Layout 3 - India Foundation for the Arts - IFA
Layout 3 - India Foundation for the Arts - IFA
Layout 3 - India Foundation for the Arts - IFA
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Women are also identified with fate<br />
and are depicted as ambitious, decisive<br />
and uncompromising, ready to use<br />
<strong>the</strong>ir sexuality instrumentally, and<br />
possessing an inner core of violence<br />
that sometimes verges on bloodlust. In<br />
<strong>the</strong> Ramayana, despite appearances,<br />
<strong>the</strong>re is no dearth of strong,<br />
ambitious, uncompromising women.<br />
In A. Sashikanth’s marvellously<br />
intriguing film Kelai Draupadi, which<br />
documents <strong>the</strong> worship of Draupadi<br />
as a powerful mo<strong>the</strong>r goddess in a<br />
community, she is simultaneously<br />
demanding and caring, strong and<br />
vulnerable. There is acceptance in <strong>the</strong><br />
community of her capacity as a<br />
protective mo<strong>the</strong>r who symbolises<br />
ideas and principles of reproduction,<br />
nurture and continuity.<br />
By maintaining continuity with nature<br />
and its unpredictability, women also<br />
shape <strong>the</strong> events through which an<br />
epic moves. It was as if <strong>the</strong> epics, as<br />
<strong>the</strong> binding cement of everyday<br />
religiosity, have to reaffirm <strong>for</strong> society<br />
<strong>the</strong> bonding among femininity, power<br />
Epic Culture – Ashis Nandy<br />
Both exile and journey have to frequently include lifealtering<br />
encounters with powerful women, directly<br />
representing nature and natural <strong>for</strong>ces, and <strong>the</strong> heroes<br />
<strong>the</strong>mselves have to strike cross-gender postures.<br />
and intervention. In South Asia <strong>the</strong>re<br />
is a potent linkage between creativity<br />
and androgyny. Both exile and journey<br />
have to frequently include life-altering<br />
encounters with powerful women,<br />
directly representing nature and<br />
natural <strong>for</strong>ces, and <strong>the</strong> heroes<br />
<strong>the</strong>mselves have to strike cross-gender<br />
postures, ei<strong>the</strong>r as a temporary<br />
identity or as a means of selftranscendence.<br />
During his exile,<br />
Arjuna becomes a dance teacher and a<br />
eunuch and meets Chitrangada;<br />
Bhima becomes a cook, visits patal and<br />
marries a rakshasi. The experiences<br />
enrich both.<br />
Finally, <strong>the</strong>re is <strong>the</strong> matter of<br />
hermeneutic rights and hermeneutic<br />
distance. Epics everywhere<br />
grant <strong>the</strong>ir readers, listeners<br />
and admirers hermeneutic<br />
rights. If you do not grant<br />
<strong>the</strong> right, people living with<br />
<strong>the</strong> epic will exercise <strong>the</strong><br />
right in any case, unless you<br />
can police <strong>the</strong>ir thoughts.<br />
One important right is <strong>the</strong><br />
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