Showing posts with label India@70. Show all posts
Showing posts with label India@70. Show all posts

Post-colonial Indian Culture: A Quest for Harmony

Prof C L Khatri
The term ‘post-colonial’ refers to a period after the end of colonial rule. Obviously 1947 is the starting point in India. But what about the finishing mark? Is it endless in time span? Some scholars wonder if we have really come to a post-colonial phase interpreting coloniality in a wider perspective and not just a political phenomenon, and they talk of decolonizing the mind and neo-colonial situation in this context. On the contrary, some scholars strongly argue that the ‘post-colonial’ phase came to an end in 1990’s with the rise of globalization and the post-colonial theories were taken over by theories pertaining to technology, electronics and cyber. The syllable ‘e’ has become the buzz word in this cyber age that has made real time data, connectivity and accessibility possible and ushered in an age of transparency, digital and virtual reality.
Whatever may be the theoretical predilection, I begin with this presumption that the post- Independent India from  1947 till date is viewed as post-colonial and take into account major developments over the years particularly in the twenty-first century that have greatly impacted our literary and cultural discourse. Post-colonial studies are primarily concerned with European Imperialism and its effects: construction of Eurocentric master discourse, its resistance, identity, gender, class, migration and subaltern. Feminist and Subaltern or Dalit discourse as well as activities at the level of society and governance be it enactment of law for their fair representation in democratic and administrative bodies, for their safeguard and empowerment or mass awareness campaign in the society for their enablement launched by various social and cultural groups from within and outside have been in the centre stage. Post-colonial theories at the world level challenged the Eurocentric notion of the third world, ‘cultural viscosity of Europe’ that addressed third world countries as ‘others’ of Europe.

Angaarey:

Reception/reaction in the Urdu literary/non-literary community of Pre Independent India and the effects of the English translation in the contemporary times
By Semeen Ali
Semeen Ali
The Nizami Press of Lucknow had no idea that a book that was going to be published by them would change the course of Urdu literature for times to come. Angaarey was published in December 1932. The four young contributors for this book were – Rashid Jahan, Ahmed Ali, Sajjad Zaheer and Mahmud Zafar. This collection of short stories was banned in 1933 by the government of the United Provinces. Reason: the writers had critiqued the social and moral conventions of the time and rejected them. The book laid the basis for the establishment of the Indian Progressive Writers’ Association in London in November, 1934 and which later matured into Progressive Writers’ Association in 1936. Known as Anjuman Tarraqi Pasand Mussanafin in Urdu and Akhil Bharatiya Pragatisheel Lekhak Sangh in Hindi, they were united in their vision of using writing as a means to attack class and gender discrimination.
In modern Urdu literature, Angaarey was the first ferocious attack on society[i]. Aziz Ahmed writes - “It was a declaration of war by the youth of the middle class against the prevailing social, political and religious institutions.”[ii] Angaarey defied all the traditional norms of the society. Exposed to the Western school of thought, the writers of this book were from the middle class or upper middle class families. “They located themselves within the matrix of conflicting worldviews which included the attempt to usher in egalitarianism, liberalism and individualism against the rising tide of fascism. The vision of a classless and oppression less society, free from religious and social dogmas, gender and class oppression and political subjugation is what fired their writings.”[iii]  The writing style and the themes were inspired by writings of DH Lawrence, James Joyce, Virginia Woolf and a few Marxist writings. In this collection the themes that have been dealt with are varied and can find echoes even today. Rashid Jahan’s Dilli ki Sair looked at the oppression of women as did Mahmudzafar’s Jawaan Mardi. Jahan’s second story – Parde ke Peeche looked at how a woman was controlled by the codes of the society set down by a patriarchal system. Ahmed Ali’s Mahavato ki Raat as well as Sajjad Zaheer’s Phir Ye Hungama and Neend Nahi Aati look at a sense of loss that the characters feel. The hypocrisy of religion was critiqued in the stories Badal Nahi Aate by Ahmed Ali and Jannat ki Basharat by Sajjad Zaheer. Another story by Sajjad Zaheer titled Dulari looked at the discrimination on the basis of one’s class and gender.
Ahmed Ali wrote: “...We were filled with a zeal to change the social order and right the wrongs done to man by man… we dreamed of winning for Urdu and the regional languages the same respect and for the Indian people the same dignity which other civilized languages and societies enjoyed.”[iv] 
The public reaction to the book was that of an outrage. Medinah, published from Bijnor, wrote in its issue of 13 February 1933:
“We could not find in them anything intellectually modern except immorality, evil character and wickedness. To mock at the creator of the world, to ridicule religious beliefs and to make indecent jokes are the main characteristics of this bundle of filth. There is no regard for the greatness and majesty of God nor any respect for the sanctity and honour of prophets, nor any respect for human dignity. Instead one finds a bold and shameless display of every kind of foul language...”[v]  
There were also voices which came in support of the book. Akhtar Hussain Raipuri, a reputed scholar and critic published his fifteen page long review of the book, praising Angarey in the journal Urdu which was edited by Maulvi Abdul Haq. Professor Mohammad Mujib who taught at Jamia Millia Islamia wrote in Jamia monthly –
“Angarey is ‘angare’, glowing coals – and not merely stories- in the true sense! …Their purpose is to impact our senses in a very unique way- to burn and demolish much that exists in our society. …Stark images of poverty, helplessness, vulnerability and illiteracy present in Muslim society coexist with this. There is also a clear protest against the tyranny of the empowered classes. Our social values and predilections must not obsess us to the extent that we begin to perceive difference of opinion as disrespect of these values.  The arrogance that sees criticism as humiliation, differences as enmity, and the informal expression of thought as impertinence is the strongest enemy of sincerity and faith…”[vi]  
On March 15, 1933 the book was banned by the Government of the United Provinces under section 295A of the Indian Penal Code. Only five copies remained of the book. Two of them were sent to London while three of them were kept with Keeper of Records in New Delhi (now the National Archives of India). Such a reaction was not expected by the young writers of the book and Ahmed Ali wrote-
‘We knew the book would create a stir, but never dreamt it would bring the house down. We were condemned at public meetings and private; bourgeois families hurried to dissociate themselves from us and denied acquaintance with us, especially with Rashid Jehan and myself, and even Sajjad Zahir's mother (a dear old lady) accused me of spoiling her son. People read the book behind closed doors and in bathrooms with relish but denounced us in the open. We were lampooned and satirized, condemned editorially and in pamphlets . . . Our lives were threatened, people even lay in wait with daggers to kill us…’[vii]
In response the writers of the book issued a statement on April 5, 1933 in The Leader, a newspaper published from Allahabad which came out with an article titled: ‘In Defence of Angare. Shall We Submit to Gagging?’ as under:
…Coming to the contents of the book itself, the stories of my friend S. Sajjad Zaheer are concerned chiefly with the criticism and a satire of the current Moslem conceptions, life and practices. His attack is directed primarily against the intolerable theological burden that is imposed from childhood upon the average Moslem in this country-a burden that leads to a contortion and a cramping of the inquisitive or speculative mind and the vital vigours of body of both man and woman. Ahmed Ali essays into the realms of poverty, material, spiritual and physical, especially the poverty of the Moslem woman, and imagination and admirable boldness breaks through the veils of convention to expose the stark reality. Rashid Jehan, who is also a Doctor of Medicine drawing on her practical experience, also portrays vividly the ghastly plight of the woman behind the purdah. My own single contribution is an attack on the vanity of man which seeks to find an outlet at the expense of the weak and defenceless womanhood. Nobody can deny the truthfulness of those portraits, and anyone who chooses to exert himself can see that they are not drawn for the sake of literary 'flair', but spring from an inner indignation against 'this sorry scheme of things.' The authors of this book do not wish to make any apology for it. They leave it to float or sink of itself. They are not afraid of the consequences of having launched it. They only wish to defend 'the right of launching it and all other vessels like it' ... they stand for the right of free criticism and free expression in all matters of the highest importance to the human race in general and the Indian people in particular. They have chosen the particular field of Islam, not because they bear any 'special' malice, but because, being born into that particular society, they felt themselves better qualified to speak for that alone. They were more sure of their ground there. Whatever happens to the book or to the authors, we hope that others will not be discouraged …
It is important to note that Angaarey was written in Urdu. Mohammed Hasan’s work on post partition Urdu writing[viii] explains how ‘Urdu language did not have a religious stamp on its literature. It is after Partition that the language was looked upon as the language of the Muslims.’ He continues to explain… ‘If Progressive writing emphasized on the role of literature as an instrument of social change, the modernist writing stressed on non-commitment of literature to any ideology. It saw itself as a vehicle of meaningful identification of the self and its relationship with the outside world.’ The book was written in Urdu and had a far wider audience in Urdu as compared with publications in English. Maleiha Malik writing on the reception of Angarey by the British observes – “The British colonial authorities could have pointed out to some support for the publication within the Muslim community if they had wanted to support critical discussion of Islam and Muslim politics but instead they preferred to ban the book. Their priority was to re-establish social order rather than to safeguard the individual freedom of speech of their colonial subjects.”[ix]  
In 1987 the microfilm of the book was found preserved in the British Museum, London and Qamar Rais, the then head of the Urdu Department, Delhi University played an important role in bringing the microfilm to India. The book was published in 1995 in Urdu by Educational Publishing House, Delhi and was edited by Khalid Alvi. The collection received a phenomenal response and has run into several editions since the time it was published. It was only in the year 2014 that Angarey was transliterated in Hindi by Shakeel Siddiqui, published by Sahitya Bhandar, Allahabad. The English translations were brought out by Rupa Publications, Delhi translated by Vibha S Chauhan and Khalid Alvi and the Penguin, Delhi edition by Snehal Shingavi.
 When translating a text from its original language, it is necessary to maintain the intended complexity of the story[x]. As Dr Sukrita Paul Kumar describes, “A translated text is an autonomous aesthetic entity on the one hand, and on the other, it has to achieve a certain degree of equivalence with the original.”[xi] The Hindi text of Angaarey is a transliteration and it is a sensitive cognition of the target language with all its cultural baggage therefore a lot of Urdu words which are difficult to understand have been smoothly replaced by their Hindi equivalents and do not disrupt the reading of the text whereas it is the translation of the original in English that demands a lot of attention from the translator. The Rupa version of the original text has done a commendable job in retaining the essence of the original- the anger, the frustration with the norms as well as the creation of the atmosphere that the original created has been brought out very well. According to UR Ananthamurthy, the translator becomes a collaborative author, the original text a focal point of reference.
S.P Jain in his seminal essay on Angaarey in 1988 wrote – “The possibility cannot be ruled out that if published even today in free India, Angaarey may meet the fate it did in the year 1932.”[xii] 
I conclude my paper with an unpublished nazm of Raashid Banaarsii which was written for Urdu as a language but I feel it extends to the text Angaarey –  
Bahut samhje the ham is daur ki firqa-parastii ko
Zubaan bhi aaj shaikh-o-barhaman hai ham nahin samjhe

Agar Urdu pe bhi ilzaam hai baahar see aane ka
To phir hinduustaan kis ka vatan hai ham nahiin samjhe

Chaman kaa husn too har rang kee phuuloon see hai Raashid
Koo'ii bhii phuul kyoon nang-i chaman hai ham nahiin samhje

[I understood a lot about the prejudices of this age.
Today languages too are Brahmins and Sheikhs? I don't understand.

If there are charges against Urdu, that it too is an outsider.
Then whose homeland is India? I don't understand.

The beauty of the garden comes from flowers of every colour, Rashid.
Why is any flower at all a disgrace to the garden? I don’t understand.][xiii]

End Notes:


[i] Mahmud, Shabana. “Angare and the Founding of the Progressive Writers’ Association.” Modern Asian Studies. Volume 30, Number 2 (May 1996).
[ii] Ibid.
[iii] Angarey (trans) Vibha S. Chauhan and Khalid Alvi. New Delhi: Rupa Publications India, 2014.
[iv] Ahmed Ali, ‘The Progressive Writers Movement and Creative Writers in Urdu,’ in: Marxist Influence & South Asian Literature. Ed. Carlo Coppolla (Michigan, 1974), p. 36.
[v] Mahmud, Shabana. “Angare and the Founding of the Progressive Writers’ Association.” Modern Asian Studies. Volume 30, Number 2 (May 1996).
[vi] Angarey (trans) Vibha S. Chauhan and Khalid Alvi. New Delhi: Rupa Publications India, 2014.
[vii] Quoted by Coppola, Carlo, ‘The Angare group: The Enfants Terribles of Urdu literature,’ in Annual of Urdu Studies (1981), p. 6I.
[viii] Hasan, Mohammad. “The Wounded Sensibility- Urdu Writing in the Post Partition Era.” India International Centre Quarterly. Volume 15, Number 1 (Spring 1988). Pp. 107-111.
[ix] Malik, Maleiha. “Angare ‘the burning embers’ of Muslim political resistance: Colonial and Post Colonial  Regulation of Islam in Britain.” Colonial and Post Colonial Governance of Islam - Continuities and Ruptures (eds.) Marcel Maussen, Veil Bader and Annelies Moors. Amsterdam: Amsterdam University Press, 2011.
[x] Kumar, Sukrita Paul. “The Act of Translation.” Indian Literature. Volume 40, Number 3(179) (May- June, 1997) pp. 174-178.
[xi] Ibid.
[xii] Jain, S.P. “Angare: A Reappraisal: About a proscribed, trend setting anthology.” Indian Literature. Volume 30, Number 4 (July – August, 1987) pp. 101-107.
[xiii] Christopher Lee, “Hit it with a Stick and It Won't die: Urdu Language, Muslim Identity and Poetry in Varanasi, India,” Annual of Urdu Studies, Vol. 15, No. 1 (2000), pp. 377-8.

Urban Isolation: In the lonely garden

By Purabi Bhattacharya

Introduction
In Mrs. Dalloway, Virginia Woolf writes:
“He was too weak; he could scarcely raise his hand. Besides, now that he was quite alone, condemned, deserted, as those who are about to die are alone, there was a luxury in it, an isolation full of sublimity; a freedom which the attached can never know.” 1         
Woolf more or less takes us close to the robust urban wilderness we are in. Together, yet distant. Not alone yet forlorn. Connected, disconnected. Social dissociation is not an unfamiliar term in the urban space. It is a choice and not necessarily imposed. It is a consequence of a plethora of factors churned out by the relentless human pursuit for “development”. In cities and expanding towns, this is becoming a phenomenon wherein an individual is unable to cope with the challenges city life disposes. India if in the first half of Independence fought economic distress, in seven decades she has come to battling out an additional emotional dolour.
Sample these 
Purabi Bhattacharya
Into the deepest congested crowd, she knew this was going to be long, lonely living.
25,000 days and few more turned to dust like quicksand and whisked out of sight. Bela (76) just lost her husband (87), a Professor teaching Bangla in a college for three decades and plus. With the husband gone Bela is putting up with one of her sons, uprooted from the place of origin and trunk full of memories. The immediate generation being caught in their own webs, Bela becomes the single elder, trying to scoop out and piece together the shrouded hobbies, whatever to keep her mind off from creating space for nothingness. 
Natvar (25) an MNC professional migrated to the city of millions with dreams and degrees. He has a routine filled up life, luxurious lifestyle and digital friends and family at a descending scroll. Meeting new faces at the work place and around it, he socialises but cannot recollect the names. One fine day, he feels the razor sharp edges. All that seemed seamlessly extraordinary in the beginning becomes mundane, monotonous and a system failure.  And then begins a journey- into the woods within.
                                    
Fig. 1. http://davewalker.com/facebook-cartoon/
A headstrong, self-esteemed Anna (in her early 50’s) never looked back. She chose to remain single, lived with her parents, siblings. Economic independence kept her in sangfroid. Nothing reminded her ever of her age, her biological clock or the several imperatives to gradually follow. Siblings settled in respective marriages, and death of both the parents singled her out. Officially the remainders click and dine together now; but things for Anna have become painfully lonely despite being not alone. 
A 70 year old urban India draws breath through such stories. Stories of homebound existences, of aloofness, of getting marooned in life’s continent: malignant of sorts are only becoming commoner than they ever were. It can take all sorts of people to be left to their fast shrinking world. At 70, India puts up a brave front juxtaposed with the cluttered silences. 
Technological coup d'├йtat has worked double-time as a catalyst for the ever-burgeoning distance between the visible generations: sagging, its successive and the following after. For the geriatrics, the inability of getting in with the newer tools of communication has either pushed them to the fringes or intimidated them. 
In either ways, both the grown-ups wait for the Godot: 
“We wait. We are bored. (He throws up his hand.) No, don’t protest, we are bored to death, there's no denying it. Good. A diversion comes along and what do we do? We let it go to waste. Come, let’s get to work! (He advances towards the heap, stops in his stride.) In an instant all will vanish and we’ll be alone more, in the midst of nothingness!” 2
Clash of the ages 
A lot has gone down the Ganga, heaped up as well in the Himalayas. India at 70, if has its share of mirth, also has its lump of mellowness. And the latter is of great concern. 
Due to their compressed mobility and crippling conditions, the elderly become dependent on other people to carry out their minute by minute errands. With more of nuclear domestic establishments in the society and fewer children in the family, to ride herd on older persons becomes a task, at times unfeasible. Methodical and time to time psycho-medical assistances can take stock of the grim situation as and when required. 
The Census 2011 reports that of the nearly 250 million households in India, 31.3% have at least one elderly person. Around 22.1% households have one aged person and 8.3 % have 2 aged members in the household.3                              
“These,” he said gravely, “are unpleasant facts; I know it. But then most historical facts are unpleasant.” 4 
The data certainly is far reaching. With each passing Census year, things only give shape to worry for an ever swelling Indian population of 1.34 billion. 
If the old garner sympathy for the challenges, the youth too is not let off without any. It has to keep pace with the time, precipitating. Can forlornness then be far behind? 
It seeks power. Absolute. It seeks independence. Absolute. It registers its say. Unhindered. It is in a hurry. Uncautioned.
Technological infringement has given it what it craved for. And came striding along a banzai: apartness. The young often finds himself a lone wolf, fighting his own battle: of identity crisis, of belongingness, of urban living. Ripped out of his place of origin, he is placed to the whereabouts of growth. Between all of this silence, void, hollowness have found a cushion inside of him.
“Even the technology that promises to unite us, divides us. Each of us is now electronically connected to the globe, and yet we feel utterly alone.” 5                                                            
Gender gander
This is a country where everywoman is a Goddess, everyman her worshipper. It always stood firm on doling out equal rights to genders. Men, women, others alike. But behind the smokescreen of frankincense every gender has its designated roles, determined by two millenniums of patriarchy. 
If women, more often than not are expected to endure, public figures wouldn’t shy away defending rapists from public platforms6. The process leads to isolation for women at home and outside and men on the defensive at least in public. The morality chasm thus breeds alienation and distance, chipping away the fundamental cure for loneliness. 
The shrugging islands 
We were one at one (read 1947). We opposed serfdom. Hand in hand we rose against imperialism, against colonial invasion. Now we fight one on one. We detect each other’s race, sect, religion, social status, gender and not to forget character and sit down quietly assassinating one another from our private walls. We have mastered the art of trolling, cave camping and playing God, the almighty. The country breathes in a crunched space which has no room for discussions and opinions that could be politely disagreed upon and matters to be cobbled together. Social media, peers, all that was meant to be friends play shadowy games with the unsuspecting minds. 
“Every hour a student in India commits suicide.”7 A headline such as this chills us.
Tim Syiem was a boy of 15 years. His school teachers maintained he was a low-key student, but a sharp boy. His English teacher with tears swelling up in her eyes reiterates he wrote exceptionally good poems, much ahead of his time. He was the eldest son of well-established professors and they had no clue where, what went wrong. He had left no note, nothing that could console the parents bearing a loss as huge as his precious life. Dented forever, the parents have only to pray for the young boy and a few of his poems as memoirs of their first born.
Cases of students resorting to suicide have become a matter of concern. The National Crime Records Bureau, 2015  reports ‘Family Problems’ (2,139), ‘Failure in Examination’ (1,360) and ‘Illness’ (904), as the main causes of suicides among children (below 18 years of age).8   
Cities with their ever expanding issues become the melting pots. They are also the market. They emerge as the evermore powerful places of individual for perfecting human domination over the social, economic and political environment. Cities hold onto the laissez faire capitalism. Suburban lives come to action pushing population to urban wide and its wealth. Technological prelation invades households. But then the cities are not too late to witness the unimagined population overspill and its spaces, resources shrink.
For Braudel, “money meant towns” while “cities and money created modernity” 9
70 years down the line, one also sees the class differences only growing and the efforts to leapfrog an economy that not so long ago was agrarian to well past industrial are not sans pitfalls. Digitisation of economy thus invited probing questions from the experts. 
On digitisation of economy, Lars Heikensten, executive director of the Nobel Foundation, former governor of the Swedish Central Bank who held distinguished positions in the Swedish ministry of finance, including that of director general and head of the economic affairs department for example observed:
“There are risks (with digitisation) and IT policies need to address these issues. This is not something that will solve itself. People have been left behind in the process and I expect we shall see more and more academic debate on how to keep fairly equal, at the same time we have good economic development… The populist movements in the western countries reflect that people are left behind." 10 
The tale of two states continues to be on our face as India albeit walks free with a duffel of if’s and but’s. 
Thoreau cautions us in his prophetic way:
“The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. From the desperate city you go into the desperate country, and have to console yourself with the bravery of minks and muskrats. A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things...” 11
Way out
Isolation and loneliness in the urban space have become unavoidable realities.
“This abyss of isolation delves into grave endlessness and has him suffering from the lack of interaction with humanity.”12                                                                                           
For now Bela has no soul in the neighbourhood to share her mother tongue and her love for Bangla literature, she waits upon chances, chances to meet another to twist and turn her tongue in language her own and one who shares similar tastes in literature. Now time, voluminous and silence, uninterrupted are the two constants and she finally picks up the pen over living with a litany of complaints. 
Let not this world make islands out of us, for:
No man is an island,
Entire of itself,
Every man is a piece of the continent,
A part of the main.13
As we stand in an interesting juncture of history, not everything looks brilliant and that is the way it is. After all, the change that we sought commands a price. It is the process of being that would determine how much to pay and when to negotiate. After all, post liberalisation, our ideas have totally integrated with the globe and we shall ergo walk the talk in the global language. There will be some gain and associated pain. The catch as always lies in balance. 
References:
1. Woolf, Virginia. “Mrs. Dalloway”. New York: Harcourt, Brace and Co, 1925.
2. Beckett, Samuel. “Waiting for Godot”. New York: Grove Press, 1954.
3. Govt. of India, Ministry of Statistics and Implementation, 2016, “Elderly in India, Profile and Programmes,” February 2016 http://mospi.nic.in/sites/default/files/publication_reports/ElderlyinIndia_2016.pdf
4. Huxley, Aldous. “Brave New World”. New York: Harper Brothers, 1932.
5. Brown, Dan. “Angels and Demons”. New York: Pocket Books, 2000. 
6. Indiatoday.in “Mulayam Singh Yadav on rape: Boys make mistakes, shouldn't hang”, http://indiatoday.intoday.in, April 10, 2014.
7. Saha, Devanik. “Every hour, one student commits suicide in India”, Hindustan times, May 08, 2017. http://www.hindustantimes.com/health-and-fitness/every-hour-one-student-commits-suicide-in-india/story-7UFFhSs6h1HNgrNO60FZ2O.html
8. National Crime Records Bureau, Ministry of Home Affairs, “Accidental Deaths& Suicides in India”, 2015. http://ncrb.nic.in/StatPublications/ADSI/ADSI2015/adsi-2015-full-report.pdf
9. Fields, Gary. “City systems, urban history, and economic modernity. Urbanization and the transition from agrarian to industrial society.” http://docplayer.net/21079209-City-systems-urban-history-and-economic-modernity-urbanization-and-the-transition-from-agrarian-to-industrial-society.html
10. Bhattacharya, D. P& Dutta, Vishal. “India's share of global economy to increase: Lars Heikensten, Executive Director, Nobel Foundation”, Economic Times, Jan 14, 2017.
11. Thoreau, Henry David, Michael Meyer, “Walden; and, Civil disobedience,”1983. 
12. Conrad, Joseph. “Heart Of Darkness: And, The Secret Sharer”. New York: Signet Classic, 1997.
13. Donne, John. “Devotions upon Emergent Occasions. Meditation XVII.”1623.

*Note: Case studies are of real people, names changed to protect identities.

Phoenix of the Bollywood: From Strength to Strength

By Parminder Singh

Parminder Singh

Mumbai was rocked by serial bomb blasts on the ill-fated afternoon of March 12, 1993 leaving over 250 people dead and more than 700 injured. As the names of filmmakers Hanif Kadawala and Samir Hingora of Magnum Video were printed in newspaper reports following their arrest in connection with the blasts, ripples of unease appeared in the form of sweat-beads on Sanjay Dutt’s brow while he was shooting for director-friend Sanjay Gupta’s venture Aatish in Mauritius. All he could yearn for was a way to undo the fact that he had bought a gun from the duo arrested in the connection with the blasts, but the arrow had already left the bow.

As things transpired, the director duo of a forgettable dud titled Sanam with Vivek Mushran and Manisha Koirala in the lead and Sanjay in a guest appearance, confessed their role in the blasts and told the police that they had provided arms to the actor as well. As per Sanjay’s statement to the police, it was during the shooting of Sanam that he had casually talked about the threatening calls that he and other members of his family had been receiving from the communal groups exasperated with Sunil Dutt’s endeavours to restore harmony among people from the Hindu and Muslim communities during the communal riots. When the proprietors of Magnum Video proposed to Sanjay that they could arrange an automatic weapon for him, he accepted the offer. With three licensed firearms already in his possession, what made Sanjay fall prey to the offer of this gun has something to do with his inclination toward the forbidden – mostly, the things that fall on the other side of the “right” and law. He was allured by the idea of having it, without bothering about the consequences that it would have. A false notion that nothing would happen to him was strong enough to blur his vision of a foreboding truth. His father understood the gravity of the situation and made sure that Sanjay was back in India without any delay and would face the course of events that awaited him. A 23 year-long turmoil began for him on April 19, 1993 when he was arrested under TADA and Arms Act.

Having lived life on his conditions till he was 34, it was hard for Sanjay to accept the fact that he had lost his freedom to an act of foolishness. During his first stint in jail, Sanjay used to spend time watching a sparrow that came to meet him every day. Mails from fans gave him strength and hope of a bright tomorrow awaiting him at the end of the dark tunnel that he had to trudge, making note of every tick of the watch. It was for the first time that he realized what it means to be free when he was released on bail in October 1995. Law took its course and innumerable hearings until he was acquitted of the charges under TADA. That was a big relief for Sanjay and his fans as others arrested in the case were not very lucky and are still languishing in the jails. Sanjay was finally a free man on February 25, 2016.

Early 1990s was the time when everything was going in favour of Sanjay. If Amitabh Bachchan was the Angry Young Man of 1970s and early 1980s, it was Sanjay who had worn Bachchan’s shoes after mid-1980s. Sanjay’s performance in Mahesh Bhatt’s Naam won him laurels from all the quarters – critics and populace, alike. Jaan ki Baazi, Jeeva, Khatarnak, Krodh, Hathyar, and later, Sadak were the films which defined action in 1980s and 1990s. Early 1990s witnessed Amitabh Bachchan declare from the stage at a Filmfare award function that it was time for him to step back and the stars such as Sanjay Dutt to take the center-stage. Bachchan indeed invited Sanjay on stage after he received the Best Actor Award for Hum and announced that he would like to share it with Sanjay Dutt who had been nominated for his performance in Saajan where he played the role of a handicapped poet, shunning his image of a deadly action hero. Even though the likes of Mahesh Bhatt, Salman Khan, Ajay Devgan, Akshay Kumar and Saif Ali Khan came out in the open to support imprisoned Sanjay, carrying posters titled “Sanju, We’re with you” printed along with the actor’s sketch, within a span of a few days after cancellation of his bail in July 1994, a lot of things changed for Sanjay. Madhuri Dixit, then considered his girlfriend, gave a statement to a Hindi film magazine that may be translated to “I pity Sanju a lot.” Producers changed the star-cast of their films overnight. Many dubbed and released the films in the voice of a voiceover-artist called Chetan. How apt this couplet from Saajan would have been:

Falak ke teer ka kya dekhta nishana tha           
Udhar thi bijli idhar mera aashiana tha
Pahunch rahi thi kinare pe kashti-e-ummeed
Usi waqt is toofaan ko bhi aana tha?

[What an aim of the arrow from the skies!
My abode was where the lightning fell.
The hope-yacht was about to kiss the banks,
And a storm has broken loose the hell.]
     (Trans. mine)

When Sanjay quit study in 1977 and joined the film industry, he had a dream-debut, with Rocky becoming an instant hit. He couldn't relish the taste of this success due to the death of his mother Nargis of cancer, especially when the family was very optimistic about the treatment upon positive signs in her condition noticed by the doctors. Father Sunil Dutt was never again the same man. He was broken, and even Sanjay had lost the person who he was closest to. An account tells that Sanjay lay unconscious in his clothes soiled with excretion after hearing the news of his mother’s demise. He somehow started standing up on his feet and learning something that he had never done before – managing his own life. But in this effort, Sanjay faltered, and took refuge in drugs. This was a bad period for the Dutt family. Sanjay was badly caught in the clutches of drugs but right at the threshold of self-destruction, he broke down in front of his father and appealed to him that he wanted to come out of that black phase of his life. Sunil Dutt gave him the much needed hand and took him to a rehabilitation center in USA. Sanjay himself revealed during an interview that he had ticked all the options, accepting that he had tried all the drugs mentioned in the form that he signed at the center. This was the phase that taught Sanjay valuing relationships – professional as well as personal, and he reinvented himself as an actor.

Subhash Ghai had signed Sanjay for the star-studded Vidhaata (1982) under his banner Mukta Arts. Vidhaata was a blockbuster, the highest grossing Hindi film of the year. Ghai declared that he would never ever work with Sanjay again due to the unprofessionalism he had displayed during the shooting of Vidhaata. Sanjay surely knows how to take corrigible measures and win back the trust of people. Ghai would go on to sign Sanjay for Khalnayak that gave Sanjay a new niche among his fellow actors and boosted his career once again. Ghai’s banner signed Sanjay again for Trimurti (directed by Mukul Anand). It was during the period when Sanjay was incarcerated after cancellation of his bail and he wrote to Ghai from jail that he may be replaced by someone else. Anil Kapoor was cast and the film proved to be one of the biggest flops of the year. Upon Sanjay’s final release from jail in February 2016, Ghai announced that Mukta Arts would be pleased to sign Sanjay for the next project.

Whenever Sanjay’s career showed a downward graph, a Jeeva, a Jaan Ki Baazi, a Naam, a Vaastav, or a Munnabhai happened to Sanjay, and his position in the industry strengthened with time. While the industry wrote off his contemporaries including Mithun Chakraborty, Govinda, Jackie Shroff, Sunny Deol, and to some extent Anil Kapoor (in lead roles), Sanjay kept going from strength to strength. He earned some good friends in the industry. He worked for goodwill, earned admirers in crews where everyone from spot-boys to assistant directors vouched for the large-heartedness of Sanjay. He fell out with Sanjay Gupta but re-bonded with him. He never shared screen with Anil Kapoor due to their differences in the early years but buried the hatchet as soon as the latter threw an idea of working together, and Musafir happened.

Sanjay, to some extent, was arguably made a scapegoat upon failure of the country’s judiciary in bringing to book the real culprits. I personally believe that the actor has been more sinned against than sinning. The years in incarceration have made Sanjay a much stronger, wiser man who would stop following his instinct in taking decisions. He has started thinking with his brain, and started keeping under cover the heart that he used to wear on his sleeve.

I remember the imprint of an eagle-like bird on a poster that I found as a freebie along with a white pair of sports shoes I bought when I was about ten years old. This was my first encounter with the word ‘phoenix’. Whenever I think of Sanjay, I imagine him as the incarnation of phoenix among the Bollywood stars. He has tasted the dust, more than once, more than twice, but he has always made a strong return. He fell after death of his mother, faltered again during his drug phase, was broken by death of his first wife Richa Sharma, repented for what led him to prison, and faced the continuous sword looming over his head for 23 years. A life full of challenges has made him tougher.

After a void of over three years, Sanjay is making a comeback on screen through a father-daughter emotional drama Bhoomi, initial promos of which look promising. At the release of the film’s trailer, Rajkumar Hirani, Vidhu Vinod Chopra and Ranbir Kapoor – wished the Dutt scion yet another great innings. Sanjay, this time though, is not worried about any problem impending over his head. With a loving wife in Manyata, a grown up daughter in Trishala, and two young kids in Shahran and Iqra, Sanjay is somewhat different than before. Being politically correct in the general milieu of the country currently, and in that breeze blowing, he seems to have turned a little more religious, more patriotic, more mature, and stronger, at least visibly. We await yet another on-screen blast from the actor who has been in the industry as lead for the longest time, next only to Amitabh Bachchan, with his latest outing Bhoomi. Dutt (working title), the biography on the controversial life brimming with ups and downs is due to release in March 2018 where Ranbir Kapoor portrays the actor’s life on-screen. The third installment of Munnabhai series, Sahib Biwi aur Gangster, Shiddat, the next films of Anubhav Sinha and Mahesh Manjrekar and many other films of prestigious banners are some upcoming projects featuring Sanjay. His hands are full and this phase seems to be Sanjay’s best. The phoenix is yet again ready for resurgence, this time hopefully not to be turned to ashes.