</strong> decentralised, and <strong>the</strong> local<br />

is to negotiate <strong>the</strong> non-negotiable.<br />

Hence <strong>the</strong> frantic attempts in <strong>India</strong>,<br />

too, to locate <strong>the</strong> source of <strong>India</strong>n<br />

identity and unity in <strong>the</strong> Vedas and<br />

Upanishads, despite what <strong>the</strong> two<br />

tallest <strong>India</strong>ns of our times insisted:<br />

namely, that <strong>the</strong> unifying principle of<br />

<strong>India</strong>nness can be found in <strong>the</strong> Bhakti<br />

and Sufi movements of medieval<br />

<strong>India</strong>. Hence also <strong>the</strong> struggle to<br />

disown <strong>the</strong> awareness that, unlike in<br />

Europe, <strong>the</strong> medieval period has been<br />

culturally and spiritually one of <strong>the</strong><br />

most creative in our past.<br />

Here, I am not supplying a critique of<br />

<strong>the</strong> classics but situating <strong>the</strong>m in <strong>the</strong><br />

contemporary politics of culture.<br />

Sourcing <strong>the</strong> cultural unity of <strong>India</strong><br />

from its medieval traditions—from<br />

<strong>the</strong> multi-vocal spiritual figures,<br />

mystics, <strong>the</strong>ologians, poets, musicians<br />

and composers—becomes a clumsy<br />

affair and demands a different set of<br />

political skills. This strand of tradition

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