Bharat Ratna – Borderless

A Thinker who Fought for an Inclusive India

Book Review by Bhaskar Parichha

Title: Maulana Azad – A Life

Author: S.Irfan Habib

Publisher: Aleph Book Company

At a time when India is celebrating its 75th anniversary of independence, it is only fitting that Maulana Azad’s contributions to the country should be remembered. He was one of the most prominent Muslim leaders in India’s freedom movement, whose contribution to the establishment of the education foundation in India is recognised by observing his birthday across the country as “National Education Day”.

Azad became the youngest member of Congress to hold a presidential post. Using his position to work to re-unite the Swarajists and the Khilafat leaders under the common banner of the Congress. He opposed the Partition of India because he thought Muslims would be more powerful and dominant in a united India. After independence, he became the first Minister of Education in the Indian government. In 1992, he was posthumously awarded India’s highest civilian award, the Bharat Ratna.

Maulana Azad – A Life by S. Irfan Habib is “the biography of an independent thinker who fought for an inclusive India”. In this in-depth chronicle, historian Habib takes the reader through some of the most decisive moments in Azad’s life.

A widely published historian of science and modern political history, Habib was the Maulana Azad Chair at the National University of Educational Planning and Administration, New Delhi. He has authored To Make the Deaf Hear: The Ideology and Programme of Bhagat Singh and His Comrades and is the editor of Indian Nationalism: The Essential Writings.

Says the blurb: “Born into an orthodox family of famed Islamic scholars, Azad was deeply influenced by the pan-Islamic philosophies of Sir Syed Ahmad Khan and Jamaluddin Afghani. Azad had no formal education, but he was an autodidact who taught himself about culture, philosophy, languages, and literature. As a teenager, he successfully published several magazines and newspapers and went on to publish the immensely popular Urdu weekly Al-Hilal through which he tried to persuade Indian Muslims to shake off the shackles of British rule. He became inspired by Gandhi’s non-violent civil disobedience movement and was extremely critical of the Muslim League’s communal politics.”

Azad’s unusual upbringing, his illustrious family, upheavals in the Islamic world, and the initial inklings of Azad’s freethinking outlook on life. ‘Maulana Azad and Critical Thinking in Islam’ examines the various schools of thought, ethical questions, and pan-Islamic debates that shaped Azad’s religious attitudes and his approach to the idea of nationalism. ‘Azad, Islam, and Nationalism’ looks at Azad’s political career and his unwavering belief in composite nationalism and staunch opposition to the Muslim League’s sectarian politics. ‘Ghubar-i-Khatir Beyond Faith and Politics’ lays bare Azad’s philosophical moorings and personal likes and dislikes through a collection of epistolary essays written during his imprisonment in the Ahmednagar Fort prison in the 1940s. And, finally, ‘Building a New India’ charts Azad’s efforts to strengthen the country’s weak education system through initiatives aimed at primary and adult education, his efforts towards the scientific and cultural advancement of the country, and his contribution to the arts and culture of a newly independent nation.”

As Habib writes, “justice is all the more relevant to education as a process of harmonious nurture. Indeed, social justice commands a pivotal place in Azad’s general perspective, which influenced his educational outlook quite profoundly. He was conscious of the fact that a class or caste-ridden education system needed to be replaced by a more inclusive and just educational order. In 1948, while addressing the educational conference, Azad again reiterated that education, at any rate, must be pushed forward as rapidly as possible. We must not, for a moment, forget that it is the birthright of every individual to receive at least the basic education, without which he cannot discharge his duties as a citizen.”

Writes Habib : “With a view to gearing education towards the cause of democracy, he, in his very first official statement, referred to Disraeli’s verdict: ‘A democracy has no future unless it educates its masters.’” In independent and democratic India, with universal franchise as the key principle, the voter was truly the master of democracy, and Azad wanted this voter to be educated and aware. He was conscious of the sad inheritance of colonial inequalities, where 85 per cent of the country’s population was illiterate on the eve of Independence. Several classes and caste discriminations were discussed for the first time, and it was necessary to eliminate them immediately.

Azad was convinced, according to the biography, that the state had to play a key role in combating such social afflictions and provide everyone with the means to “the acquisition of knowledge and self-betterment”; however, the most disconcerting factor was the lack of necessary funds to carry forward the state’s responsibilities. Azad conceded with a sense of guilt as minister of education that the central government had allotted only 1 per cent of the funds in the budget for education. He therefore urged the Constituent Assembly to raise expenditure to 10 per cent.

Maulana Azad pursued the issue with passion and was able to raise the allocation from Rs 20 million to around Rs 350 million during his tenure as minister of education. On September 30, 1953, Azad addressed the nation on All India Radio, reiterating that “every individual has a right to an education that will enable him to develop his faculties and live a full human life.”

In about three hundred pages of inexorable text, Habib reconstructs the life of the remarkable man while arguing that Azad is more relevant now than ever before. An essential read for understanding India’s pre-independence history and the significance of a dedicated life.

Bhaskar Parichha is a journalist and author of Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

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Satyajit Ray Miscellany

Book review by Bhaskar Parichha

Title: Satyajit Ray Miscellany: On Life, Cinema, People & Much More

Author: Satyajit Ray

Publisher: Penguin Randomhouse

There could be any number of books on Satyajit Ray. Even after thirty years after his death, he continues to be written about. The present book Satyajit Ray Miscellany: On Life, Cinema, People & Much More, as the title suggests, is everything that the veteran filmmaker India had put in black and white.

As part of the Penguin Ray Library, the book has more than seventy rarest essays on filmmaking, screenplay writing, autobiographical pieces, and rare photographs and manuscripts.

“Ray is a singular symbol of what is best and most revered in Indian cinema” as the film director and scriptwriter, Adoor Gopalakrishnan, has put it and the actor, Ben Kingsley, complimented him: “Satyajit Ray, I salute you. The greatest of our poets of the cinema.”

One of the doyens of world cinema, Ray gave a “unique aesthetic expression to Indian cinema, music, art, and literature. His writings, especially, autobiographical works, thoughts on filmmaking, screenplay writing, and eminent personalities from art, literature, and music, among others, are considered treasure troves, which largely remained unseen and therefore less known till date.” Ray was a writer of repute – his short stories, novellas, poems, and articles, written in Bengali and translated into English, have been immensely popular. Author of the famous Feluda stories, Ray’s Bengali books have long been bestsellers.

Ray was awarded the Oscar for Lifetime Achievement by the Academy of Motion Picture Arts and Sciences in 1992 – the year he was also awarded India’s highest civilian honour the Bharat Ratna, and also when he breathed his last.

Writes Sandip Ray in the ‘Foreword’ to the book: “Since his schooldays, my father was a cinema addict in the true sense of the term – lapping up Hollywood movies of Billy Wilder, William Wyler, Frank Capra, and others as well as the timeless comedies of Chaplin and Keaton. The hobby gradually turned into a serious interest. The formation of the Calcutta Film Society in 1947 with a few like-minded friends opened to him the diverse range of European cinema, and in a sense, acting as a catalyst to his writings on cinema. In his first two articles, he heavily criticized the make-believe stereotypes of erstwhile Bengali cinema and called for soul-searching among the filmmakers. The result as he himself remarked later amusingly – ‘Nothing of that sort happened. The piece was simply shrugged off by the people of the trade as yet another piece of tomfoolery by some arrogant upstart who saw only foreign films and knew nothing of local needs and local conditions.’”

The book has been enchantingly divided into: ‘Satyajit Ray – A Self-Portrait’, ‘A Director’s Perspective’, ‘Personal Notes’, ‘Reminiscences’, ‘Festival greetings LP Sleeve Notes’, and ‘Miscellaneous Writings’. There is also a chapter on the ‘Preservation of Satyajit Ray Archives’. Together, these writings bring to the fore fascinating anecdotes of Ray’s eventful life.

About the art of Rabindranath Tagore, Ray wrote: “Tagore took to painting at a later stage in his life. Some manuscripts dating back to his youth show doodles in the margin which suggest a natural flair for drawing. After that, there is nothing to show that he had any interest in visual expression until, when he was well over sixty; fantastic forms began to appear in his manuscripts. Where one would normally cross out a word or a sentence, Rabindranath turned them into grotesque creatures. These emendations were stung together until the whole page took on the appearance of a tapestry of words and images. In time, paintings and calligraphic drawings began to appear as independent efforts, unrelated to manuscripts. Blue-black ink gave way to transparent colors, and the subjects became more and more varied. The output clearly suggests that Rabindranath was absorbed in his new pursuit and enjoying the experience. The lack of formal training was compensated by an instinctive feel for rhythm, texture, and spacing. There was also the calligraphic virtuosity when he used the pen. (His unique and beautiful Bengali handwriting– which came to be known as the “Rabindrik” script has been widely imitated.) But the brush, too, was frequently used. Some of the efforts were purely abstract while others dealt with subjects which covered a wide field.’

Ray considered scriptwriting to be an integral part of direction. Initially, he refused to make a film in any language other than Bengali. In his two non-Bengali feature films, he wrote the script in English; translators adapted it into Hindustani under Ray’s supervision. Such was the purist in Ray!

In the section ‘The Outlook for Bengali Films’ Ray was fairly real-world: “It is generally conceded that the film industry in Bengali is facing a big crisis. Some have gone so far as to predict a total annihilation of the Bengali film as such, and the sprouting up in its place of a product not dissimilar to the well-known type created by Bombay. This may be the height of pessimism, but there is no denying some alarming symptoms. Firstly, the area of exploitation of the Bengali film has been considerably reduced by the Partition; secondly, for reasons we shall presently examine, the exhibitors in Bengal have grown increasingly distrustful of the home product preferring the unpretentious, brassy, and frankly escapist products of Bombay and more recently, Madras.”

Nemai Ghosh was Satyajit Ray’s only cinematographer who did almost all his films. Ray wrote: “We founded the Calcutta Film Society in 1947 with the help of a few friends and associates. Nemai Ghosh was one of them. Like me, he was also enamoured by the cinema; so we got along very well. I was a mere cineaste then but he was already a practitioner as a cameraman. However, he harboured the desire to direct films himself at the back of his mind. The chance came his way during the late forties when he made Chhinnamul (The Uprooted, 1952) on the theme of Partition. It was the first instance of realism in Bengali cinema. But thereafter he was compelled to head for Madras for want of work in Calcutta and had to spend the rest of his life there. Being a leftist to the core, he did a lot for the cinema workers in Madras. We exchanged correspondence only occasionally. But whenever we met, the old warmth of friendship was revived. Today I am feeling his absence intensely and I am sure the cine workers of Madras are also feeling likewise.”

Satyajit Ray Miscellany, the second book in the Penguin Ray Library series, brings to light some of the rarest essays and illustrations by Ray that opens a window to the myriad thought-process of this creative genius. With more than seventy gripping write-ups and rare photographs and manuscripts, this 275-page book is undoubtedly a collector’s item.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL