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<strong>Vari</strong><br />
De h u-Al a n d i to Pa n d h a r pu r<br />
Pilgrimage<br />
B h a s k a r H a n d e<br />
Vaishwik
<strong>Vari</strong><br />
Pilgrimage<br />
Dehu-Alandi to Pandharpur
Dehu-Alandi to Pandharpur<br />
<strong>Vari</strong><br />
Pilgrimage<br />
Vaishwik<br />
Pu n e
6_____________________________________________________________<br />
VARI Pilgrimage<br />
Dehu-Alandi to Pandharpur<br />
Palakhisohala<br />
First Edition 2010<br />
Second edition 2013<br />
Bhaskar Ekanath Hande<br />
Vaishwik, S. No. 246/4 Saket Society<br />
D. P. Road Aundh Pune 411007<br />
Tel: 020 27298182<br />
www.bhaskarhande.com<br />
www.vaishwik.com<br />
email:bhaskarhande@yahoo.com<br />
All right reserved<br />
Price Rs. 200<br />
The author is grateful to<br />
Jaishree V. Rao,<br />
Jayant Deshpande For editing.<br />
Publisher<br />
Vaishwik Publication Pune.<br />
Printer<br />
Swaroop Mudran Pune<br />
Photography:<br />
Bhaskar Hande<br />
Avinash Thorat<br />
Krushnakant Chavhan<br />
Design<br />
Vaishwik Art Environment
_____________________________________________________________7<br />
Content<br />
Preface<br />
1 Dr. Sadanand More<br />
2 Pracharya Ramdas Dange<br />
3 How I embarked on the Palkhisohala Project<br />
4 Revolutionary Magnificence<br />
5 Dehu-Alalndi Pandharpur Palkhisohala 2008<br />
5.1 The Journeys of Jnandev and Namdev<br />
5.2 Dehu and its inhabitant, Tukaram (1608-1648)<br />
5.3 Spiritual and Religious background<br />
5.4 Palkhi—concept and form<br />
5.5 The Varkari and Society<br />
6 The sense of belonging<br />
7 maps of Route<br />
8 Photographs of VARI.
8_____________________________________________________________<br />
Dr. Sadanad More
_____________________________________________________________9<br />
Pracharya Ramdas Dange
_____________________________________________________________11<br />
How I embarked on the Palkhisohala Project<br />
I made up my mind to walk with the Palkhisohala (pilgrimage<br />
to Pandharpur) quite some time ago: in 1991, when I<br />
started to make sketches based on Tukaram’s Gatha (corpus of<br />
verses or abhangas). It was always an attractive subject for me.<br />
An artist-painter’s profession consumes a great deal of time. I<br />
had the urge to join this pilgrimage many a time, but couldn’t<br />
find the time for it. Also, 700 years had passed since Jnandev<br />
took his samadhi, and so in 2008, the 400th anniversary of<br />
Tukaram’s birth, I was doubly inspired to participate in the<br />
Palkhisohala. I participated not just as a person but decided to<br />
make something creative happen. I was inspired to document<br />
something about our glorious past for future generations. In my<br />
earlier books, I’d already written that adequate notice has not<br />
been taken of the names of individual painters, sculptors and<br />
craftsmen.<br />
I first travelled for two months throughout India. It was a<br />
project called ‘Show Your Hope’, a travelling exhibition that<br />
went from Holland to India. Artists from 86 countries participated<br />
in it. I made the journey in a truck, passing through<br />
Turkey, Georgia, Azerbaijan, Iran and Pakistan. My responsibility<br />
was to organize the exhibitions in India. I held them in Amritsar,<br />
Chandigarh, Delhi, Ahmedabad, Nasik, Pune, Goa and Bangalore.<br />
The exhibition ended on June 18, 2008. After that I was in<br />
a relaxed mood, so I started a new project and immediately
12____________________________________________________________<br />
decided to document the Dehu-Pandharpur Palkhisohala 2008.<br />
I think the 400th birth anniversary occasion had such a<br />
strong impact on me that I decided to document it. Instead of<br />
just talking I prefer to set an example. What we actually<br />
produce is the only evidence we have in the practice of art.<br />
Mere theorizing is of no use. The evidence has to be captured<br />
when the event takes place.<br />
I asked other artists to do sketches with me for the<br />
Palkhisohala. I distributed sketch books to the artists. We<br />
started on the day of the Palkhi Prasthan in Dehu Sansthan. In<br />
the past I’d show up for such events held in Dehu.<br />
So far this was not new to me, but making sketches<br />
challenged me. Only five artists were present at the time.<br />
Just making a start was enough. Each artist made 10 sketches<br />
on the first day.—The result was not satisfactory but the artists<br />
were excited about the experience. Sitting in public and<br />
sketching was not a big deal for me. I’ve been doing sketches<br />
since my art academy days. My thoughts kept churning in my<br />
brain, as I wanted to document the Palkhisohala with a different<br />
approach.<br />
The word <strong>Vari</strong> comes from Vaar, which means seven<br />
days. Seven days come again and again, and so does the <strong>Vari</strong><br />
come year after year. People need something that is in tune<br />
with their spiritual life. The Palkhisohala gives a large number<br />
of people a platform. The Palkhisohala may have a tradition<br />
that goes back 323 years, but the number of people travelling<br />
and participating has increased significantly. The number of<br />
Deendis has also increased.
_____________________________________________________________13<br />
The Palkhisohala was started by Narayanmaharaj, the<br />
son of Sant Tukaram, in 1685. Narayanmaharaj was in his<br />
thirties, quite a mature age to make a decision. He made the<br />
trek from Dehu to Pandharpur via Alandi on foot; he was<br />
convinced that this journey, carrying Tukaram’s and Jnandev’s<br />
symbolic footwear every year, was a family obligation. He<br />
introduced a whole new concept to the devotional in society.<br />
However, in the Varkari Sampraday some authorities don’t pay<br />
much heed to this approach. Was Narayanmaharaj the founder<br />
of the Palkhisohala, or had the family of Tukaram already<br />
initiated the <strong>Vari</strong>? The double moniker “Jnanoba-Tukaram”<br />
was coined by Narayanmaharaj. But pilgrims went to Pandharpur<br />
even during Tukaram’s lifetime. His poems or abhangas<br />
contain ample evidence of that. Today’s Palkhisohala is conducted<br />
according to Narayanmaharaj because his principal<br />
motive was to carry Jnandev’s and Tukaram’s padukas (the<br />
impressions of footprints in a mould).<br />
An artist marching with a Deendi is a totally new experience<br />
for people. My fellow artists travelled only as far as<br />
Pune—I carried on further. It was a complete change in my<br />
lifestyle as I lived in luxury in Europe for a long time. Even in<br />
India I lived comfortably. But in the Palkhisohala I decided to<br />
adjust to its usual ways. I had a rough experience of life 25<br />
years back, so why should this be any different? I was quite<br />
relaxed after a turbulent period of four years. I had decided<br />
to settle in Pune after living in Holland for 25 years. That<br />
might have been one of the reasons I was prepared for the<br />
pilgrimage. I often wondered why. I never traveled in Maharashtra’s<br />
interior. I was born in Umbraj, a village in Pune<br />
District. During the first 17 years of my life I’d never ventured
14____________________________________________________________<br />
beyond my Tehshil area. Ever since I was a student in Mumbai<br />
I’ve travelled frequently to North India, but seldom inside<br />
Maharashtra. I decided to join the pilgrimage and see what<br />
experience I could gain. I visited places where Tukaram’s<br />
padukas took a rest, i.e., where the Palkhi stays overnight. I<br />
made sketches in charcoal, pencil and pen, and also took<br />
photographs.<br />
In Baramati I met other artists who were studying in<br />
rural art schools. They welcomed me with enthusiasm. Actually,<br />
student artists come in direct confrontation with this<br />
subject, as opposed to the classical figures they’re exposed to<br />
in school To my mind the Palkhisohala is like an academy for<br />
all branches of fine art: dance, drama, music, literature,<br />
drawing, painting. One’s eyes and mind should be open to<br />
everything. All art academies and universities keep their eyes<br />
closed to such events and blindly follow traditional English art<br />
education. Professionally, everyone admits their influence but<br />
academics seldom pay any attention to them. I came to this<br />
event rather late but it was never out of sight for me. Otherwise,<br />
the project ‘Your form is my Creation’ would never have<br />
taken place. I have received two State awards. The first one<br />
was for work inspired by Tukaram’s verse. Unwittingly, I heeded<br />
my inner soul and became familiar with the living academy<br />
that the Palkhisohala represents, thanks to the entire bhakti<br />
tradition.<br />
One meaning of peace refers to the inner peace, a<br />
piece within us: a state of mind, body and mostly soul. People<br />
that experience inner peace say that the feeling doesn’t<br />
depend on time, place, people or any external object or<br />
situation, proclaiming that an individual may experience inner
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peace even in the midst of war. One of the oldest writings<br />
on this subject is the Bhagvad Gita, an important part of<br />
India’s Vedic scriptures. Bhakti is one of the outcomes of<br />
this process. War and peace can predict certain aspects of<br />
human behavior. It may affect the daily life of the common<br />
man or society as a whole. The <strong>Vari</strong> or pilgrimage is one<br />
event that involves a large number of people in peaceful<br />
procession. Devotion is one of the states of mind, a feeling<br />
or emotion, that brings together an entire society.<br />
Walking keeps one’s mind fresh and the body fit. In<br />
city life everyone is under some pressure or other. It’s hard<br />
for people to recognize the pressure they are under. Walking<br />
is one way to keep the body in condition. Medicines would<br />
hardly keep one’s health in order but walking can work<br />
wonders for your heart and lungs. Travelling long distances<br />
changes people’s environment, and thus induces new<br />
thoughts.<br />
Tourism is travel for recreational or leisure purposes.<br />
The World Tourism Organization defines tourists as people<br />
who “travel to and stay in places outside their usual environment<br />
for not more than one consecutive year for leisure,<br />
business and other purposes.” Tourism has become a popular<br />
global leisure activity. Thinking of global activities in the<br />
context of the Palkhisohala and its <strong>Vari</strong>, I arrived at the<br />
point where inner satisfaction played a higher role in the<br />
life of ordinary people.<br />
Sketching is to the artist as gesture is to a dancer,<br />
words to a poet and notes to a singer. They are all manifestations<br />
of expression in the creative world. It might be
16____________________________________________________________<br />
capturing a moment in a photograph, but beyond these expressions<br />
it’s the rhythms of the body that get transformed<br />
into a realm where ecstasy flows inside out. An artist draws a<br />
line that puts shade and shadow beside an energetic flash.<br />
Realistic drawings show the artistic nature of the <strong>Vari</strong>, so I<br />
decided to experiment after having practiced abstract expression<br />
for so long. But still, they end up as abstract forms. What<br />
I had lithographed in 1992 reappeared in Pandharpur while I<br />
was drawing the Pradakshina (circling). The peripheral procession<br />
of the Deendi represents the Palkhisohalas.
____________________________________________________________13
20____________________________________________________________<br />
Revolutionary Magnificence
____________________________________________________________21<br />
A Revolution is a fundamental change in power or organizational<br />
structures that takes place in a relatively short<br />
period of time. Aristotle thus described two types of political<br />
revolution:<br />
1. Complete change from one constitution to another<br />
2. Modification of an existing constitution<br />
The glorious Revolution of England and the North American<br />
Civil War happened during the same period; the most<br />
significant period for the beginning of Liberal Thought. The<br />
French and Russian Revolutions happened in violence. Most authoritative<br />
heads had been publicly persecuted. Economy was<br />
in depression and governments did not evoke confidence in<br />
public mind. So what were the thoughts of the common man?<br />
The common man suffered emotionally and economically<br />
and a fever of anger rose against the situation. His confusion<br />
led to mob anger, with the mobs taking action. Decisionmaking<br />
was influenced by action… not the other way round.<br />
With every act, man was confident of change; but when he<br />
lost, he became frustrated with his own unthinking actions. It<br />
affected the emotional, sensitive and creative man differently.<br />
Man has to think first; his actions then become an outcome<br />
of his thoughts.
22____________________________________________________________<br />
Many artists made paintings before and after a revolution.<br />
These proved to be lessons in history for the common<br />
man, who would search for hidden meaning, maybe suggestion<br />
of a time period. There was so much to learn from the paintings<br />
and sculptures of each period… as I looked at paintings of<br />
the French Revolution at the Musee du Louvre in Paris, I shut<br />
myself in my thoughts and instinctively found a message for<br />
the artist.<br />
Every phase of the revolution ushers change… expression of<br />
emotions was on high alert. Language would get rough and<br />
the poet desperately sought new words of expression. The<br />
artist sought new shades of color for an intelligent portrayal<br />
of emotion. Performers put forth their best. The dancer transformed<br />
like an acrobat in battlefield. The musician wrote<br />
songs on bravery. Hope was on high alert and with hope grew<br />
fear. A persecution complex led every man to believe he was<br />
surrounded by the enemy; making him see the enemy even<br />
amongst friends and relatives, too confused to act as a thinking<br />
citizen. The citizen was victimized by the constitution,<br />
rebels and traitors. The press and the media were under surveillance.<br />
During the revolution, reality is tangible and can be<br />
seen in actuality, through the photographer’s images, despite<br />
suffering bullet wounds.
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I saw visual evidences of revolutions in the form of<br />
prints, which today appear through the electronic media. I<br />
have been through the gloom, a soul that has actually witnessed<br />
the troubled event. I had written a poem in 1989, on<br />
the protest in China’s Min Square. The trees then were in blossom.<br />
The blossoming tree always reminds me of that protest.<br />
I documented a pilgrimage from Dehu-Alandi to Pandharpur<br />
in 2008. I realized something extraordinary had happened<br />
on the Deccan plateau which was to make history. I<br />
explained this phenomenon in my book ‘325 years Dehu-Alandi<br />
to Pandharpur Palkhisohala.’ It was a pilgrimage of twenty<br />
days, when I discovered so much it made me mark those pages<br />
in history and nudge one to rethink about one’s life.<br />
So much change had happened in Maharashtra several<br />
times in history; sometimes when laws were violated, sometimes<br />
when kingdoms were overthrown with violence. But<br />
here in Pandharpur, I saw revolution and military transformation<br />
by messengers of peace of the 18th century. The fact<br />
remains that the Varkaris today are like soldiers holding flags
24___________________________________________________________<br />
for peace, not for violence. When I see this, I ask myself if it<br />
is the air of the Deccan Plateau that has brought about this<br />
change, this revolution. At the top of the plateau is the sky;<br />
the bottom of the plateau lies under the ocean. Does this result<br />
in a universe of peace?<br />
Peace and violence are the essence of human emotion and<br />
behavior. Revolution and evolution are the work of man, who<br />
heals his mind with art, but grieves and weeps when forced<br />
into a difficult situation. It forces him to act in rage, when his<br />
mind has been taken over by his sentiments. In a revolution,<br />
man behaves differently, independently; his actions are not<br />
in the hands of his commander. The thinker or the artist must<br />
have observed this. Classic examples are when rape takes<br />
place in war or when the worthy get killed. Religious practices<br />
may have caused families to disagree and go separate ways.<br />
Human cleansing could have taken place. There must have<br />
been so much negativity.<br />
Arguably, Picasso’s most famous work is his depiction<br />
of the German bombing of Guernica, during the Spanish Civil<br />
War. Guernica, this large canvas embodies for many the inhumanity,<br />
brutality and hopelessness of war. Asked to explain its
____________________________________________________________25<br />
symbolism, Picasso said, “It isn’t up to the painter to define<br />
the symbols. Otherwise it would be better if he wrote them<br />
out in so many words! The public who look at the picture must<br />
interpret the symbols as they understand them.”<br />
Through this two dimensional painting, Picasso expressed concern<br />
for his motherland, when Guernica was bombarded in the<br />
Spanish Civil<br />
War. Picasso was interviewed for his expression of sentiment<br />
in this painting and his views were published in various periodicals.<br />
He told the public directly to interpret the painting; the<br />
viewer should figure out what is going on in the artist’s mind.<br />
The artist guides the emotions of the common man, anonymously.<br />
The artist’s sensitivity makes him a master documentarian<br />
of wartime plea.<br />
Social equality came into being during the French<br />
revolution. During the Russian revolutions, social injustice and<br />
inequality were discussed that brought about social change.<br />
Thus there was a lot of mental disturbance and many people<br />
immigrated to Europe and became famous personalities. They<br />
survived despite circumstance and their paintings and books<br />
guide today’s new victims of revolutions and wars, giving them
26____________________________________________________________<br />
hope to survive in tough times. Many visual artists show the<br />
way to emotional cheer. They share their thoughts and discuss<br />
amongst themselves about the many revolutions that the continent<br />
of Europe has had. I see my life and try to understand<br />
it from that viewpoint.<br />
I have been living in The Hague since 1983 and am<br />
aware of the many changes that have taken place in the past<br />
thirty years, socially, economically, artistically. The Netherlands<br />
was the most liberal European state since its golden<br />
age. Spinoza wrote his masterpiece, Ethica and introduced<br />
radical, liberal thinking. The Peace Palace, often called the<br />
seat of international law, is in The Hague. It houses the International<br />
Court of Justice, which is the principal judicial body<br />
of the United Nations.<br />
I remember the Yugoslavia Tribunal which took place in<br />
The Hague and Slobodan Milosevic, President of former Yugoslavia.<br />
His trial began at The Hague on 12th February 2002,<br />
with Milosevic defending himself. He did not recognize the<br />
Tribunal but participated in the proceedings with the idea<br />
of presenting the Serbian view of the truth. The charges for<br />
which he was indicted were genocide, complicity in genocide,<br />
deportation, murder, persecutions on political, racial or religious<br />
grounds, inhumane acts, forcible transfer, extermination,<br />
imprisonment, torture; willful killing; unlawful confinement;<br />
willfully causing great suffering; unlawful deportation<br />
or transfer, extensive destruction and appropriation of property<br />
unjustified by military necessity and carried out unlawfully<br />
and wantonly, cruelty, plunder of public or private property,<br />
attacks on civilians, destruction or willful damage done to<br />
historic monuments and institutions dedicated to education or<br />
religion. Milosevic was indicted in May 1999 during the Kosovo
____________________________________________________________27<br />
War by the UN’s International Criminal Tribunal for the former<br />
Yugoslavia for crimes against humanity in Kosovo. I had witnessed<br />
the entire proceedings and learnt how laws act after<br />
war.<br />
The other side of the story… we put together in Show Your<br />
Hope Project in Holland. In 2006, I became a promoter of<br />
exhibitions, traveling to Asia, especially India. 18 exhibitions<br />
were held in various cities; the message was Show Your Hope<br />
against war in Balkan, Iraq and later on, in Afghanistan.<br />
Moral values were discussed at the time of the fifth<br />
election, in the first decade of the 21st century in Holland.<br />
Five elections took place within eleven years. Many foreigners<br />
took asylum and moved to another country through The Netherlands<br />
and Belgium. In 2012, it took more than six months to<br />
form the government. Those were tense times, but not ignited<br />
by the fire of a revolution. People were able to think and talk<br />
things over; things could be marginalized.<br />
At the artistic front, many art academies and design<br />
schools were established in the Netherlands and many students<br />
passed out of the academies. There were not enough<br />
jobs for even the professionals. Artists were criticized even<br />
for their efforts in art conservation and preservation. Museums<br />
are to attract visitors from all over the world and this is<br />
one of the positive points of Dutch culture.<br />
Economically, the Euro was introduced in 2001, when<br />
Gulden was at half its value. As I think of those days of Gulden<br />
exchange, I travel through time and some memories flow<br />
through. The currency of a country is the medium of economy<br />
for the exchange of goods. But a change of currency was for
28____________________________________________________________<br />
me, an experience in the country becoming liberal. In 1992,<br />
European states came together under the Maastricht Treaty.<br />
I enthusiastically made a souvenir bag of coins, a symbol for<br />
Unity, like Santa’s bag of gifts!<br />
The fall of the Soviet Union in 1989 and the fall of the<br />
Berlin Wall in 1990 brought about big changes in Europe. It<br />
was the fall of Communism - Socialism of the Lenin era. Statues<br />
of Lenin were moved from public squares in East European<br />
countries. There was constant media coverage of incidents<br />
in the last quarter of the 20th century. Everything was sensational<br />
and became the height of expression. Every sensitive<br />
mind reacted on issues and incidents and most artists felt that<br />
social transformation was taking place; the signs and symbols<br />
were being moved from the streets.<br />
In India, such incidents occurred when the British Raj<br />
ended and India and Pakistan became independent nations.<br />
Lahore in the north, Mumbai in the south and Calcutta in the<br />
east had lots of statues removed from streets and dumped.<br />
When I came to live in Byculla, Mumbai, opposite the Victoria<br />
Gardens and Museum, I would spend many happy hours<br />
there, studying and sketching. Around the Museum building<br />
in the open area there were a lot of marble statues, some in<br />
good condition. I was astonished at the story of these statues,<br />
which were not even useful to students of art schools. National<br />
fervor renders a person blind and in his rage, he becomes<br />
capable of burning, destroying everything of the past in<br />
art and science. Marble statues remain in good condition for<br />
years, yet they are not in any public collection. I think they<br />
are made in the interest of politically motivated regimes, to<br />
show domination of wealth and power. After a fall of political
____________________________________________________________29<br />
power, culture always gets plundered. It inspires other minds<br />
with new values that are sometimes undermined.<br />
Another incident of this kind happened in the Indian<br />
state of Uttar Pradesh, where recently, Mayawati of the Bahujan<br />
Samaj Party ordered many sculptures of herself to be<br />
made and kept in public places. What happened after her<br />
party was defeated in the 2012 elections? History repeated<br />
itself and the statues were removed and dumped by the new<br />
government. In a democracy, it is not a fair practice to make<br />
statues and keep them in public open places. Why can’t the<br />
parties just keep them in their offices? Culture develops<br />
manually, not mechanically. The best ideas survive under any<br />
circumstance. One of the Indian states received an order from<br />
the Supreme Court not to place statues in public places and I<br />
admire the decision taken. Authorities should develop museums<br />
in the interest of the common man and preserve important<br />
and valuable objects for future generations.<br />
In the history of revolutions, I find the source for thinkers<br />
to gather their views. Leaders of both sides act in anger.<br />
Commoners as well as generals suffer under the political leaders.<br />
Conspiracies lead to confusion and a suffering generation<br />
tries to find a way out of trauma. Revolutions provide the<br />
writer with themes, for maybe a drama or opera. They provide<br />
the artist with ideas for a mural, the actor with an opportunity<br />
to air his voice. The dancer may find a new theme for<br />
choreography. A philharmonic orchestra may find a new chorus.<br />
Epic songs and hymns get written. The saga of revolution<br />
will always be in the minds of men causing changes around the<br />
globe.
30____________________________________________________________<br />
In modern history, a very different kind of revolution<br />
took place in India, which transformed military men to participate<br />
in 800 kilometers long peace marches every year. Without<br />
a break, this march to Pandharpur has been happening<br />
for 327 years. One can see a combination of philosophy and<br />
culture in this march, which began in 1685. I make an attempt<br />
to mark these years in Europe, India and North America,<br />
searching for incidents, events, revolutions and wars. Today,<br />
information technology brings news to our living room. Then,<br />
it was just not possible to hear or know anything for thousands<br />
of miles. To receive any real news, it could take many months<br />
and the rest would be only gossip!<br />
In North America from 1685 until 1688, a French colony,<br />
Fort Saint Louis, existed near what is now Inez, Texas. Explorer<br />
Robert Cavelier de La Salle, a French explorer credited<br />
with claiming Louisiana and the Mississippi River Basin for<br />
France, intended to found a colony at the mouth of the river.<br />
But inaccurate maps and navigational errors caused his ships<br />
to anchor instead at 400 miles (650 km) west, off the coast of<br />
Texas, near Matagorda Bay.<br />
In England, The Monmouth Rebellion was an attempt<br />
to overthrow James II who had become the King of England,<br />
Scotland and Ireland upon the death of his elder brother<br />
Charles II in 1685. James II was a Roman Catholic and some<br />
Protestants under his rule opposed his kingship. James Scott,<br />
1st Duke of Monmouth, an illegitimate son of Charles II,<br />
claimed to be the rightful heir to the throne and attempted<br />
to displace James II. Monmouth landed at Lyme Regis and for<br />
the following few weeks, his growing army of nonconformists,<br />
artisans and farm workers fought a series of skirmishes with
____________________________________________________________31<br />
local militias and regular soldiers. The rebellion ended with<br />
the defeat of Monmouth’s forces at the Battle of Sedgemoor<br />
and Monmouth was executed for treason. Many of his supporters<br />
were executed or transported in the Bloody Assizes of<br />
Judge Jeffreys.<br />
In Europe, The Nine Years’ War (1688 - 97) was a major war of<br />
the late 17th century fought between King Louis XIV of France<br />
and a European-wide coalition, the Grand Alliance, led by the<br />
Anglo-Dutch King William III, Holy Roman Emperor Leopold I,<br />
King Charles II of Spain, Victor Amadeus II of Savoy and the<br />
major and minor princes of the Holy Roman Empire. The Nine<br />
Years’ War was fought primarily on mainland Europe and its<br />
surrounding waters, but it also encompassed a theatre in Ireland<br />
and in Scotland, where William III and James II struggled<br />
for control of the British Isles and a campaign (King William’s<br />
War) between French and English settlers and their Indian<br />
allies in colonial North America. The war was the second of<br />
Louis XIV’s three major wars.<br />
In India, Bombay Presidency, the East India Company’s<br />
headquarters moved from Surat to Bombay in 1687. The Portuguese<br />
owned land on the west coast of India that was a contract<br />
with the Maratha rulers. The Mughal emperor Aurangzeb
32____________________________________________________________<br />
himself headed South in 1681. With his entire imperial court,<br />
administration and an army of about 500,000 soldiers, he proceeded<br />
to conquer the Maratha Empire, along with the sultanates<br />
of Bijapur and Golconda. During the eight years that followed,<br />
King Sambhaji led the Marathas, never losing a battle<br />
or fort to Aurangzeb, who almost lost the campaign but for<br />
an event in early 1689. Sambhaji called his commanders for<br />
a strategic meeting at Sangameshwar, to decide on the final<br />
onslaught on the Mughal forces. In a meticulously planned operation,<br />
Ganoji Shirke and Aurangzeb’s commander, Mukarrab<br />
Khan attacked Sangameshwar, when Sambhaji was accompanied<br />
by a few men. Sambhaji was ambushed and captured by<br />
Mughal troops and he along with his advisor, Kavi Kalash were<br />
taken to Bahadurgad, where they were executed for rebellion<br />
against the Empire.<br />
In relation to the above events in North America, England,<br />
Holland and India, the Palkhisohala was started by an<br />
individual. Sant Tukaram’s younger son Narayan Maharaj had<br />
decided to take the paduka, footwear of Tukaram and Dyaneshwar<br />
to Pandharpur in groups, dindi, chanting abhangs.<br />
This was a difficult era on the political scene. King Shivaji<br />
had passed away in 1680 and his son was on the throne. The<br />
Mughal emperor, Aurangzeb, had descended on the Deccan<br />
plateau, to fight the newly created Maratha kingdom which<br />
challenged the mighty Mughal Empire. Sambhaji, Shivaji’s son<br />
was at war with the Mughals, the English and the Portuguese.<br />
Narayan Maharaj was a moneylender by profession, who became<br />
a soldier in the Maratha army. Dehu is situated on the<br />
banks of the Indrayani River. Tukaram disappeared in 1650.<br />
Narayan Maharaj was born about four to five months after<br />
Tukaram’s disappearance. Those were not peaceful times. His
____________________________________________________________33<br />
idea to start a peaceful march to Pandharpur was an adventurous<br />
one, especially under foreign rule.<br />
Aurangzeb intended to demolish the Maratha kingdom.<br />
The peace march was to be held from Dehu –Alandi in Pune<br />
district to Pandharpur. This was under Maratha rule and Pandharpur<br />
was inside the Adilshahi of Bijapur, the dynasty that<br />
ruled the Sultanate of Bijapur, west of the Deccan. The Bijapur<br />
sultanate was absorbed into the Mughal Empire on 12th<br />
September 1686, after its conquest by Aurangzeb. This area<br />
around Pandharpur was especially sensitive lying on the border<br />
of the Maratha kingdom and the Adilshahi of Bijapur. River<br />
Bhima was called Chandrabhaga in Pandharpur and this river<br />
and Nira geographically form the dividing line between the<br />
two kingdoms. At the time Palkhisohala started, the two kingdoms<br />
were at war. But devotional activities and intelligence<br />
activities were going on simultaneously. People supported the<br />
Maratha army. The route for the march was through Adilshahi<br />
territory and today, this route has not changed. The Alandi<br />
route was changed by Dyaneshwar’s followers who were also<br />
military heads. The form of Palkhisohala is a format of military<br />
march. The structure of administration is, likewise, the<br />
same. Mughals, Marathas, the British Raj and now the Republic<br />
of India... Palkhisohala has been recognised by each administration.<br />
Its march of soldiers of the soul, soldiers of the<br />
land, soldiers of devotion, soldiers of peace, is a positivity of<br />
humanity, formed in good faith.<br />
This march influenced all modern Indian philosophers,<br />
political leaders, thinkers like Mahatma Jyotiba Phule, economist<br />
Namdar G. K. Gokhale, Mahatma Gandhi, Dr. Ambedkar,<br />
Bramho Samaj members, British Justice Ranade etc. Today,<br />
many western universities send researchers to find the mes-
34____________________________________________________________<br />
sage delivered by this march. The number of people participating<br />
in this march has already passed several hundred thousands,<br />
coming from the western and southern states of India.<br />
The second revolution took place in 1930, against the<br />
British Raj. Mahatma Gandhi led the Satyagraha, his Dandi<br />
March. An eye for an eye makes the whole world blind, he<br />
said. He believed in resistance without violence, non violence<br />
against the mighty power of the British Empire. He succeeded<br />
with the help of the concept of the Varkari movement and<br />
a thousand-year-old tradition of Buddha, Mahavir, sufis and<br />
Varkari like Namdeo, Dnyaneshwar, Kabir, Nanak, Eknath, Tukaram,<br />
Bulleh Shah, Narsi Mehta etc.<br />
The examples of the past provide the present with the<br />
strength and the solutions. War is not a solution to a problem;<br />
it is only a link to another conflict. As Gandhiji said, “It has<br />
always been easier to destroy than to create.” and “There are<br />
many causes that I am prepared to die for, but no causes that<br />
I am prepared to kill for.”<br />
How do I conclude with words, my memories of India,<br />
Holland, Europe, of the past thirty years? Words are gone with<br />
the wind. The wind liberates the sensitive mind.
____________________________________________________________35
32____________________________________________________________
38____________________________________________________________<br />
Dehu-Alalndi Pandharpur Palkhisohala 2008
____________________________________________________________39<br />
The Journeys of Jnandev and Namdev<br />
Jnandev and his contemporary, Namdev, travelled throughout India<br />
in the 13th century. Jnandev was a thinker, and founder of the<br />
tradition of Marathi Bhakti poetry. He was also able to distance<br />
himself from the tradition of the Vedas and the rules of Brahmin<br />
superiors, and engage with the common public. He was a child of<br />
his time in changing tradition and bringing about a more secular<br />
society, and he surpassed all established thought. He studied Shaivism<br />
and Shaktism. He respected and appreciated all religions and<br />
castes, and his Guru’s views. He was the seed that grew into a<br />
huge tree within. Namdev was a good businessman in his time and<br />
a devotee of Pandurang. He served as an experienced person and<br />
a travel guide to Nivruttinath, Jnandev, Sopan and Muktabai. As his<br />
business supplied fabrics to several places in India, he must have<br />
established good public relations, cultivated during the five trips he<br />
made to Punjab—via Gujarat, Central India and North India—in his<br />
lifetime. His trips from Pandharpur to Punjab in the 13th century<br />
were likely by bullock-cart and on horseback. Today’s Palkhisohala<br />
involves daily travel of at least 22 km and thus overnight stops—the<br />
places Jnandev stayed overnight were either at a dharamsala or at<br />
those owned by his business friends. He knew where these places<br />
were, and that helped in guiding Jnandev and his brothers in their<br />
journey to Kashi and the rest of North India. Nivruttinath, Jnandev’s
40____________________________________________________________<br />
elder brother, studied Shaiva doctrine for twelve years in North India.<br />
He also had experience of travel in North India. These journeys<br />
always make me wonder when I travel long distances. Like Mumbai<br />
to Amsterdam, a journey which keeps giving rise to new thoughts<br />
and freshens the mind. Last year (2008) I walked along with those<br />
participating in the Dehu-Pandharpur Palkhisohala. So I gained some<br />
experience and can well imagine what sort of difficulties people<br />
might have faced in their journeys all over India in the 13th century.<br />
Earlier on, I had travelled to North India as an art student, and from<br />
Mumbai to Darjeeling as an artist. Recently, I travelled to exhibitions<br />
at Amritsar, Chandigarh, Delhi, Ahmedabad, Baroda, Nasik and<br />
Pune. I had all this experience even before I decided to walk in the<br />
Dehu-Pandharpur Palkhisohala. I understand the poetry of travelling<br />
and pilgrimage. Along the way I made sketches to celebrate<br />
Tukaram’s 400th birth anniversary.<br />
Namdev’s journey had always inspired my earlier writing.<br />
Jnandev, Namdev, Eknath, Tukaram and others in the tradition of<br />
Bhakti poetry are the bedrock of my thinking process. A source of<br />
inspiration, as are Indian Sufi poets like Bulleshah, Kabir, Waris Shah<br />
and Ramdas, Mirabai, Tulsidas, Surdas, Narsi Mehta. That was the<br />
reason I invited the “Show your Hope” project to India and achieved<br />
something which would never have been experienced. It was to<br />
obtain experience through travel. But what I gained is priceless<br />
experience and a relaxed mind. The whole world is full of complex<br />
situations, and so most people try to attain a peace of mind in their<br />
everyday life.<br />
The road that goes to both Jyotirlingas passes by my birth-
____________________________________________________________41<br />
place, and it might well have contributed to my passion for estimating<br />
and comparing distances. As in Rameshwar to Pandharpur via<br />
Gokarn, Venkobagiri, Mallikarjun Shail Mountain; Parali Baijnath to<br />
Ondha Naganath via Tuljapur and Mahoor; from Ondha Naganath<br />
to Bhimashankar via Paithan, Shani-Shingnapur and Alandi; from<br />
Alandi to Bhimashankar and Tryambakeshwar via Junnar and Harishchandragad;<br />
from Tryambakeshwar to Somnath via Saptshrungi and<br />
Ammalner; even the central route from Rameshwar goes through<br />
Gokarn, Venkobagiri, Mallikarjun Shail Mountain, Siddheshwar in<br />
Sholapur, Pandharpur, Tuljapur, Paithan, Ghruneshwar and Omkareshwar<br />
to Mahakal of Ujjain. These geographical routes have always<br />
been trodden annually by many Indian pilgrims on several religious<br />
occasions. The followers of Shaiva especially travel regularly along<br />
these routes. The Mahaparv routes in India are lined by four peeths<br />
(centers), twelve Jyotirlingas and three and a half Shakti Peeths.<br />
People travel to all these places all the time. I may not visit all<br />
these places but my inner being ponders over all these routes, comparing<br />
them to the annual Dehu-Pandharpur pilgrimage. The number<br />
of people walking along these routes is the greatest among all<br />
the pilgrimages in the world. The largest gathering, the Mahaparv<br />
Kumbh Mela occupies first place—it is performed in a very different<br />
manner. Taking this into account, the tradition of the Dehu-<br />
Pandharpur pilgrimage and the Alandi-Pandharpur Palkhisohala have<br />
played a secular role in society. In no other part of the world does<br />
this take place. The main theme is that all humans function at the<br />
same level, being equal regardless of age or caste.<br />
Two personalities influenced Tukaram: Jnandev and Namdev.<br />
His reason for writing poetry (abhangas) is contained in his
42____________________________________________________________<br />
verse. Jnandev and Namdev appeared in his dreams and asked him<br />
to write down the rest of their work through his mind and hand.<br />
Tukaram honoured their will, obeyed the order and began writing<br />
at the age of 21; he’d continue writing till the age of 41. His last<br />
appearance was the second day of the lunar fortnight of the waning<br />
moon in the Hindu calendar in 1649 A.D.<br />
One must always rely on the perspective of time to value<br />
someone’s work—how much one person can accomplish and under<br />
what circumstances. Jnandev lived only 21 years, but had a profound<br />
influence on society. Tukaram, lived 41 years, and his poetry<br />
modernized Marathi. Namdev lived 90 years, supported the cause of<br />
Jnandev, wrote verses and travelled a lot. <strong>Vari</strong>ous aspects of everyday<br />
life exert their influence on a person while he actually lives his<br />
life. Everyone has a life, long or short, but can impact society in<br />
disproportionate ways. Historians and critics have no doubt noticed<br />
this. Some may say that their work is more important than their<br />
life. But to tell their stories to the common man, they will first have<br />
to reflect on their own public as well as private lives in order to<br />
lead unpretentious lives, without hypocrisy.
____________________________________________________________43<br />
Dehu and its inhabitant, Tukaram (1608-1648)<br />
The village, Dehu, in District Pune, in the Maval region of<br />
Maharashtra, sits on the banks of the Indrayani river. Tukaram was<br />
born and performed his divine deeds in Dehu and neighbouring<br />
villages. About three hundred years before Tukaram, his ancestor,<br />
Vishwambhar, lived in Dehu. The whole family owed its religious allegiance<br />
to Lord Vithoba. It was in Ashadh (the fourth month of the<br />
Hindu lunar calendar), on Shudh Dashmi (the tenth day of the waxing<br />
moon) that the Lord appeared in Vishwambhar’s dream and told<br />
him of His existence and went to retire in a grove of mango trees.<br />
The very next morning Vishwambhar went into the grove with fellow<br />
villagers and found the idols of Lord Vithoba and Rakhumai. He<br />
then brought them over to his house and installed them for worship.<br />
People soon came to know of this divine miracle and started coming<br />
in droves to pay obeisance. An annual festival soon became a regular<br />
feature. And a tract of land was bequeathed to Vishwambhar to<br />
take care of the festival expenditure. A pilgrimage would be held on<br />
Shuddh Ekadashi (the 11th day of the waxing moon) every month.<br />
The Pandharpur <strong>Vari</strong> (pilgrimage) during the holy months of<br />
Ashadh and Kartik had long been a tradition in Vishwambhar’s family<br />
since his forebears. It was his unwavering and steadfast devotion<br />
that was compelling. However, after Vishwambhar’s demise, his<br />
sons, Hari and Mukund, showed no religious inclination and turned<br />
to their original vocation: the armed services. They sought royal pa-
44____________________________________________________________<br />
tronage, along with their families, and became officers among the<br />
royal soldiers in the army of that time.<br />
Their mother, Amabai, frowned upon this. The Lord was also<br />
unhappy with their decision. He once appeared in Amabai’s dream<br />
and told her of His unhappiness over the state of affairs. “I left Pandharpur<br />
and came to Dehu for you, but you chose to leave me and<br />
seek royal patronage. This is not fair. You should return to Dehu,”<br />
he said. Amabai spoke to her sons about the Lord’s admonition and<br />
tried to persuade them to return to Dehu. The sons, however, paid<br />
no heed.<br />
As fate would have it, the state was soon invaded by an alien<br />
power and both brothers laid down their lives in the ensuing battle<br />
with the foe. Mukund’s wife preferred to sacrifice herself as sati following<br />
her husband’s demise. Hari’s wife was pregnant at the time<br />
of his death on the battlefield. Therefore, Amabai returned to Dehu<br />
with her. Soon, the daughter-in-law was sent to her parents for her<br />
delivery and Amabai devoted herself to the Lord’s service. Hari’s<br />
widow gave birth to a son, who was named Vitthal. Vitthal’s son was<br />
Padaji, Padaji’s son Shankar, Shankar’s son Kanhoba. Kanhoba’s son<br />
was Bolhoba. Bolhoba had three sons: Savji was the eldest, followed<br />
by Tukaram and Kanhoba, the youngest.<br />
Tukaram’s family belonged to the Kshatriya (warrior) caste.<br />
His forefathers had embraced martyrdom while fighting the enemy<br />
on the battlefield. The family was also very cultured and religious.<br />
Worship of Lord Vithoba had been its hallmark for generations and<br />
so was the annual pilgrimage to Pandharpur. The family also had<br />
the distinction of being mahajans (money-lenders). It owned farm-
____________________________________________________________45<br />
land, and engaged in money-lending and trade. The family owned<br />
two wadas (houses) at Dehu: one as its residence and the other, in<br />
the marketplace, for trade and business. It enjoyed the respect of<br />
the villagers and also of those living in the immediate vicinity. They<br />
were called kunbis (farming community) because they engaged in<br />
agriculture, and vanis (trading community) due to their trading activities.<br />
However, Tukaram abjured all these, with the result that he<br />
came to be called a gosavi (akin to a fakir). Nevertheless, ‘Gosavi’<br />
was never the surname of the family. It was ‘More’ and ‘Gosavi’ was<br />
an honorific.<br />
By tradition Tukaram’s public discourses on religion would<br />
be mixed with poetry, which included some of his own compositions.<br />
His discourses focused on the day-to-day behavior of human<br />
beings, and he emphasized that the true expression of religion was<br />
in a person’s love for his fellow men rather than in ritualistic observance<br />
of religious orthodoxy, including the mechanical study of the<br />
Vedās. His teachings encompassed a wide range of issues, including<br />
the importance of the ecosystem. Tukaram worked towards the enlightenment<br />
of society in the “Varkari” tradition, which emphasizes<br />
community service and group worship through music.<br />
The myths of Tukaram’s disappearance<br />
Due to my experience of living in a foreign country, I could<br />
imagine the social debates on the circumstances surrounding Tukaram’s<br />
death.<br />
Since he denied himself ‘Moksha’, his attitude was clear: he<br />
did not seek ‘moksha’.
46____________________________________________________________<br />
He was always thinking and writing, so he knew about the<br />
realities of life.<br />
His kirtan was the last performance and appearance in public.<br />
In his biographical writing he wrote verses which tell us that<br />
he was accompanied by some people.<br />
Perhaps unknown people were involved in his journey, but<br />
later became known in his written works.<br />
The incident may have occurred as part of his journey and<br />
rumors were spread all over.<br />
Due to his business skills and his sense of humor in talking<br />
about himself, he may have kept this a secret but kept writing according<br />
to his nature.<br />
He was conscious about his writing, and also in preserving it.<br />
Hence the “13th day fast”, and the appearance of his Abhanga vahi<br />
(notebook).<br />
Researching his poetry after his disappearance was a task<br />
which requires genuine study. His friends continued to do that. The<br />
result is that all his verses were scrutinized by scholars through the<br />
years.<br />
Rumours were spread that he was murdered by Brahmins or<br />
someone else out of pure hate and jealousy. The issue was kept very<br />
much on the boil—this is typical of any sect that wishes to perpetuate<br />
hate and jealousy—a form of spiritual incorrectness. Love and
____________________________________________________________47<br />
hate are both part of the love game. Ironically, aggression also sets<br />
the subject on fire.<br />
<strong>Vari</strong>ous incidents took place after Tukaram’s disappearance.<br />
Critics and those proud of their caste who were against his work<br />
were involved in spreading rumors. Other sects were trying to put<br />
him down by making false statements and using abusive propaganda<br />
to destroy Tukaram’s social standing as well as to portray him as being<br />
unworthy. Consequently, he’s regarded more as a mystic today<br />
than a person one can relate to.<br />
One could say that the speculations over his death are<br />
practical and logical, but not credible. Some deny others’ beliefs<br />
outright. In due course, the acceptance of facts which one considers<br />
true becomes the measure by which everyone believes in something.<br />
Witnesses to the incident lose credibility when the social<br />
arrangements are on shaky ground. But whom to blame? The social<br />
arrangements in the region of the Western Ghats were in turmoil.<br />
The history of the period when Buddha lived was erased by Brahmin<br />
thinkers and rulers of that time, as well as Muslim invaders. I’m<br />
considering the historical evidence available from the 10th to 15th<br />
centuries, with all the wars and deposed rulers.<br />
When we consider the views of historians and critics, and<br />
the political changes during the regimes of the above-mentioned<br />
period, I come to the conclusion that there may have been other<br />
factors which might have been overlooked by social observers of<br />
that time. The religious sects in the Western Ghats and central Maharashtra<br />
are so manifold that one needs to take a look at the big<br />
picture to come to terms with Tukaram’s disappearance.
44____________________________________________________________
____________________________________________________________49<br />
Spiritual and Religious background of the Dehu-Alandi-Pandharpur<br />
pilgrimage routes<br />
In contemporary India, there are sects of Shaiva that are<br />
bigger than the Vaishnav. Take for example any village and see how<br />
many temples were inherited by that village. Ganesha, Maruti,<br />
the local Devi (female protector) as well as the main female goddesses<br />
like Mahalaxmi, Saraswati, Sharada, Kali, etc. Shaiva, Shakt,<br />
Vaishnav, Gaanpatya, Mahanubhav, Brahmakumar and kumaris jostle<br />
one another for space. Because of these social tensions, rumors of<br />
Tukaram’s death became more mystical.<br />
Shaiva involvement<br />
1. In Maharashtra three of the twelve Shiva-worshipping Jyotirlinga<br />
temples are located in Tryambakeshwar, Bhimashankar, and<br />
Ghruneshwar. There are twelve Jyotirlingas throughout India.<br />
2. All eight Ganesha-worshipping Ashtavinayak temples are located<br />
in the Western Ghats.<br />
3. Local Shaiva-reincarnated deities like Khandoba and Jyotiba are<br />
placed at Jejuri, Pali, Kolhapur, Ondha Nagnath and Paruli Baijnath.<br />
4. The Shaiva Nathpanthi Guruparampara sect is spread all over<br />
central and south India, with Ganagapur and Akkalkot being impor-
50____________________________________________________________<br />
tant places.<br />
Shakti involvement<br />
5. Three and a half shaktipeeths are at Tuljapur, Kolhapur, Mahoor<br />
and Saptshrungi.<br />
6. Each village has its own female deity (Gramadevata) to worship.<br />
Jain Involvement<br />
7. Jainism is a significant part of history, and has been involved in<br />
changing people’s minds and carving out kingdoms. The districts of<br />
Sangli and Kolhapur in the south of Maharashtra were part of the<br />
Jain kingdom.<br />
Brahmin involvement<br />
8. Paithan, Nashik and the Siddheshwar Ashram at Solapur are<br />
places where the Vedas traditionally practiced their scriptures. Due<br />
to these practices many lower castes settled around these ashrams<br />
as they depended on each other. So after centuries we still see most<br />
Harijans living in and around these concentrated areas.<br />
9. A part of Brahmanism is in the Konkan, which preserved Brahmin<br />
thought on account of the ancient, Brahmin hero, Parshuram.<br />
10. Brahmakumaris are also competing with other religious persuasions.<br />
Vaishnav involvement
____________________________________________________________51<br />
11. The Varkari sect has its origins in the worship of Krishna and<br />
Ram. It engages in the annual pilgrimage to Pandharpur, where Lord<br />
Vitthal is worshipped. He is considered as the reincarnation of Lord<br />
Vishnu.<br />
12. The Mahanubhav Panth which worships Krishna is widespread in<br />
the north of Maharashtra. It also held sway in western Maharashtra<br />
in the 15th and 16th centuries.<br />
Muslim involvement<br />
13. Muslim invaders changed the religious views of many greedy<br />
and vulnerable people by force, and by giving offence. They settled<br />
down here and built their mosques. Ahmednagar and Aurangabad<br />
are towns that became Muslim settlements. Malegaon especially<br />
became an enclave for Muslims who chose to remain in India after<br />
Partition.<br />
Sikh involvement<br />
14. Because of Aurangzeb and his Muslim policies Guru Gobind<br />
Singh came all the way to Nanded from Punjab to seek revenge,<br />
and ended up settling down there. Since 1670 it has become a holy<br />
place for Sikhs. It is located in central Maharashtra.<br />
Tribal settlements<br />
15. Apart from all these efforts in settling down in Maharashtra, today<br />
there are tribes that survived all land invasions, like the Bhilla,<br />
Warli, Mahadev Koli and others. They’ve been living for centuries in<br />
the jungles of the Western Ghats and Central India.
52____________________________________________________________<br />
Secular regime<br />
16. Two world heritage sites, Ajantha and Elora, represent a period<br />
that got erased in Maharashtra by Jain, Brahmin and Muslim rulers.<br />
Today they’re open to the whole world and all religions.<br />
17. Buddha and his philosophy has maintained peace in the Sahyadri<br />
ranges. Buddhists had carved out many caves in the Western Ghats:<br />
the Karla Caves, Bhaja Caves, Elephanta Caves and others are an<br />
integral part of the heritage of India.<br />
18. Shirdi is the place where most of secular society visits Sai Baba’s<br />
shrine.<br />
19. ‘Bombay’ became one of India’s first cosmopolitan cities and<br />
placed on Mumbai the crown of all the religions of the world—you<br />
name it and you will find it here. With such a diversity of communities<br />
and religious beliefs one would expect the background of<br />
the current inhabitants to be equally varied. With such complex<br />
communities Maharashtra is still producing good results, with an<br />
extraordinary society and talent within it. Where do they look for<br />
inspiration?<br />
Jnandev and Tukaram have become the ideal leaders of<br />
Marathi- speaking people, whose thoughts reach out to the very limits<br />
of human experience, s and thus attaining Divine status. Society<br />
should survive without suffering and pain. The more you desire, the<br />
more that desire will be reinforced, but the winds of opposition will<br />
blow hard against it. Either your desire will lose its force or it will<br />
gain momentum.
____________________________________________________________53<br />
Palkhi—concept and form<br />
What is the idea behind the Palkhi in Maharashtra and<br />
elsewhere, and how did it start? Why do hundreds of thousands of<br />
people participate in it? One could ask the organizers about these<br />
things. Is it a religious or social gathering? Does it have a political<br />
purpose? Just walk and find all the answers in the Palkhisohala.<br />
Doesn’t matter which Palkhisohala you participate in. Ashadhi Ekadashi<br />
or Kartiki Ekadashi, the 11th day of the lunar month. There<br />
are other festivals in Maharashtra like Tuljabhavani, Khandoba,<br />
Jyotiba, Ganesha, Ambabai and others. But I’m concerned with the<br />
greatest event: the Ashadhi Ekadashi Palkhisohala.<br />
Actually, Palkhi means palanquin. A palanquin is used to<br />
carry a beloved and respected person over long distances. Others<br />
used to place the worshipped god in it and pay their respects during<br />
the procession on a special day. In North India the palanquin is used<br />
to carry the newly wed groom to the bridegroom’s home. It shows<br />
respect for and is an honor to the beloved instead of walking there.<br />
He sits and the others walk with him or her.<br />
It can be put on the shoulders and carried, or it can be<br />
placed in a bullock cart or horse cart. A bullock cart is used for<br />
long distances and for short distances it is carried on the shoulders.<br />
Processions tend to be short in villages or on mountain routes where
54____________________________________________________________<br />
worship takes place. It is a tradition and social event that takes<br />
place all over India as a devotional festival of some sort.<br />
The Dehu and Alandi Palkhisohala had its beginnings in 1675<br />
AD. Tukaram and Jnandev were an inspiration to Narayan Maharaj,<br />
Tukaram’s son. He respected and was devoted to his father and<br />
Jnandev, the founder of the tradition of Marathi bhakti poetry. He<br />
started walking from Dehu to Alandi, and then continued on to<br />
Pandharpur, where Lord Vitthal is worshipped. It is during Ashadi<br />
Ekadashi that one should set foot in Pandharpur. On the 11th lunar<br />
day, all who respect and worship Vitthal take a bath in the river,<br />
Chandrabhaga and walk around the periphery of the Vitthal temple<br />
complex in Pandharpur. On the second or 12th lunar day one gives<br />
up the fast and have normal food. The 13th and 14th days are for<br />
celebration and rest. On the 15th day of the month, or Pournima<br />
(Full Moon), one honors one’s Guru—this is Gurupournima. Everyone<br />
honors his Guru on this day. All bhaktas, or devotees, visit Pandharpur<br />
to pay their respect to Lord Vitthal. To be at the guru’s doorstep,<br />
or near the Guru is to achieve ecstasy. That’s the culmination.<br />
All devotees pay their respect and begin the return journey to Dehu<br />
and Alandi.<br />
It takes about 20 days to reach Pandharpur and 15 days to go<br />
back. When the Palkhi proceeds toward Pandharpur, it has commitments<br />
to villages along the way, where it stays overnight. Certain<br />
traditions have been established over the years so everything goes<br />
according to plan. On the return journey the palkhi stops at places<br />
other than those where they stopped on the way to Pandharpur. It<br />
is a matter of honor and fulfillment for villagers who invite people
____________________________________________________________55<br />
into their temples. The palkhi returns to Dehu or Alandi on the second<br />
Ashadhi Ekadashi (the eleventh day of darkness that follows the<br />
Full Moon). And then the festival ends.<br />
Gurupournima<br />
The day of the full moon in the Hindu month of Ashadh<br />
(July-August) is observed as the auspicious day of Guru Pournima.<br />
Gurupournima is the day when one worships the Guru and expresses<br />
complete gratitude for what we have received and continue to<br />
receive from Him. On this day, in observance of the great Gurudisciple<br />
tradition, seekers from all walks of life who represent the<br />
Sanatan (orthodox)doctrine come together.<br />
Satya Sai Baba had this to say: “Who is a Guru? He is the<br />
Divine dispeller of the darkness within you. The Divine Trinity has<br />
been described as Guru. This implies that the Divine should be<br />
regarded as the supreme preceptor who can destroy the darkness<br />
that is ignorance. Forgetting this basic truth, people run after men<br />
wearing ochre robes who profess to impart a mantra and stretch<br />
out their palms for money. This is not what is meant by Guru. Install<br />
God in your heart. The vibrations that emanate from the heart will<br />
elevate you spiritually and confer Divine Wisdom.”<br />
For me respect for anything means the above two examples,<br />
which are local and global in nature; not only for Santana, but<br />
worldwide awareness of pain and suffering.<br />
Every religious sect has a tradition and a holy place where<br />
the followers of that sect are expected to go for darshan and for<br />
other religious ceremonies. In the Varkari sect Pandharpur is con-
56____________________________________________________________<br />
sidered to be a very holy place, where the temple of Vithoba or<br />
Pandurang is located. Every able-bodied Varkari is also expected<br />
to visit Pandharpur on the Ashadhi and Kartiki Ekadashi for the vari<br />
(visit). The devotees of Shri Datta regard Mahur, Ganagapur, Narsoba<br />
Wadi, Audumbar, etc. as their holy places since they believe<br />
that Shri Datta is supposed to have stayed at these places in person<br />
or through His incarnations.<br />
Gurupournima is considered an important occasion in the<br />
system of education. The tradition of learning from a teacher is<br />
treated with respect and the debt is paid with love and affection.
____________________________________________________________57<br />
Administration of the Palkhisohala<br />
The administration of the Palkhisohala is well within democratic<br />
rules of order. One can wonder about the way it works, or<br />
be surprised when one knows how it does work. It’s a lot like the<br />
management of a military battalion during wartime. The whole<br />
operation is designed to move the military towards its destination.<br />
It is adapted from military practice in the 18th and 19th centuries.<br />
Many experts have understood what wartime management was like<br />
in the advance of Maratha regiments in the Maratha and Peshwa periods.<br />
Most sardars and shiledars in the Maratha kingdom had their<br />
own Paydal (land military). It was always on the move and had to<br />
manage their own transport. The Patil—or village headman—would<br />
support the local military superior with manpower and money.<br />
Each village had its own sainiks (soldiers), just as each village<br />
today has a Deendi, and varkaris with a Bhajanimandal (musicians’<br />
group). This is turned into a peaceful movement that practices<br />
the doctrine of varkari bhakti. It’s a miracle from within. Even<br />
varkaris call themselves ‘Vaishnavanche Sainya’, meaning Warriors<br />
of Vaishnav. War and peace. A paradox that is inherent in any Indian<br />
doctrine. Inner conflict. Only those who wage war will find the<br />
solution: peace within oneself, as Gautam Buddha realized. Peace<br />
is a notion intended for the non-violent. To spiritually transform violent<br />
moments into calmness. The walking during the <strong>Vari</strong> calms and
58____________________________________________________________<br />
relaxes the mind in order to energize the body. The spiritual peace<br />
one needs in life is derived from the experience that walking with<br />
others provides. Today people may not understand these virtues but<br />
they do represent the contemporary reality.<br />
There is a committee of members who’re elected from Dehu<br />
village and the Varkari Sampradaya. The Dehu temple is registered<br />
as a trust. It has a separate Palkhisohala Committee, which includes<br />
the President; he is assisted by three other festival assistants, and<br />
is the prominent co-ordinator in the management of the sohala.<br />
Each village has its own Deendi which marches with either<br />
the Dehu-Pandharpur Palkhisohala or the Alandi-Pandharpur Palkhisohala.<br />
It may happen that one or more Deendi in a village takes<br />
part in the festival.<br />
Order of the March<br />
The Palkhisohala has been designed as a military march and<br />
its glory lies in the performance of its participating Deendis. At the<br />
beginning of the Palkhisohala big Nagara drums on a bullock-cart<br />
are played to announce that the festival has begun. The Choughada<br />
is played by a person while walking. The Chopdar is a colourful, historic<br />
character in the modern Palkhisohala. To keep everyone walking<br />
in an orderly manner, and intruders and disturbances at bay, the<br />
Chopdar keeps an eye on everyone to maintain the discipline of the<br />
march ‘Devacha ghoda’, or the Horse of God takes its place alongside<br />
the Sardar’s (commander’s) horse. Behind it the holders of the<br />
‘Abdagiri’ (a shield that is a symbol of the region) march, as in the<br />
military. But in the context of the Palkhisohala the sign symbolizing
____________________________________________________________59<br />
a particular order of sects and their main deity is moulded onto this<br />
shield, or the ‘Abdagiri’. The Dehu-Pandharpur Palkhi has a special<br />
sign that is called Garud-Takke—a vehicle of Lord Vishnu’s Garud<br />
(falcon). Each Palkhisohala has its own shield. The Dehu Sansthan<br />
(organization) believes in the Vaishnav doctrine, which is why it is<br />
represented by the Garud-Takke. In the Mahabharata war all chariots<br />
had shields and flags. Since then the Sun, Hanuman, Moon, and<br />
all astrological signs are doctrines as well as beliefs. It is these signs<br />
which are moulded onto the ‘Abdagiri’.<br />
A shingadya is a person who sounds off at the beginning of<br />
the march with an instrument shaped like a semi-circle. The veena<br />
is the most respected instrument in the Deendi. Whoever carries<br />
the veena is a Veenekari. The veenekari is the most honoured figure<br />
in the whole Sohala. Each time an aarti is sung at a resting place,<br />
or the early Morning Prayer performed, he must present himself as<br />
the representative of the Deendi along with the Pakhawaj player.<br />
Actually, the veena and Pakhawaj are instruments played in Shiva<br />
temples all over India. Both instruments are played in the Shaiva<br />
tradition, but they have first preference in the Vaishnav tradition.<br />
Behind the veenekari walks the Deendi.<br />
In the order of honour the first in line of the Deendi is Malkachi<br />
Deendi—the Deendi of Dehu Sansthan, owner of the Palkhisohala.<br />
Jaripataka, another honour to the Palkhisohala, is a long,<br />
metal stick like a Dharmadand, and it confers the right to conduct<br />
religious discourses. Then the main Deendi of the festival marches<br />
ahead of the Rath (chariot which contains the palkhi) of the Palkhisohala.<br />
The Rath carries the Palkhi in which are placed the paduka
60____________________________________________________________<br />
(impressions in a mould of Tukaram’s footprints). The Rath is carried<br />
on the backs of a pair of bulls. Other Deendis walk behind the Rath<br />
in the order given.<br />
The Bhajanimandal Deendi is made up of four lines of Talkaris<br />
(clappers who use small brass cups struck against each other to<br />
produce a bell-like sound), with one or two pakhawaj players in<br />
the middle. Talkaris consist of 8 to 16 people. The Talkari lines are<br />
spaced so that walking is safe. Singers in the Bhajanimandal sometimes<br />
play the harmonium. Singer-musicians sing the abhangas of<br />
Tukaram, the ovis of Jnandev, Namdev and Janabai, the traditional<br />
‘Gavalan’ (love gossip about Radha and Krishna), the Bharuds of<br />
Eknath and other abhangas, and songs of devotion by other saints<br />
of the Varkari Sampraday such as Chokhamela, Savata Mali, Gora<br />
kumbhar, Bahinabai and others.<br />
The Tulsi-dharak, who carries the tulsi plant (used in<br />
ayurvedic medicine) on her head walks alongside a female group<br />
behind the Bhajanimandal; the woman kalshi-dharak walks with a<br />
pot of water (kalshi) on her head. The drinking water is distributed<br />
in the procession.<br />
There were 240 Deendis participating in the Dehu-Pandharpur<br />
Palkhisohala 2008, with roughly a minimum of fifty to a hundred<br />
men and women taking part in one Deendi.<br />
Deendi<br />
Deendis from a village come to register with the Dehu Sansthan<br />
so they can march with the Palkhi. Once registered, it receives<br />
its number. It may be ahead of the Rath or at the back. The same
____________________________________________________________61<br />
procedure applies to the Alandi Sansthan. The Deendi is a group of<br />
people participating in the march of the palkhi. In military terms a<br />
Shiledar or Patil represents his group in a military march. Likewise,<br />
the Deendi pramukh (or chief) is responsible for maintaining order<br />
and looking after his deendi. Since the Deendi comes under the<br />
Palkhi management, the Palkhi sohala resembles a senapati who<br />
leads a group of villages under his flag. Just as many deendis do<br />
under the Dehu Palkhisohala. There is usually one Deendi from a village,<br />
but there may be more deendis from that village In a Deendi a<br />
veenekari holds an honorary status in the Palkhi sohala. At each tal<br />
or overnight stop the veenekari must stand in the first row to sing<br />
the aarti when the palkhi arrives. The Bhajanimandal, including the<br />
pakhawaj-wadak (player) and talkaris, numbering roughly 8 to 14<br />
companions. The chopdar is responsible for maintaining order while<br />
walking or marching on the procession route. Varkaris participating<br />
in a deendi must walk only in their group and provide services such<br />
as bringing water, help out any member of the group, help in finding<br />
vegetables and milk on the way. The Deendi group carries enough<br />
food to last for 35 days. Women varkaris help to prepare food twice<br />
a day. The Tulsi-dhari woman and Ghada-kalshidhari woman represent<br />
Lord Vitthal’s favorite plant, the tulas. The tulas has many<br />
symbolic meanings. It is ayurvedic in nature, and acts as immediate<br />
medicine for anyone who falls ill during the journey.<br />
Ringan<br />
In the palkhisohala the ringan is the most important event,<br />
symbolizing two essential concepts: First, though the old military<br />
practice was transformed into the varkaris’ peaceful procession,
62____________________________________________________________<br />
the spirit of entertaining themselves remained the same. Secondly,<br />
the fitness of the varkari is important. People on the route who visit<br />
and have fun with the palkhisohala participate as spectators and<br />
join the march. Ringan shows how a battalion keeps its soldiers fit<br />
and mingles with the local culture. They exchange thoughts, play<br />
games, and demonstrate the best features of the tradition: hospitality<br />
and respect. Horses and other animals like goats and sheep<br />
are invested with a deep meaning in the tradition. In the military<br />
it was not only farmers with horses and bulls who fought in earlier<br />
times; sheep farmers also participated and carried out their duties.<br />
With regard to the belvadi ringan, sheep and goats were also included<br />
along with other aspects.<br />
Some may think of Ringan as the practice by Ram, Samudragupta,<br />
Chandragupta, Ashok and others known as Ashwamedh.<br />
Ashwamedh means the sacrifice of a horse, perceived as a degradation<br />
of Brahminical culture. To keep one’s peace of mind and society<br />
intact are paramount concerns today. The Ashwamedh could<br />
only be conducted by a raja (king). Its aim was to acquire power<br />
and glory, sovereignty over neighbouring provinces, and general<br />
prosperity in the kingdom. This aim does not represent the varkari<br />
tradition.<br />
In the Dehu-Pandharpur Palkhisohala there’s a gol ringan<br />
(running in circles) at Belwadi, Indapur, Akluj and Vakhri. At Malinagar<br />
and Bajiraochi Vihir there’s an Ubhe ringan (running straight).<br />
At Vakhari, Alandi and Dehu the palkhisohala comes together, along<br />
with other palkhis.<br />
Vakhri Tal
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Vakhri is five kilometers from Pandharpur. All palkhis arrive<br />
at Vakhri on the 10th day of Ashadh, or the day before Ekadashi.<br />
Pandharpur<br />
Pandharpur is one of the most important pilgrimage sites in<br />
Maharashtra. It sits on the banks of the Bhimā river, also known as<br />
the Chandrabhaga because of its half-moon-like shape. It is named<br />
after a merchant, Pandarika, who achieved self-realization there. In<br />
Marathi he is called Pundalik. His duty was to serve his parents, so<br />
he kept God waiting at his door. He himself passed away and God is<br />
still waiting to serve his disciple. Pandharpur is surrounded by the<br />
most Shaiva-influenced doctrines and practices within a radius of a<br />
hundred miles, encompassing Ganagapur, Akkalkot and the shaktipeeth,<br />
Tuljapur.<br />
The Vitthal temple on the banks of the Bhimā is the main<br />
attraction in Pandharpur; it is alternatively known as Pandhari.<br />
Pandharpur hosts four annual pilgrimages (varis) by Hindu devotees.<br />
Among them the pilgrimage in the month of Āshādh in the Hindu<br />
Shalivahan calendar attracts the largest number of pilgrims—around<br />
500,000 to 700,000 people. The pilgrimage in the month of Kārtik<br />
attracts the second largest number of pilgrims.<br />
On the south bank of the Bhima sits Namdev’s 13th century<br />
dwelling, which matches the scale of a wealthy person’s house.<br />
His affection for Vithoba and his writings helped the varkari cult<br />
become prominent in Maharashtra. Today all other cults like Prabhupada<br />
and Iskon sit on the opposite banks of the Chandrabhaga.<br />
Many Deendi groups bought land around Pandharpur and set up per-
64____________________________________________________________<br />
manent residence for the annual festival. Like the bhaktidham of<br />
Chakan and the Deendis of Khed. In the Pandharpur temple complex<br />
the Jnandev temple is on the right side, the Tukaram temple is on<br />
the left. The Namdev temple is in front.<br />
Chandrabhaga<br />
The river is an important part of Indian culture. It is the lifeline<br />
in rural areas. Certain religious and spiritual rituals are carried<br />
out in the flowing river water. As one of the five elements water has<br />
spiritual meaning. Seventy percent of the Earth is filled with water,<br />
as is our body. As we know, water is essential for our very existence.<br />
In romantic matters the moon is the most discussed in palm<br />
astrology. The geography of the Bhima river is thus: water flows<br />
around the hills, and at its greatest flow during the monsoons it<br />
covers the riverbed, enters the town of Pandharpur and floods its<br />
streets. The land around the town tilts to one side.<br />
In the Pandharpur area the Bhima river is called the Chandrabhaga<br />
because her course takes on the half moon’s semi-circular<br />
form. Fondly named this way as it appears like a half-moon, the<br />
actual Chandrabhaga river is called the Chenab in Jammu & Kashmir<br />
and Punjab. The temples one now sees in the riverbed may have<br />
been built centuries ago not in the riverbed but on the banks of the<br />
Bhima river. Further on it curves more and more inwards. One can<br />
see how this riverbed evolved. On the other side of the river is the<br />
13th century dwelling of Namdev and his ancestor. The evidence of<br />
that dwelling still exists. Theories of Vithoba as one who appeared<br />
as God to his disciples may have been questioned again and again
____________________________________________________________65<br />
in the past, and perhaps will be in the future. But physically and<br />
geographically the temples and riverbeds can be confirmed by witnesses.<br />
At the time of the festival many varkaris visit the Chandrabhaga<br />
and bathe in it, just as many Hindu pilgrims in the north do in<br />
the Ganges. During the procession all the palkhis go to the river and<br />
take baths in it along with Tukaram’s and Jnandev’s footprints. Then<br />
they return and proceed to pay a visit to the Vitthal temple.<br />
The Bhima begins in the heights of the Western Ghāts at<br />
Bhīmashankar and flows southeastward for 450 miles (725 km) in<br />
Mahārāshtra, joins the Krishna in Karnātaka, and flows out into the<br />
Bay of Bengal. The Sīna and Nīra rivers are major tributaries. The<br />
Bhīma runs through a deep valley, and its banks are heavily populated.<br />
Its water level is determined by changes in the monsoons; it<br />
no longer floods because of the huge Ujjani dam built on the river<br />
at Paithan. Local irrigation works augment the scant rainfall; major<br />
crops are jowar (sorghum), bajra (pearl millet), and oilseed. Sugarcane<br />
is an important irrigated cash crop.<br />
Vithoba<br />
The legends of Vithoba revolve around the devotee, Pundalik,<br />
who is credited with bringing this deity to Pandharpur, and with<br />
Vithoba’s role as a savior of the saint-poets of the Varkari tradition.<br />
“Vithoba”, “Pāndurang”, and “Pandharināth” are the popular names<br />
of the deity, Vitthal, who is considered the protector and savior of<br />
Lord Vishnu. Rakhumāi or Rukmini is Vitthal’s consort.<br />
The first myth of Vithoba is that of coming to meet his
66____________________________________________________________<br />
bhakta, Pundalik. The second myth is of his love for Lakhubai, the<br />
local woman. The third myth is about a shepherd who comes to help<br />
his beloved bhakta, and so on.<br />
There are controversial theories concerning the appearance<br />
of Vitthal in society. All of southern India is involved in these myths.<br />
These are local myths about human nature as well as a mixture of<br />
Shaiva and Vaishnav myths. Or one could say they grew out of the<br />
collective gratitude of the people They are bound to the idea of<br />
human freedom, and. lead humanity to its highest achievement:<br />
Secularism, and the principle that all men are equal. Nothing can<br />
come between God and man.<br />
The worship of Vitthal in the temple at Pandharpur is based<br />
mainly on the contributions of the Vaishnav saints of Maharashtra<br />
and Karnataka from the 13th to 17th centuries—specifically,<br />
Jnandev, Namdev, Eknath, Tukaram, Purandar Das, Vijay Das, Gopal<br />
Das and Jagannath Das have enhanced this worship.
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____________________________________________________________69<br />
The Varkari and Society<br />
Who is a Varkari? One who follows the path of devotion or<br />
the Bhakti Marga is a varkari. Another simple definition: one who<br />
walks in the Palkhisohala with a Deendi and follows the Varkari<br />
sect. The Varkari tradition is a part of the Bhakti spiritual tradition<br />
in Hinduism. Particularly in the Indian states of Maharashtra, Karnataka,<br />
Tamilnadu and Andhra Pradesh. In Marathi varkari means one<br />
who travels to Pandharpur during a certain period. For example,<br />
during the Ashadh and Kartik months in the lunar calendar. More<br />
precisely, a traveller in the Palkhisohala goes to Pandharpur from all<br />
parts of the above-mentioned states.<br />
The spiritual movement known as the Varkari Sampraday is<br />
so called because its followers travel hundreds of miles on foot to<br />
the holy town of Pandharpur.<br />
The Varkari tradition has had an all-pervasive impact on the<br />
life of common people in Maharashtra and elsewhere for more than<br />
seven hundred years since the 13th century. The varkari has looked<br />
upon God as the ultimate truth and has, paradoxically, equated Him<br />
with his relations: mother, father, brother, etc., who are of the utmost<br />
value in his social life. ‘Mauli’ is a word that refers affectionately<br />
to any unknown person. This sect has accepted the principle<br />
that men are ultimately equal. Humanity is everyone’s joint family.<br />
It stresses values such as individual sacrifice, forgiveness, simplicity,<br />
overcoming passions, peaceful co-existence, compassion, non-vio-
70____________________________________________________________<br />
lence, love. Humility in social life is illustrated by varkaris prostrating<br />
in front of each other because everybody is “Brahma”. All these<br />
values are the philosophical foundation of the Marathi Bhakti poets.<br />
The varkari sect tried to shape the attitude towards life of common<br />
people, which included the downtrodden castes and women. A<br />
person must cultivate a kind of detachment while living his life. The<br />
writings of the bhakti movements helped the common man lead the<br />
life he lives today.<br />
The Saints of the varkari tradition made it possible to realize<br />
the “Almighty” in very simple words as I’ve indicated above.<br />
Each of them wrote verses in plain language. Each saint has tried<br />
to express in his own style the chanting of the Lord’s name so as to<br />
feel at one with Him. Such a state of mind surpasses all desires and<br />
negative thoughts. It allows people to come together as one.<br />
A significant part of society has been transformed into the<br />
varkari sect from various other sects and religions as discussed in<br />
the spiritual and religious background of the Dehu-Alandi to Pandharpur<br />
pilgrimage routes. The vast socio-geographical background<br />
of the pilgrimage has played a major role in reforming society in<br />
secular terms. This transformation took time. As the rulers changed,<br />
so did the languages, and this had a profound influence on the faith<br />
and secular outlook of the varkaris. Sometimes, while leading a<br />
normal life, a very disturbing situation arises that blinds a person<br />
A person may then feel confused and end up disoriented in his own<br />
life or even in his social life. The varkari tradition is the one cultural<br />
certainty that provides solace.
74____________________________________________________________<br />
The sense of belonging<br />
A personal view
____________________________________________________________75<br />
In India I have very often been asked: how did you get interested<br />
in Tukaram? A question that is asked by common people,<br />
journalists, press reporters, critics and enthusiasts who know the<br />
background. They were simply puzzled by my passion.<br />
My journey led me from Umbraj to Bombay, and then to The<br />
Hague in Holland. I was a 17-year-old teenager from Umbraj, spent<br />
nine years as a Mumbaikar and twenty-five years as a foreigner. All<br />
these years I lived among different peoples, struggling to survive. I<br />
led a restless life, but never stopped reading and writing. I traveled<br />
along many highways and byways. In the process I kept remembering<br />
my village, which seemed so attractive compared to the rat<br />
race of city life and the absence of my mother tongue among different<br />
peoples in foreign surroundings. And so I became introverted.<br />
The distance made me even more aware of my childhood memories<br />
of the countryside, my culture and religion—they dominated my<br />
thoughts; and naturally found their way into my writing. My first<br />
collection of poems, “Dashak” (Decade) was partly influenced by<br />
these impressions.<br />
Tukaram’s roots in this soil are deep. When I first encountered<br />
his verses, my understanding had just begun, my eyes had<br />
begun to wander, my mind was receiving all sorts of impressions
76____________________________________________________________<br />
and it was all like a breath of fresh air. It was because of the discussions<br />
between my parents and relatives that I saw Tukaram and<br />
Jnandev depicted in the theatre, in keertan performances and in<br />
the pilgrimage to Pandharpur. I saw a small statue of Vitthal and<br />
Rukmini standing next to the God Khandoba, paintings and statues<br />
of varkaris and saints inside and outside the temples. These impressions<br />
were engraved on my mind from childhood.<br />
When I first read Tukaram, his work was very hard to understand—I<br />
kept making the effort. At the time I was just beginning to<br />
understand the power of writing. For my secondary school examinations<br />
I chose art history instead of mathematics. I wasn’t sure of<br />
further schooling, so to make a living I joined a firm that made film<br />
posters in Bombay. In 1979 I was taking lessons at the Art Academy<br />
in Mumbai. Visuals accompanied the words, and vice versa. I find it<br />
difficult now to recall which came first, the visuals or the words. I<br />
was interested in the arts, but didn’t put much effort into it. I was<br />
doing mostly stage performances.<br />
With my natural talent for the fine arts, I began to draw<br />
larger-than-life faces of movie stars, and colored them with oil<br />
paint. I realized the need for proper art education. I got admission<br />
to the Art Academy. I was supposed to attend evening courses in<br />
literature but it was simply not possible. I avidly read all kinds of<br />
new writing. In applied art, literature and the visual arts became<br />
more elaborate, supporting each other. I got more interested in my<br />
studies, won State Awards and people took an interest in my work.<br />
Drama, cinema, world trade fairs, literary publications and a new<br />
circle of friends occupied me day and night. After five years in an
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advertising course I obtained my Diploma of Applied Arts. And then<br />
started my mission to explore Tukaram’s Gatha in depth.<br />
I went through an unstable period of my life in terms of hope<br />
and confidence. I had come to know another world. Advertising was<br />
a glamorous field, but I wanted to gain a full awareness of my capacities<br />
and intellectual ability. I started gathering information on<br />
advanced study in the arts in foreign countries and cultures—I made<br />
my move accordingly. That’s how I arrived in Holland. From 1983 to<br />
1987 I lived in a completely different culture, with a different language<br />
and atmosphere. There were jarring contrasts: in the village<br />
I was a farm boy, in the city I was a country bum and in that foreign<br />
country I was an Indian. So I became conscious that I was nowhere—<br />
certainly not among my own people—and I felt like an alien.<br />
Whenever I got a chance I visited the farm and enjoyed my<br />
stay there. Why this longing? I kept thinking about this. Where on<br />
this earth would I not have the feeling of being a stranger? I tried<br />
to find an answer to this question. Gradually, I began to understand<br />
the spiritual harmony between Tukaram and Vithoba. I began to see<br />
the meaning of not belonging to a people or a place. This is not a<br />
happy state to be in: neither a believer or devotee, nor an atheist.<br />
Then I started to believe in my own being. During the past twentyfive<br />
years I’ve been travelling between Europe and India. I’ve seen<br />
many aspects of life, come across many incidents, but I still cannot<br />
answer this question: why do I live in Europe and not in India, or<br />
why in India and not in Europe. One might say this is paradoxical,<br />
but I don’t see it that way. I search for meaning in the paradoxes<br />
or contradictions that these different traditions present. Together
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they become a mixture of philosophies, cultures and traditions, out<br />
of which my life has acquired a new meaning. The devotee and the<br />
deity stand face to face, like Tukaram and Vithoba.<br />
The idea of combining visuals and poetry was fleshed out<br />
when I presented Dashak (Decade) in an exhibition. I selected ten<br />
poems and made paintings out of them. In one of the poems I realized<br />
the form of Vitthal. In the process of reading the abhangas in<br />
Tukaram’s Gatha the form became vivid. Images, forms, symbols<br />
and metaphors surface again and again in Tukaram’s verses. They<br />
inspired me. I produced drawings, paintings, sculptures, and graphics<br />
such as litho silk-screens. I have worked constantly in the spirit<br />
of meditation.<br />
During my travels to and from my native place I read many<br />
books to satisfy my hunger for knowledge. Among them were Dilip<br />
Chitre’s books, ”Punha Tukaram”, and”Says Tuka” (selected verses<br />
by Tukaram in English translation). They quickened my desire to<br />
critically examine Tukaram and his poetry.<br />
I’ve lived in Europe for the past twenty-five years. Visual art<br />
has been developing in Europe since the fifteenth century. Holland<br />
is the land of Rembrandt, Vermeer, Van Gogh, Piet Mondrian and<br />
many other masters. That golden age is known to Europe and the<br />
whole world as the art of and for the common man, but this happened<br />
only in Holland. I work here and simultaneously exhibit my<br />
works. The cultural face of Europe is changing. The art world has<br />
come to the end of the road, and all isms are feeding on themselves.<br />
Flashes of genius are now emerging the world over, not just<br />
in certain regions. Malevich, Paul Klee, Picasso, Miro, Dali, Henry
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Moore—all have passed into history. They have brought people<br />
to the museums so they can be spiritually enriched. Now the art<br />
scene is desperately seeking new horizons.<br />
I saw many images and forms in the dialogue between<br />
Tukoba and Vithoba. Those images and forms I put together, with<br />
colour, in the project “Your form is my creation”. It does not belong<br />
to any particular ism or style; it stands on its own. It is like a<br />
meditation on the visual world.<br />
Visual art has been well-developed in Europe over five centuries,<br />
and it has had its ups and downs according to the growth<br />
and development of Europe. Somewhere or other change takes<br />
place but we’re hardly aware of it in our lifetime, though we may<br />
be nearby.<br />
In April 2008 I came back to India by land from Holland<br />
with an art caravan. Along the roads of the Indian subcontinent I<br />
exhibited the work of artists from 80 nations in ten Indian cities,<br />
from Amritsar to Bangalore, under the title, SHOW YOUR HOPE—80<br />
Questions Around the World. I decided to travel with the Pandharpur<br />
<strong>Vari</strong> (pilgrimage) to experience a centuries-old tradition,<br />
sketch book and camera in hand to celebrate Tukaram’s 400th<br />
birth anniversary with his Palkhi. I walked with the common folk<br />
and witnessed the glorious celebration of the life of a great poet.<br />
This celebration by hundreds of thousands, full of life, speaks<br />
more persuasively than all the words of Tukaram and the other<br />
saint poets.
Alandi to Pandharpur Palkhisohala Route
Dehu to Pandharpur Palkhisohala Route
Vaishwik<br />
Pu n e