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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 />

65

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