Categories
Interview Review

The Fearful Trill of Freedom & Equality

A conversation with VR Devika, author of Muthulakshmi Reddy: A Trailblazer in Surgery and Women’s Rights, Niyogi Books.

“Education, Freedom and Responsibility bring out the best from the individual and race. This will apply to all men and women irrespective of caste, creed or colour.”

—Dr Muthulakshmi Reddy, Muthulakshmi Reddy: A Trailblazer in Surgery and Women’s Rights

 Muthulakshmi Reddy: A Trailblazer in Surgery and Women’s Rights by VR Devika is a biography of a woman who shouted out to demand reforms among devdasis ( women who had been ‘married’ to lifelong service of a deity or a temple) and prostitutes in the nineteenth-twentieth century. The biographer, V R Devika, is a storyteller, educationist and Gandhi scholar.

Muthulakshmi Reddy (1886-1968) was born to a devdasi mother and transcended the system that had deteriorated from when a devadasi was considered ‘auspicious’ as she would never be widowed or married, and she could maintain her status quo, the book informs, adding a historic perspective to this ‘norm’. By Reddy’s times, these women had been reduced to become mistresses to rich men. In ancient times, before malpractices set in, a princess is said to have opted to become a devdasi. The decline started in the sixteenth century when devdasis were transferred from temple to temple.

The narrative is simple and straightforward but what stands out is the value of the content, the strength of the woman who could speak up boldly and demand reforms — even have some of them instituted. She spoke out for reforms with searing words. The author quotes from many of her speeches.

“Muthulakshmi used strong language to explain her position on the Devadasi question. ‘Of all the laws, rules and regulations which down the centuries have helped to place women in a position of inferiority, none has been so very powerful in creating in the minds of men and people a sentiment of scorn and contempt for women as the degrading idea of the double standard of morals.’

“She thundered, ‘From this double standard that has sprung that worst attack on women’s dignity, that safety valve theory that a certain number of women should exist, should sacrifice their self-respect, their honour, their comforts, their health and happiness to satisfy the lust of the other sex. At the present day, the continuance of such a doctrine and of the laws which are founded on it, is a shameful anachronism unworthy of our civilisation. Both in the past and in the present, women have disproved their inferiority, and how then can we at the present day tolerate or connive at a system which transforms a woman of whichever caste or class she may be, into a mere chattel, a piece of tainted merchandise? The inequity of the system is too deep for me to give expression, and further under that inhuman and unjust system the innocent children of a certain caste or community are trained to become proficient in all the arts of solicitation that they become captives to vice.’”

That men and women perpetrate social norms to justify the existence of the so-called ‘world’s oldest profession’ is well brought out in the book. That women forced into the sex trade are not doing this out of choice is conveyed with conviction. Names of Reddy’s associates include Sarojini Naidu (1879-1949) and the well-known singer whose mother was a devdasi too, MS Subbulakshmi (1930-1997).

Reddy was one of the first female medical graduates[1] in India, the first woman[2] to enter an Indian Legislature and the first woman in the world to preside over a Legislative Assembly. A recipient of the Padmabhushan and more accolades, she, as a doctor founded the Addyar Cancer Institute in 1952 after her sister was caught with cancer, and, as a humanitarian, started the Avvai Home in 1931 for those rescued from brothels and streets. Her spirit is well captured by the author when she writes:

“In 1942, during the World War II, soldiers of the British Royal Airforce camping in tents on the banks of Adyar river had made some derogatory remarks about the girls and harassed them. Muthulakshmi stood vigil all night with a stick in her hand and dared any soldier to come near the Home. She even went up the ranks to the commander’s house near Fort St. George to complain to him about the conduct of the soldiers and curb their behaviour.”

VR Devika has extensively shown that Reddy was a force to be reckoned with but she has not given way completely to adulation. She has objectively shown how Reddy over ruled her son’s choices for the well-being of her own institutions. It brought to mind Gandhi’s attitude towards his own family. An established cultural activist, VR Devika has been associated with the inception of Chennai’s Dakshinachitra Heritage Museum and Tamil Nadu INTACH[3], has been visiting the Avvai Home and in this exclusive she tells us the story of how the book came about and why she visited this home and its impact on her.

VR Devika. Photo provided by Niyogi Books

Tell us why you felt that Muthulakshmi Reddy’s story needed to be told. What was the readership you had in mind when you wrote the biography?

The dance scholarship [donors] consisting of mainly outsiders who had a hypothesis, got a good grant, employed interpreters and cherry picked to denigrate her in a fashion that took dance academic world by storm after the 1980s. I had also bought into them when I began to learn Bharathanatyam. But when I joined INTACH Tamilnadu and Madras Craft Foundation in 1985 after having been a schoolteacher since 1974, I began a project of English language as a skilling programme and theatre as empowerment for Avvai Home. That is when I began to get the other side of the story that was really fascinating. I kept thinking I must reach this story out. Dr.V.Shanta, chairman of Cancer institute, said I must write her [Muthulakshmi Reddy’s] biography and I decided to work on it after she passed away. I had young people who were studying English but had no access to English other than their textbooks as the target audience but I am a story teller and I just began to tell the story in simple way as I always do.

You tell us in the authorial note that you went on ‘work’ to the Avvai home. Tell us about the home. Why were you there?

Geetha Dharmarajan and I lived near Avvai Home. I had no idea about the history of the home etc. But I knew very poor girls studied there. Geetha had spoken to them and I went along but Geetha relocated to New Delhi and started Katha[4] and I stayed on helping Avvai Home in many different ways. I have written a full story of Avvai Home in the book. It was volunteer work. Rajalakshmi of Avvai Home requested me to help them on a production on Dr.Muthulakshmi Reddy. I interviewed Sarojini Varadappan, Dr.Shanta, and several others to write the script for the production. I am now on their school advisory committee.

For me, the most interesting aspect was how Muthulakshmi Reddy made the transition from being born a devadasi to empowering herself enough to outlaw the custom. Did her parents ever marry?

No there was no way they could marry as a girl born in the system was barred from ritualistic marriage according to Hindu custom. She was his companion.

Your narrative is direct and eulogistic of great names and associations of/ developed by Muthulakshmi Reddy and the lady herself. The personal is largely left out, except to emphasise her achievements. Why?

I cannot [describe that] as I never met her. I had to sketch a portrait from her writings, her achievements and her son’s writing.

Would you regard the devdasi system as a social ill that has been erased or is it an ongoing battle?

There is no social evil that has been erased completely. Nostalgists for devdasi system denigrate her [Reddy]. But there is the social evil of discrimination against Dalits still, but should Ambedkar be blamed for giving a legal handle for those who wanted to come out and achieve something of their own despite the caste hierarchy? Those who benefited from the abolition of dedication are in thousands while those who bemoan the loss of culture in the way they want it are in hundreds.

The devdasi system is a generic system in a number of states in India. Did Reddy’s reforms benefit all the states? Was the Avvai Home open to all devdasis or only from her state?

Avvai Home never claimed to be only for devdasis but for girls who needed protection and access to education. No reform benefits everyone. Her law was for the Madras Presidency of the time which consisted of parts of Andhra, Orissa and Karnataka too as part of it.

Muthulakshmi Reddy started a number of things, including the second oldest cancer hospital in India. But all these were reactions borne of personal experiences. Do you think if she had been born into a regular family, and her sister would not have had cancer, would she have striven for these institutions too?

I can’t answer a hypothetical question. How do we know what she would have done?

What was the driving force behind the reforms instituted by Muthulakshmi Reddy?

Her own indomitable will and the stubborn streak that sought to get it done and get others who would help her come in whole heartedly.

Would you justify the “emotional blackmail” on her son to fulfil her own dream by giving up his own? Do you think that it is right of a parent to impose their will in this way?

I am not justifying it. It happened that way. Just telling the story. She did not force her elder son who went into Electrical Engineering. Her second son never resented the “emotional blackmail” He went along whole heartedly.

What for you was the most endearing quality of Dr Reddy?

I have many who worked with her telling me she was very kind, but she was also a tyrant and would not bend. Her own indomitable will and the stubborn streak that sought to get it done and get others who would help her come in whole heartedly. She was a mother (Amma) was the unanimous opinion.

Thank you for giving us your time.


[1] Anandi Gopal Joshi(1865-1867) and Kadambini Bose Ganguly (1861 –1923) graduated and practiced as doctors in other parts of India.

[2]  Muthulakshmi Reddy joined the Madras Legislative assembly in 1930.

[3] Indian National Trust for Art and Cultural Heritage 

[4] Katha is a non-profit and non-governmental organisation that has established itself in the field of community development, child welfare, education and literature.

(This review and interview is by Mitali Chakravarty.)

.

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

Categories
Travel

Of Palaces and Restorations

Rupali Gupta Mukherjee visits a restored palace in the heartland of Bengal

The Courtyard of Rajbari Bawali. Photo Courtesy: Rupali Gupta Mukherjee

From time immemorial, rajbaris, or the palatial homes of zamindars, have been a part of Bengal art and architecture, although many such splendid mansions have fallen into ruin owing to ownership issues or lack of conservation. Some are being converted to hotels, like the rajbari at Bawali. Located sixty kilometers from Calcutta, the palace-hotel enthralled with its restored regal rhythm, glamour and enduring legend. We were transfixed, bemused and in love with the aesthetic elegance.

“The daunting task of restoring the crumbling historic manor into a lavish hotel was a mammoth task. An exclusive 300-year-old colonial mansion transformed into a stunning luxury heritage boutique estate”, said the proud Resident Director of the property, Ms. Mrinalinee Majumdar. Once an imposing abode of the aristocratic zamindar family, The Rajbari Bawali undoubtedly, has revived an integral part of Bengal’s glorious history and culture.

Mr. Ajay Rawla discovered the 18th century palace in a state of ruins in 2006 and tried his best to reconstruct its history. Mr. Rawla, the Chairman, spent around seven years restoring the Rajbari’s past glory. The restoration work received acclaim, award of excellence by INTACH [Indian National Trust for Art and Cultural Heritage]. The restored Rajbari Bawali has also been featured by Conde Nast UK on their hot list of “Top 50 Hidden Destinations of the World’. The Duke and the Duchess of York were guests at the Rajbari during their visit to India.

Bawali Rajbari has a remarkable history, dating back to more than four hundred years, starting with the Mughal Emperor Akbar. The name “Bawali” can be traced to its first settlers, forest dwellers from the Baul. Initially, this place was known as “Bowali” but over the years this has changed to “Bawali”. This erstwhile swampland, once part of the Sundarbans, was handed over as a reward to Shoba Ram Rai, an army officer under Maharaja Man Singh of Jaipur, the commander-in-chief of the Mughal Emperor. History tells us that the Mondols of Bawali were originally Roys. Their dominance in the fringes started way back in 1710. Later, the royal family prospered under Haradhan, who enjoyed the benefaction of the East India Company.

350-year-old Radha Krishna Temple built in the
traditional aat-chala style. Photo Courtesy: Rupali Gupta Mukherjee

It was autumn, just before Durga Puja, when we planned a day trip to explore the rajbari at Bawali. As we moved towards the entrance of the rajbari, more than three-centuries-old, Radha Krishna temple, opposite the palace, caught our attention. An arched alley made of red bricks and pillars with Victorian floral motifs. The temple steeple stands out from the rest of the architecture. It has delicate terracotta etching outside, with moss and plants growing in cracks. We were amazed at the rich intricate structural motifs. This is another heritage site that desperately needs restoration, we felt. The West meets the East in the lofty temples and the palace of Bowali. The European style columns that hold up the temples in the village are atypical in the rest of the state. Beautiful gardens dotted with fashionable statues of Italian marble and a sinuous water turret weaves a flowing reverie. It’s really sad that most of the structures are in ruins and on the verge of collapse.

Finally, we found ourselves in front of the main entrance leading to Rajbari Bawali. The welcome was grand with the beating of the dhaak, the traditional drums, and women in traditional attire, clad in red bordered white saris, welcoming guests with the traditional smear of tika on the forehead, flowers and sweets. We were overwhelmed by the antique fixtures, after stepping inside the courtyard which revived the bygone era of the zamindars, nawabs and their lifestyles steeped in grandeur. The welcome drink was refreshing and the entire property was a visual delight, a photographer’s paradise.

The Terrace café, with a part of the vestiges from the roof took us back to the primeval past. A striking segment of the palace merges the new with the ancient, keeping the antiquity alive. Apart from exploring the huge chattels we enjoyed the sumptuous traditional Bengali lunch. The royal lunch was served with utmost warmth and hospitality. The food was exceptionally delicious, was flawlessly soaked in conventional recipe and served in a stately style.  Burnt clay plates lined with banana leaves served lip-smacking kochur loti chingri, kassa mangsho, Bhetki Paturi. The dessert was mouthwatering and elaborate, I loved the misti doi.  The ongoing melodious live concert on the lush green lawn adjacent to the dining arena was definitely scintillating.

It was an astounding experience for us; something, undeniably beyond expectation, we started our journey with the thought of exploring a historical site but we were overwhelmed by the exclusiveness of the palatial structure, antique display, hypnotic charm of the ‘Zamindari Raj’ and the warmth of the employees. I was in a trance for weeks after visiting the elite ‘khazana’ of the colonial era and was keen to know more about its imperial past. My quest brought to light many hidden facts.

Unrestored Part of the Rajbari. Photo Courtesy: Rupali Gupta Mukherjee

The ruins of the rajbari and its surrounding relics was also the memorable shoot venue preferred by renowned film director Mrinal Sen for his Shabana Azmi, Naseeruddin starred movie Khandhar. It was screened at the 1984 Cannes Film Festival. Later after restoration of the Khandhar, in 2003 Rituparno Ghosh selected the same setting, Bawali Rajbari for his National award-winning film Chokher Bali, an adaptation from Tagore’s novel of the same name. This also bagged the Chicago International Film Festival Award [2003] The rajbari is an extraordinary architectural masterpiece about 60km away from Kolkata, steeped in convention and opulence, a heritage boutique resort

It had been more than a month now, but still the spell of the Greco-Roman style Rajbari, the dungeon, jailkhana, cellar storing liquors from 1858, antique decor portico, fax machine and gramophones of archaic fashion, well-ventilated thakurdalan, spacious grand piano room, exquisite chandeliers in the dining hall and the faintly lit vestibule will take you, beyond doubt, to a baffling pensive world of romance!

Glossary:

kochur loti chingri — Prawn

 kassa mangsho – goat meat

 bhetki paturi – fish

misti doi – sweetened yoghurt a Bengali speciality.

Rupali Gupta Mukherjee has a passion for reading, writing and reciting poetry.   She is a nature enthusiast, loves to travel and has a zeal for photography.

.

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