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Essay

Anadi: A Continuum in Art

Ratnottma Sengupta revisits an exhibition full 25 years later

Images from exhibits at Anadi . Provided by Ratnottama Sengupta

On November 1 of 1956 was born a state in Central India called Madhya Pradesh. And 44 years later, on exactly the same day of November 1, in the year 2000 it was remapped. A new state — Chhattisgarh — was carved out of the land that had been home to the oldest Indians: the men and women who had peopled the caves at Bagh and Bhimbetka. 

Standing at the threshold of that new beginning, I had curated an exhibition titled Anadi – that which has no beginning and, therefore, no end. The exhibition card was designed by M F Husain who came on the inaugural day in Delhi. The next day was graced by the presence of Madhavrao Scindia, scion of the royal family that continues to throw up political leaders. I was fortunate to have friends like collectors Anand Agarwal and H K Kejriwal, bureaucrats Bhaskar Ghose and Sarayu Doshi, art lovers like poet Gulzar and artists like Yusuf Arakkal. Happily, then, the exhibition travelled to Birla Academy in Kolkata to Chitrakala Parishath in Bangalore to the National Gallery of Modern Art in Mumbai. And with it travelled a batch of youngsters who were soon to be among the most sought after names in Indian Contemporary Art.

What made that exhibition so special? The card? The multi-venue display? The star viewers? The exhilarating combination of tribal paintings, figurative sculpture, and abstract images? Twenty five years later, I will look back to find an answer.

Images from exhibits at Anadi . Provided by Ratnottama Sengupta

At the intersection of two millennia I was amazed to note there was no rupture in continuity. Anadi offered a fresh look at a continuum that lives on beyond the geopolitical redefinition, because it began at a time when Chhattisgarh was not Madhya Pradesh, nor the Central Province of the Raj. Bhopal, Indore, Raipur, Jagdalpur, Sanchi, Vidisha, Malwa… these cities had no chief minister back then, nor a Prime Minister. Why, there were no Begums nor a Buddha. No Baj Bahadur loved a Roopmati nor did Kalidasa send a Cloud as Messenger. It was a time when the intrepid fingers that harnessed stones and hunted hides also painted rocks to sing of life. In the process – around 10,000 BCE – they crafted the rockbed of Indian Art at Bhimbetka, the UNESCO World Heritage Site mere miles away from Bhopal.

Bare lines that captured with only a twist and a turn the vigor of hunting and the verve of dancing, rock art is that elusive genre which is narrative, figurative and abstract – all at one go. And that is a characteristic common to the tribal stream of art which flourishes in the state from a forgotten past. There is a story in every figure painted by Bhuri Bai or Sukho Korwa. She paints a cart and tells you of the festival day when on its wheels it goes round habitats, collecting all the bimari and driving illness out of the village. He paints a bird that pounces on a snake which devours a rat, recounting the lifecycle that sustains ecological balance. But where is the third dimension? Where’s the likeness to the world of five senses? We see no effort here to evoke either. Instead, there is a stylization which is unique to the region that is home to the Bhil, Gond, Sahariya, Baiga, Saur and other tribes. A stylisation that abstracts the essence of the physical reality they celebrate through colour and line.

Images from exhibits at Anadi . Provided by Ratnottama Sengupta

Dots and crosses, circles and squares all come into play as the vivacious blues and reds, yellows and greens acquire life. A line is not simply a straight line or curve: that would be an unappetising repetition. The quest for variety and individuality finds Kala Bai, Lado, Sumaru break up the lines into an intricate arrangement of countless motifs. When the subject is the same, as too the colour, it’s the dots and crosses, dashes and stars that give the work the imprint of individuality. In the process, these artists who work in a community and send off their creations to markets in distant cities, have worked out a way of ‘patenting’ artistic property. Tradition did not require them to ever sign off a work with their names. In the age of copyright awareness and intellectual property rights, they might put their signatures on the canvas – but the unmistakable imprint of the artists lie in the manner of their assembling the familiar patterns.

That, make no mistake, is the sign of a master, be he in the tribal mould or a modernist. For corroboration, we have only to look at a painting by Maqbool Fida Hussain, N S Bendre or Syed Haider Raza. Madhuri or Mahabharat, Gandhi or Indira, M F Husain constantly painted figures. Eminent and easily recognised ones at that.  And yet, they lived not in the details of their features but in the lines and colours that spelt ‘Husain’ to seasoned viewers. Likewise Bendre’s forms had little concern for photographic realism. In Raza’s case, it is the arrangement of colourful geometrical bindus (circles) and squares alone that speaks of the artist. So, regardless of whether or not there is a ‘McBull’ or ‘Bendre’ inked on the canvas, we readily identify these masters who, incidentally, all came from this same state of Madhya Pradesh.

Images from exhibits at Anadi . Provided by Ratnottama Sengupta

Note one more thing about these names. Each of them had set new watersheds for Indian contemporary art. All of them had opened up new avenues for artists who came after them.  Bendre, the first to head the art education at the Maharaja Sayajirao University of Baroda, gave not just one more centre for mastering the brush. He gave shape to an institution which still assimilates the best of the home and the universe, giving the MSU artists a rare acceptability in India and in the West. Raza, who lived in Paris for years and years, did not sever his umbilical cord with this soil, yet carved a niche for Indianness in the Mecca of contemporary art. And Husain? The life as too the art of this ‘Picasso from Indore’ had become a legend in his own lifetime.  Who else but MF could raise the high water mark at auctions, again at again, at home and abroad? Who but him could open up the markets for Indian artists, including those who preceded him like Jamini Roy?

Images from exhibits at Anadi . Provided by Ratnottama Sengupta

Talking of the masters who opened vistas, especially in the context of Madhya Pradesh, one comes to J Swaminanthan who facilitated a two-way transaction. While holding the reins of Roopankar Museum in Bhopal, he assimilated tribal art to such an extent that he could understand it, explain it, talk about it, write about it and paint after them, using their earth colours, and the bareness of their lines. At the same time, the outsider who became an insider gave, through Bharat Bhavan, all of Madhya Pradesh a new standing in the realm of contemporary art. Artists from all over the country would congregate in Bhopal with their art, exhibit it, discuss it threadbare in seminars, impart it to those keen to learn. Small wonder, the state boasts a host of artists like Akhilesh and Anwar, Seema Ghuraiya and Manish Pushkale, Yogendra and Vivek Tembe, Jaya Vivek and Jangarh Shyam. Artists who steal the attention of the world today.  

This breed, which was born with the emergence of the state, came of age in artistic terms as the province consolidated its presence on the marquee. And an overwhelming number of them express themselves in just lines and colours. They care not for things like market – which seems to have an insatiable appetite for figurative art. Nor for the narrative tradition of the forefathers who painted on rocks. These neo-masters are all distilling forms, extracting experiences, working out their own equations with abstraction.

But, come to think of it, isn’t this exactly what the original artists of this land – and every other land on earth – set out to do when they picked up the sharpened tool that was millennia away from the paint brush? 

Ratnottama Sengupta, formerly Arts Editor of  The Times of India, teaches mass communication and film appreciation, curates film festivals and art exhibitions, and translates and writes books. She has been a member of CBFC, served on the National Film Awards jury and has herself won a National Award. 

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Review

Mapping Raghu Rai: A Photo Journalist’s Journey

Book Review by Malashri Lal

Title: Raghu Rai: Waiting for the Divine

Author: Rachna Singh

Publisher: Hawakal Publishers

“My story should remain simple, step by step, click by click.”   -- Raghu Rai

Rachna Singh, notebook and recorder tucked in her bag, pen in hand, first meets Raghu Rai in his picturesque home nestled in the Mehrauli forest of New Delhi, a landscape with occasional medieval structures peeping through the trees. Away from a concrete encrusted city, Rachna, a patient biographer, knows that the legendary photographer whose images shaped the visual progress of a nation, has his own deep stories.  But will he reveal them? She pries the tales open by carving pathways through Raghu Rai’s photos— and a remarkable book about the person behind the camera is captured by a literary image-maker, in this sensitive, tender, and insightful biography. Rai permeates  a series of chapters that play intricate games with memory because every frame in the camera is connected to myriad threads of experience.

Since the book is sub-titled “Waiting for the Divine”, I naturally look for references to Mother Teresa and the Dalai Lama to discover how the transcendent power of Raghu Rai’s photos of these two personages emerged. Entry into sacred precincts is never easy, and a camera in hand signals a definite obstacle. However, at the Sisters of Charity in Kolkata the photographer is permitted to follow the Mother unobtrusively. Yet, when a curtain flutters to reveal angel-like nuns and Rai dives to the floor to catch the best angle and the right light, even the Mother’s equanimity breaks and she is aghast! From such “shadowing” emerges the divine photograph titled “Mother Teresa in Prayer” with every crease in the luminous face catching the glow, an expression transporting her to realms beyond ordinary comprehension.

If Raghu Rai’s association with Mother Teresa is marked by reverence, his link with His Holiness the Dalai Lama is marked by friendship—one that extends to warm handshakes and brotherly embrace, informal conversations and a conviction about universal compassion. Says Rai, “His Holiness is an uninhibited, wonderfully loving man. How gracious of him to say he is my friend.” Again, it is the camera lens that reveals remarkable facets of the Dalai Lama– his childlike smile as also the sombre spiritual leader of a people in exile. Rachna Singh recounts an almost surreal story of a protective stone gifted to Rai by His Holiness that saw him survive a severe heart condition of ninety percent blockage while still chasing images of a crowded procession!

This takes me back to Rachna Singh’s intention, “My book is not a third-person memoir nor a chronological recounting of Raghu Rai’s life. Instead, it unfolds through candid conversations, inviting the readers into an intimate dialogue.” The reader’s response being part of her textual strategy, I too could add my account of the mystical energy felt in the presence of the Dalai Lama. The book’s attraction lies in this fluidity of the biographer, her subject and the reader being part of the evolving discussion of the deep philosophical pool from which photos are created. The trajectory of Raghu Rai’s life is well known—the photo journalist with The Statesman and India Today; his famous photo essays in the international magazines Time, Life, The New Yorker and numerous others, the award of a Padma Shri, his eminent friends and compeers, but Rachna Singh’s book probes Rai’s mind, his consciousness, his search and his beliefs. Therefore, it offers gems of information through anecdotes and the atmospherics of events, and some delectable quotations in Punjabi and English.

I turn here to Raghu Rai’s series on the Bhopal gas leak of 1984. “The black and white picture of a dead child, eyes open, staring sightlessly into space, lying in the rubble with a hand gently caressing the ravaged face in farewell,” describes Rachna, calling Rai a ‘Braveheart’ who painted a “searing picture of the tragedy.” The conversation is strangely matter of fact as though both the biographer and her subject are numbed by the enormity of that night of terror. Did Rai fear for his health or safety in the toxic air? The answer is “No” because the human pain around was greater than the instinct for self-preservation. All the journalists visited the mass cremations, the hospitals, the dead and the dying as though it was a “job”, Rai being practical enough to say, “You cannot let your spirit turn soggy with emotion.” Those of us who read of such tragedies and see photos in newspapers while sipping our morning tea should admire the intrepid people providing the raw material from ground zero.

Another memorable series was on Bangladesh refugees after the 1971 war—emaciated women and men often carrying sick children in baskets. Rai had been in the frontlines of the war and had once been surrounded by a hostile mob. Rachna is on tenterhooks as he narrates the details but he declared “I was more excited than scared … there was actually no time to feel scared.” At one time he even smiles and says, “It was a lot of fun.” Which brings me to probe the extraordinary grit and strength of photo journalists or reporters from war zones. Where does compassion and newsworthiness meet? Is image more important than the decimated human body? What lasting imprint does such witnessing leave?

Perhaps the answer lies in Raghu Rai’s quest for the Divine—beyond image, outside time. He was born in pre-partition India, in the village of Jhang that is now in Pakistan. He speaks haltingly of the childhood terrors—homes in flames, of escape in the pre-dawn—Rachna notes the tremor in his voice and the reluctance to recall those years. Yet she astutely links Rai’s portrayals of hurt and human sorrow, his sensitivity yet distancing from those early experiences. Finally, it’s been a holistic calm. Rai is quoted: “Photography has been my entire life—it has, in fact become my religion, a faith to which I have dedicated myself completely. My craft led me toward a meditative path that gave me insights to life and the divine.” And that quest bridges the beatific and the aesthetics in this most commendable book.

Malashri Lal, writer and academic, with twenty four  books, retired as Professor, English Department,  University of Delhi. Publications include Tagore and the Feminine, and The Law of the Threshold: Women Writers in Indian English. Co-edited with Namita Gokhale is the ‘goddess trilogy’, and also Betrayed by Hope: A Play on the Life of Michael Madhusudan Dutt  which received the Kalinga Fiction Award.  Lal’s poems Mandalas of Time has recently been translated into Hindi as Mandal Dhwani. She is currently Convener, English Advisory Board of the Sahitya Akademi. Honours include the prestigious ‘Maharani Gayatri Devi Award for Women’s Excellence’.

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Excerpt

Bandits and a Cursed River in Chambal Valley

Title: Did I Really Do All This: Memoirs of a Gentleman Cop Who Dared to be Different

Author: Vijay Raman

Publisher: Rupa Publications

Bandits and a Cursed River

When I began my career in the dacoit-infested region of the Chambal Valley in Madhya Pradesh (MP), I faced different kinds of issues.

I was first posted in Dabra where there are dacoits. In such places certain people come to you offering information that will be useful to us. These are our mukhbir, informers. Some come for the pittance of money that is sanctioned to us as anti-dacoity funds for meeting emergency expenses. But most come with an ulterior motive: they want a kill. ‘We will give you information that you need and will find very hard to get without me. But you have to kill the man,’ they would say.

As ASP Dabra I had 10 police stations under me. One was at Pandokhar, a village between Jhansi and Gwalior, on the (Uttar Pradesh) UP–MP border. A very pleasant-looking chap from there would come to me, always smiling, always making conversation, inquiring about my health, telling me whatever was happening in the village. When I asked for information, he would say, ‘Saheb, sab theek hai, it’s all good, Saheb!’

I would ask if there was any news of the dacoits, and he’d say ‘No Saheb, there is no movement.’

One day he said, ‘Aaj shaam ko jayenge Saheb. We’ll go this evening.’

It was December 1978. I distinctly remember the day: India was playing Pakistan in the Asian Games hockey finals in Bangkok.

One of the problems in that area, particularly for a young newcomer, is this: Whom do you trust? Is the informer trustworthy? Is the subordinate you share the information with trustworthy? I realized that ultimately it had to be your call, based on some homework, your own observations, and your intuition.

One dictum I always followed was to stick to the informer’s plan as much as possible. Anything else would make him suspicious. So I asked him what we should do. He said that this was Devi Singh’s gang, of seven or eight people. They were going from MP to UP to conduct a burglary since it was a full moon night. They would go on bicycles—yes, the dacoits those days went around on bicycles!—and he would be with them. When we arrived at the ambush area, he would ring his bicycle bell and that would be the signal for us to spring into action. All we had to do was surround them, fire two shots into the air, and they would be ours: an easily doable plan which otherwise might be most difficult to execute!

Bidding a mildly regretful goodbye to the hockey commentary on the radio I got into my vehicle and left for Pandokhar, about 60 km from Dabra. I shared my information with the sub-inspectors and inspector in the police station there. Soon the word spread, and from their reaction I could see that this was a very dangerous gang of dacoits. There was consensus that these fellows deserved the ultimate punishment.

We walked to the location, a distance of about 10 km, and took our positions before dark. There was no way I would find out the results of the hockey match there! Sure enough, a group of cyclists arrived. Someone rang a bell. That was our signal, and we surrounded them. And that’s when some of the constables recognized him. ‘Arre! Yeh toh Devi Singh hai! And there’s a big price on his head!’

Dying Declaration

Now the drama begins for a young police officer fresh out of the academy that trains to say no third degree, no this, no that. And with just one year of service, I was still carrying the commitment to uphold the law, protect human rights, behave as the Constitution expects me to. But was it possible when facing a rebellious group of subordinates who want a kill? Before my eyes, some of them were getting ready for violence. When some senior constables and sub-inspectors pacified them they protested, ‘Why should we let them go? They are crooks, they deserve to be killed.’ We tried to convince them that we must arrest them, take them back to the police station, and let the matter be resolved in a courtroom. But that would never work, they argued, because they would bribe the authorities and get away. So they must be killed now!

After a lot of persuasion they relented. They requisitioned a bullock cart from the village, put me in it, tied the hands of the dacoits together, and tied the rope to the bullock cart so that they could not escape. And all along the way they expressed their rage by thrashing Devi Singh, a bald-headed fellow, on the head with his own chappals!

*

My mind was in turmoil. Was I doing the right thing? And why was there so much anger against him from the lower constabulary? I was on the verge of being manhandled by my constables for my stand. Luckily there were sub-inspectors who could restrain them. Was this the sense of discipline we had in the police?

Back in the police station, I phoned my senior officer, a very fine Superintendent of Police (SP) from whom I learnt many practical aspects of policing. It was nearly midnight, so I started by excusing myself for calling at that hour, but I was speaking from Pandokhar and had just returned from an encounter. He must have wondered whether this kid from the south even knew the meaning of ‘encounter’. He disconnected with instructions to see him in the morning.

I had done exactly what my informer had asked me to do—and I had arrested seven members of a gang. We had fired only two rounds of ammunition.

We sent out the required messages to all the police stations in the district, informing them that Devi Singh was in our custody, giving information about the location, number of people arrested, and other details of the encounter. And we were astonished at the large number of requests from all around asking for them to be handed over for trial.

*

The next morning I reported to my headquarters in Gwalior, met my SP, and discussed with him my thoughts and feelings about the encounter. When I told him that we must control the level of indiscipline we have in the force, the seasoned officer counselled me, ‘These are things we have to take in our stride. In the course of time you will also learn how to go about it!’

I was feeling quite pleased with myself for the excellent work done but my SP was more than a little amused. ‘Raman, you fired only two rounds! How can you have an encounter with a dacoit when the police fire only two rounds? I’m sure even the dacoits would have fired more than that. You were just very lucky that you did not get massacred. Firing two rounds is not an encounter Raman! Go and take his dying declaration, and let’s close this matter.’

I was familiar with the belief that a person on the verge of death will not lie. Therefore greater credibility is given to such a statement. Little did I know that soon this episode would come back to haunt me.

The Price of Being Idealistic

Every day we would receive the daily situation report (DSR). It mandates that events such as blind murder, unidentified dead bodies, and other serious offences must be supervised by either the SP or the ASP.

One day I received a report of the discovery of an unidentified dead body. Somehow the name of the place, which fell under the police station of Pandokhar, rang a bell, and I found myself rushing towards it with a growing sense of dread. It was about 100 km from Gwalior and by the time I got there the body, though badly mauled and with limbs dismembered, had been identified. Beside it sat a woman clutching two children tightly to herself and wailing loudly.

It was a terrible feeling to know that this was my fault. I was responsible for the death of this informer. I was the person responsible for all those who were killed by Devi Singh after his release, until he was terminated by my junior, SP Asha Gopal. It always remained on my conscience that my actions, though purely to uphold human rights and protect human life, had led to so much violence and misery.

These thoughts often disturb sensitive police officers, making them face a dilemma that nobody else can help them solve. For myself, I had resolved that following the law was not just my duty but also my dharma, righteousness. However, even in my life there would occur situations when, in the heat of the moment, it might become necessary to take decisions not in keeping with strictly legal procedures. But this would NEVER be for personal gain, and only, ONLY for the greater good.

*

People of my generation who grew up in India would have read about the dacoits and what they did. Some might have a sense of the terrain in which the Chambal dacoits lived. But today’s youngsters, especially those unfamiliar with the place and time, would not understand what it was like, or the obstacles and dangers that were involved, in policing back then.

Chambal is a large area with a peculiar topography of dunes and ravines not seen anywhere else in India. These were formed by the force of water cutting through the land. For an outsider, the area was difficult to navigate. There are settlements and villages even in the midst of the ravines, and it was impossible to know whether they were already there when the ravine formed or whether the ravine grew around them. To get from one place to another was extremely difficult for anyone unfamiliar with the area. You could get hopelessly lost, as in a maze. However, once you began to understand the geometrical pattern of the ravines, it became easier to know where to enter. Over time, the surroundings became familiar.

Other than the terrain, the people of this region were also unique. Their culture developed almost in isolation, and while they had a lot in common with people of the neighbouring areas, some of their attributes were distinctive.

They had a strong sense of justice. One that was different from what we were used to. When I studied Law, what fascinated me was understanding the causes that had given rise to a law. One of the sources of a law is the customs of the people. When a custom is predominant, the wisdom of the legislature will formulate the custom into a law that can be implemented. And some of the customs in this region are what have shaped the indigenous laws here.

Thus, people here were deeply conscious of caste; not just in terms of untouchability but also as a pecking order. While Brahmins were at the top, there were various subgroups—Sharmas and Mishras, among others—and these had their own hierarchy. This applied to how they spoke and were spoken to, or where they stood or sat in a public gathering. Indeed every social interaction was strictly dictated by caste, marriage being the most carefully monitored.

Lower castes were also kept firmly in their place. Any breach of these age-old rules was taken extremely seriously and was bound to have consequences, sometimes fatal. If a person felt aggrieved or insulted, they would hit back. But there were exceptions and unexpected alliances emerged. Notorious dacoit Maan Singh, a legend in his lifetime with a temple to his name, was from a higher caste but his gang had many dacoits from lower castes.

Secondly, women were held in the highest esteem and no misbehaviour against a woman was condoned. It may seem strange to hear that a region famous for its law-breaking dacoits could have been so particular about the safety of and respect for women, but it was so. The women were, of course, expected to behave with all propriety in order to deserve this veneration.

Next, the people in this region were very, very possessive about their land. This may well be true of everybody everywhere. But the intensity of this feeling, and the response to any infringement in this, was extreme. Any transgression would immediately be punished, and not with a simple imprisonment, because this was not a minor offence but a serious one that deserved death. And it was the same when the modesty of a woman was outraged.

Linked to all this was the prestige derived from the ownership of a licensed weapon. Whether a 12-bore gun or a weapon of any calibre, displaying it was as much a source of prestige as a row of ribbons and medals might have been to someone from the forces, or a car brand for a city dweller of today.

With this uncompromising, cast-iron value system, life was sometimes quite difficult. Let me tell you about a case that took place during my time in that area. One evening, two brothers returned home after working all day in their fields. They sat in front of their home, smoking hookahs, relaxing, waiting to be served dinner.

One brother said, ‘I’ve been wondering whether I should also buy an animal, maybe a cow or a buffalo.’

‘Oh really?’ the other replied. “And where do you plan to tie it?’

‘Right here,’ said the first brother.

‘Really?’ the second responded. ‘But this is my land! You can’t tie your cow here!’

The first brother jumped up and walked indignantly into the house. He brought out a short wooden post and a hammer, with which he hammered the post into the ground. This was the kind of post used to wind rope around and tie cattle to. With this, the first brother had established his right to tie his cow right there.

Furious, the second brother too jumped up and strode into the house. He went in, brought out his weapon, and simply shot his brother down. Such was the value of land.

In short, legality and morality have their own geographical boundaries!

*

Another incident took place some years later. By then I had some credibility with the local people.

A Dalit boy from Umri village got married. The marriage party had gone to the bride’s village and, after the wedding rituals, were bringing her home in a procession with musicians playing and people dancing. On the way they passed some Thakur homes. Some young men who sat smoking on the veranda watched with contempt and passed snide remarks. As the boy ceremoniously walked with his new bride into the house, a lewd comment was heard by all: ‘These chamars sure know how to pick their beauties!’

Loud, mocking guffaws rang out.

I should mention here that the use of the caste name ‘chamar’, with the intent to insult or humiliate is an offence today, punishable under the provisions of the Scheduled Castes and Scheduled Tribes (Prevention of Atrocities) Act, 1989.

The ceremony of welcoming the bride into her new home continued with all its formality. But as soon as it was over, the groom picked up his gun, loaded it, and walked to the house where the spoilt Thakur brats still sat smoking. Taking aim, he shot and killed the boy who had made the mocking remark. In cold blood, in broad daylight. And in doing this, he was simply following the law dictated by the customs followed in this place.

For us it was a different situation altogether. The Thakurs were up in arms, the Dalit boy was absconding, and the entire chamar community had lined up, ready for a bloodbath. We had to prevent it! I spent a very tense 34 days searching for the boy in the maze-like ravines and meeting the leaders of both the communities to placate them. I was unable to sleep, constantly alert, constantly watching for any sudden movement on either side. Ultimately the boy surrendered and was sentenced.

This was the consequence of a ‘simple’ insulting comment. There is an entire framework that prescribes what the punishment should be, and in a case like this, it is different from our existing laws. Who can we blame? The people with a tradition of a certain law, or the police and the judiciary, with their own fixed sense of justice and punishment?

*

People ascribe the nature of the people and their customs to the water of the Chambal River. And having lived there I can speak for the water. It was so pure and wholesome that food got digested easily. The pulses and grains grown in the region were of the best quality. The soil was very productive, and I believe the per-acre yield was comparable to Punjab. This milieu formed the background of our police system.

Now, don’t forget that our police system was also manned mostly by people of the same area, with the same mentality and the same sense of revenge. It was a caste-based way of life. Such incidents were absolutely ‘normal’. Yet, as I soon found out, there was a great respect for authority. I was a South Indian officer without much knowledge of the place, hardly even able to speak their language. There was a lot of curiosity on both sides, but there was also respect.

Revenge on the Dead

A month or two later we received information about an encounter by a local DSP, about 30 km away from Bhind, on the bank of Sindh River. Seven dacoits were killed; no names were given; it was not one of the regular gangs.

I went to the site. As the SP, whenever I travelled I had a driver, a gunman, and sometimes also my PA. In case I remembered, or noticed, something my PA would record it. We arrived at the spot. The police were standing there. There were dead bodies on the ground. We stood a little away from them, discussing how it had happened, who did what, and had the dacoits been recognized.

Suddenly there was a burst of fire from an automatic weapon. All of us took position in a reflex action arising from our training. We looked up, to see someone standing with his rifle over the dead body of one of the dacoits. He had emptied all the bullets in his gun into the corpse!

The DSP and inspector chorused, ‘Sir! He is your gunman.’

I realized that this was my replacement gunman; my regular gunman was on leave.

Now this was my responsibility to go and disarm him!

I walked up to him. He was standing there, stunned at what he had done. As I came closer, he dropped his weapon and fell at my feet, sobbing. Lifting him up I asked, ‘What happened? Why did you do that?’

‘Sir, it is this fellow…’ he said, and a frenzy of abusive words started pouring out of him. Words that my men would never ordinarily use in front of me. ‘This is the guy who raped my sister!’

The point is, even after the man was dead, the atrocity he committed was not forgotten. Revenge must be taken, even on a dead body.

(Sourced and edited by Ratnottama Sengupta with permission from the family of the late author.)

 About the Book

When he heard Mr Patel say, ‘These medals are to be earned, not to be purchased,’ Vijay was secretly filled with the determination to earn his own medal.

In the course of time, Vijay Raman not only earned the President’s Police Medal for Gallantry, but also went on to create history in each of his postings all over India. 

He was a simple and straightforward cop, one who was extraordinarily courageous. His untimely demise in 2023 was preceded by many near-death situations—described in this book—which he was miraculously lucky to survive. 

This is a real-life hero’s first-hand account of Paan Singh Tomar and his dacoit gang being decimated in a 14-hour dusk-to-dawn encounter; the surrenders of Daku Malkan Singh and Phoolan Devi; leading from the front and putting an end to the notorious terrorist Ghazi Baba; investigating the infamous Vyapam scam; dealing with the horror of the gas tragedy in Bhopal; guarding the life of four Indian prime ministers as one of the handpicked officers of the Special Protection Group; and beating the Guinness World Record for circumnavigating the globe. 

The chronicles of Vijay Raman form a book of adventure, of remarkable events—giving readers precious insights into the making of a legend. As he reviewed the book’s final chapters, he asked his wife Veena incredulously, ‘Did I Really Do All This?’

About the Author

Vijay Raman, an IPS1 officer of the Madhya Pradesh cadre, was a legendary figure in Indian policing, celebrated for spearheading the elimination of dacoit Paan Singh Tomar and his gang in Chambal, and later leading the operations that liquidated the dreaded terrorist Ghazi Baba.

Growing up in Kerala and later a gold medallist in law at M.S. University Vadodara, his career achievements were spread across India. He also broke the Guinness World Record for circumnavigating the globe! 

Vijay Raman’s bravery, intellect and striving for adventure were always secondary to his integrity; he was committed to upholding the law in even the most complex situations. He passed away in 2023.

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  1. Indian Police Service ↩︎

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