BRP Bhaskar
Gulf Today
Over the centuries the legends of many communities have got incorporated into the belief systems of the people and found their way into religious texts. Some legends have been carried across land and sea borders and have got incorporated into the cultural traditions of other peoples.
Whether pure myths or embellishments of actual events of yore, legends generally play a useful role in a community’s life. They help communities nurture pride in their past and sustain themselves in times of adversity. But if they get out of hand, they can evolve into potential threats to others, and even to themselves.
Currently the country is facing a challenge with the powerful Rajput community rising in revolt against Padmavati, a film by National Award-winning Hindi film-maker Sanjay Leela Bhansali on the life of a legendary queen whom Rajputs - and other Indians too - adore as a symbol of honour.
Rajputs, spread across the Hindi-speaking northern states, are said to number about 43.35 million.
When Bhansali announced plans for the film last year, Shri Rajput Karni Sena, a Jaipur-based caste group of the Hindutva school held out open threats against him and Deepika Padukone, who was to play the role of Padmavati, alleging the movie distorted history and hurt Rajput sentiments. At that time no details of the script were available in the public domain.
Founded in 2006, the Sena already had a history of violent attacks on movies and television serials which it considered unacceptable because of their depiction of Rajput characters. Incidentally, all those characters had figured in several earlier movies without inviting any opposition.
The rise of Hindutva as a major political force and the emergence of various caste and religious organisations to protect or promote sectarian interests explain the change that has come about. The rising tendency among such groups to take the law into their hands makes the situation worse.
Bhansali later revealed his script is based on the epic poem by 16th century Sufi poet Malik Mohammad Jayasi, and said it was a tribute to the sacrifice, valour and honour of Rani Padmavati.
Jayasi’s is the earliest available account of the story of Padmavati, an exceptionally beautiful princess whom Chittor’s Rajput ruler Ratan Sen wooed and won. Others enchanted by her beauty included Delhi Sultan Alaudun Khilji and Kumbhalner ruler Devpal.
In Jayasi’s work, Devpal kills Ratan Sen in a duel. Khilji lays siege to Chittor, and Padmavati and other women fight bravely before immolating themselves to avoid falling into enemy hands.
Jayasi wrote his epic in Awadhi, a language spoken in parts of present-day Uttar Pradesh. It is evidently a piece of fiction, not a work of history. In it, Padmavati (in some extant versions of the story the name is Padmini) is the daughter of the King of Simhala Dweepa (Sri Lanka). Ratan Sen hears of her beauty from Hiraman, a talking parrot.
Khilji ruled over Delhi from 1296 to 1316. Jayasi composed his Padmavati in 1540, some 224 years after Khilji’s death.
Bhansali has made highly successful films which go well with the Hindutva ideal. But that did not save him from Rajput fury over the imagined affront to the community’s honour. When he started shooting at Jaipur the Sena vandalised the sets and assaulted him. It, however, showed the good sense not to carry out the threat to chop off Deepika Padukone’s nose.
Padukone had said earlier, “As a woman, I feel proud to be a part of this film, and to tell this story which needs to be told now.”
The film is now ready for exhibition, but as Rajput anger remains unabated no date has been set for its release.
When film producers ran into such situations in the past, they were left to fend for themselves. In a marked departure from that tradition, the film fraternity has rallied behind Bhansali.
On November 26, in response to a call by a score of organisations, the Hindi film and television industry observed a 15-minute blackout, in a demonstration of solidarity with Bhansali, with the slogan “Main azaad hoon” (I am free). Two days later the Bengali industry followed suit.
As legend holds the society hostage, the government and the political parties, unwilling to antagonise a powerful community, remains in a virtual state of paralysis.
Gulf Today
Home for many millennia to countless communities, each with a host of colourful legends of its own, the subcontinent is arguably the world’s biggest treasure house of folktales.
Over the centuries the legends of many communities have got incorporated into the belief systems of the people and found their way into religious texts. Some legends have been carried across land and sea borders and have got incorporated into the cultural traditions of other peoples.
Whether pure myths or embellishments of actual events of yore, legends generally play a useful role in a community’s life. They help communities nurture pride in their past and sustain themselves in times of adversity. But if they get out of hand, they can evolve into potential threats to others, and even to themselves.
Currently the country is facing a challenge with the powerful Rajput community rising in revolt against Padmavati, a film by National Award-winning Hindi film-maker Sanjay Leela Bhansali on the life of a legendary queen whom Rajputs - and other Indians too - adore as a symbol of honour.
Rajputs, spread across the Hindi-speaking northern states, are said to number about 43.35 million.
When Bhansali announced plans for the film last year, Shri Rajput Karni Sena, a Jaipur-based caste group of the Hindutva school held out open threats against him and Deepika Padukone, who was to play the role of Padmavati, alleging the movie distorted history and hurt Rajput sentiments. At that time no details of the script were available in the public domain.
Founded in 2006, the Sena already had a history of violent attacks on movies and television serials which it considered unacceptable because of their depiction of Rajput characters. Incidentally, all those characters had figured in several earlier movies without inviting any opposition.
The rise of Hindutva as a major political force and the emergence of various caste and religious organisations to protect or promote sectarian interests explain the change that has come about. The rising tendency among such groups to take the law into their hands makes the situation worse.
Bhansali later revealed his script is based on the epic poem by 16th century Sufi poet Malik Mohammad Jayasi, and said it was a tribute to the sacrifice, valour and honour of Rani Padmavati.
Jayasi’s is the earliest available account of the story of Padmavati, an exceptionally beautiful princess whom Chittor’s Rajput ruler Ratan Sen wooed and won. Others enchanted by her beauty included Delhi Sultan Alaudun Khilji and Kumbhalner ruler Devpal.
In Jayasi’s work, Devpal kills Ratan Sen in a duel. Khilji lays siege to Chittor, and Padmavati and other women fight bravely before immolating themselves to avoid falling into enemy hands.
Jayasi wrote his epic in Awadhi, a language spoken in parts of present-day Uttar Pradesh. It is evidently a piece of fiction, not a work of history. In it, Padmavati (in some extant versions of the story the name is Padmini) is the daughter of the King of Simhala Dweepa (Sri Lanka). Ratan Sen hears of her beauty from Hiraman, a talking parrot.
Khilji ruled over Delhi from 1296 to 1316. Jayasi composed his Padmavati in 1540, some 224 years after Khilji’s death.
Bhansali has made highly successful films which go well with the Hindutva ideal. But that did not save him from Rajput fury over the imagined affront to the community’s honour. When he started shooting at Jaipur the Sena vandalised the sets and assaulted him. It, however, showed the good sense not to carry out the threat to chop off Deepika Padukone’s nose.
Padukone had said earlier, “As a woman, I feel proud to be a part of this film, and to tell this story which needs to be told now.”
The film is now ready for exhibition, but as Rajput anger remains unabated no date has been set for its release.
When film producers ran into such situations in the past, they were left to fend for themselves. In a marked departure from that tradition, the film fraternity has rallied behind Bhansali.
On November 26, in response to a call by a score of organisations, the Hindi film and television industry observed a 15-minute blackout, in a demonstration of solidarity with Bhansali, with the slogan “Main azaad hoon” (I am free). Two days later the Bengali industry followed suit.
As legend holds the society hostage, the government and the political parties, unwilling to antagonise a powerful community, remains in a virtual state of paralysis.
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