SOUTHASIA COMES TO DAUDPUR

Daljit Ami

The old, disused granary of my ancestral home buzzed with activity in the third week of July. Having long been lying empty and decrepit, a fresh coat of paint did wonders to the godown which suddenly became a gallery. The inauguration, with renowned artist Malkit Singh, was an event marked by respect for local elders and their wisdom. With the summer sun dancing on the images, stories of ordinary people from across Southasia came alive in Daudpur. The steady stream of curious visitors was ample evidence of continuing interest, with growing numbers converging on Daudpur, after the word went around.

The septuagenarian artist Singh pointed out that his generation aspired to take exhibitions to villages and with this initiative, it has become a reality. He stressed that this is an historic event happening in rural Punjab. Laxmi Murthy, Director, Hri Southasia for Research and Exchange and Davinder Pal Singh, Executive Director of Panjab Digital Library (PDL) pondered over the idea of bringing such exhibitions to rural areas. Laxmi said that Hri has desired to bring Southasia to common people and in Daudpur, it has succeeded in its pursuit. Davinder shared that PDL has organized different exhibitions in urban areas but this exhibition offered the opportunity to reach out to more people.

It was the first time that such an event was held in our village. Of course, there have been religious and political exhibitions on several occasions. With so many people keen to see it, we were asked to extend the time of exhibition. We screened three documentaries in the evening from 8:00 pm, and the audience made a beeline to the exhibition soon after the screening.

Many visitors had never seen such an exhibition. For me, it was truly encouraging that people from all sections visited, and the repeated visits of cattle-shed cleaners and dish washers was touching as they spent time with every exhibit. They made someone or the other read out the stories for them. The curiosity level of people cutting across ages was remarkable. Right from an octogenarian home-maker to young school drop-outs, it was an attraction which become the talk of the village. A particularly poignant connection forged was that of Navjot Kaur with Vidya Pradhan. Navjot, a graduate from the village, had few job prospects. She had come to the exhibition hall to mop and clean, and was struck by Vidya’s story of struggle for higher education.

[L] Navjot Kaur, a recent graduate, helping clean the venue against the image of Vidya Pradhan in the background, [R] Visitors at Daudpur

For Daudpur, which has been somewhat prosperous but resembles a ghost settlement of fancy houses but sharply reduced population due to out-migration, it was a much-needed cultural boost. Once the traditional method of propaganda -- the Gurudwara loud-speaker- -came into use, people from nearby villages poured in to visit exhibition and attend screenings. Some travelled more than 100 kms to be part of the experience, which soon became a community effort. Chairs for the screening were contributed by the neighbourhood, and many people sat on cots. The second and third day saw some people standing in the courtyard and on an adjacent roof top. It seemed like the people of Daudpur could simply not get enough of Southasia. 

(This article was first published at Hri Southasian for Research and Exchange's website: http://www.hrisouthasian.org)

First-of-its-kind exhibition of photographs from S-E Asia reaches Daudpur

Divya Goyal: Ludhiana, Sun Jul 21 2013

South-Asian Solidarity and Diversity: Lived Stories, Everyday', an exhibition displaying a collection of photographs of everyday life from all over Southeast Asia in a village, ended on Saturday. The exhibition was organised for the very first time.

Oraganisers said the exhibition received an overwhelming response from the villagers of Daudpur who, for the first time in their lives, were exposed to international photography.

"We organised such exhibitions in the city and a very selected class of people used to visit but we have been pleasantly surprised to see that villagers gave an amazing response and for three days we even had to extend our timings," said Daljit Ami, talking to Newsline.

The exhibition, which was organised by the Hri Institute for South-Asian Research and Exchange, Kathmandu and Panjab Digital Library, Chandigarh, was inaugurated by renowned artist Malkit Singh on July 18. "In our meeting last year with representatives from Kathmandu it was especially decided that instead of cities, such exhibitions should be organised in villages," added Ami.

The exhibition, which started from Chandigarh, will also move to other places in South-Asian countries. The images in the exhibition have been collected from individual collections of common people, amateur and professional photographers from Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka and Tibet. Some of the most prized photographs in the exhibition include a calendar published from Calcutta in the 1950s, an advertisement of footwear company Bata which appeared in 1963 in Pakistan, and a photo of six sisters from Agra born during 1935 to 1946 who got triple degrees.

The photograph of a Nepalese woman, Vidya Pradhan, who graduated in 1966 from Thakur Ram Campus, Birgunj, makes for an interesting story. Pradhan refused to have her class's group photograph framed and hung on the wall of her house as she did not want to be reminded of her struggle to become a college graduate. Now, that image is being displayed in the exhibition.

(With thanks from Ludhiana Newsline. Spelling and factual corrections have been done while publishing it on this blog. )

Tale of untiring ‘seva'

Sanjam Preet Singh

Documentary filmmaker Daljit Ami’s latest creation, Seva, brings to light the unexplored field of conservation and digitization of heritage

Bhangra, giddha and phulkari and that’s all. This forms the popular narrative of Punjabi culture. But there is more to the heritage of Punjab that has been lying in oblivion. The crude reality is that manuscripts, paintings and religious texts — the tangible heritage — never become the points of reference to the rich Punjabi culture. What to talk of their conservation and digitization.

Well, documentary filmmaker Daljit Ami’s latest creation Seva, which was screened in Chandigarh on Sunday, brings into focus this very aspect. “The film is an introduction to the unexplored field of conservation and digitisation of heritage and I act as a medium to initiate a dialogue on the issue,” says Daljit. Indeed, he does so by threading together different narratives.

The film documents the untiring work of heritage conservationist Namita Jaspal, who has been working to preserve old texts and manuscripts in its original form. These days, she is working on an old text of Guru Granth Sahib. Making an equivalent contribution is the Panjab Digital Library (PDL), Chandigarh, working to preserve the information in texts. Since its inception in 2001, the PDL has digitised and uploaded on the Net nearly 8 million pages of manuscripts, paintings, rare books, photographs, archives of magazines and newspapers, and other rare books that were earlier in the private collection of individuals.

Then there is a narrative of those in Angitha (crematorium) Sahib gurdawars, where old texts of any religion are ‘cremated’. Those managing the Angitha Sahib gurdawars believe that religious texts are living beings and so they have a lifetime. Once they are old, texts need to be consigned to flames. Be it Guru Granth Sahib or Gita or Puranas, religious texts from states such as Madhya Pradesh and Maharashtra are sent to such gurdwaras near Paonta Sahib (Himachal Pradesh), Patiala (Punjab) and Goindwal Sahib in Punjab’s Tarn Taran district, to name a few, for their ‘last journey’.

Through the movie, Daljit crosses the regional barrier and sheds light on global scenario of heritage conservation, which is no different from Punjab. The filmmaker says, “At the screening of Seva in Bengaluru, a scholar from Myanmar said it was a film about his country.” And why not? Daljit crosses the regional barrier to talk about the global scenario.

The film refers that the loss during wars in Iraq and Afghanistan is not only in terms of human lives but also in terms of heritage. The destruction of Lord Buddha’s sculptures in Afghanistan during the Taliban’s regime and further damage to heritage during the ‘war on terror’ is vivid in the memory of those keeping track of global events.

And those who have forgotten such events, Seva invokes such memories and forces us to think that our present is governed by the past and it is important to preserve the sources of our identity (read historical evolution of humankind).

(With Thanks from Hindustan Times, HT City, Chandigarh, July 1, 2013)

Endangered texts

CHANDER SUTA DOGRA

In Punjab, a film maker explores how there exists a unique tradition of ‘seva’ that preserves as well as destroys old scriptures

The concept of ‘sewa’ or selfless service for the community has a unique place in Sikhism. As a means to promote humility, which is one of the three fundamental principles of the faith, its purpose is to work voluntarily for the betterment of humanity. It took Daljit Ami, an independent film maker from Punjab to discover that as a result of varied interpretations of ‘sewa’ in the context of Sikhism,  not just the preservers but destroyers of precious heritage in Punjab draw upon  ‘sewa’ to justify their deeds.

His latest film titled what else but Seva,documents some unique efforts in both directions. The target is ancient religious and literary manuscripts endangered by neglect, disuse and the march of time. To preserve these mostly handwritten documents, old editions of the Guru Granth Sahib and many more scriptures is the stellar work being done by Chandigarh based Punjab Digital Library which has digitized some 7.5 million pages since 2003.  

People like Devinder Pal Singh went from village to village to search for old ‘birs’ of the Guru Granth Sahib and other manuscripts which they could digitize. From 5,000 pages a month, they now do some 3,000 a day. Then, as the work grew people began approaching them with books, photographs and newspapers too and they began doing those too. “Anything related to the history, culture and literature of Punjab and our catchment area is both Pakistan and Indian Punjab, Haryana, Himachal Pradesh and north India in general from where we get old material that is digitized to preserve its content, if not the physical form”, he says.

But Daljit’s keen camera has also documented the destructive aspect of several ‘Angitha Sahib’gurudwaras in Punjab and elsewhere – secretive but well organized places - where old scriptures and manuscripts are systematically cremated in huge quantities. The logic behind these crematoriums is the Sikh philosophy handed down by the Tenth Guru Gobind Singh that their holy book, the Guru Granth Sahib is the embodiment of a guru and no one else has that privilege.

 So we have Harsharan Singh of an Angitha Sahib gurudwara near Paunta Sahib in UP angrily opposing all those “who preserve the scriptures through chemical processes and digitization.”

“When the Guru Granth Sahib is our guru, he has a life and will die too. Have you seen anyone holding on to the body of his or her father? When the ‘guru’ scripture grows old, its parts are torn and faded, it has to cremated and we are doing this holy task,” he says.

Daljit was not given permission to film the huge crematorium at the gurudwara , or the room where scriptures from all over India, Pakistan and sometimes from different parts of the world are given the ritual purification bath and wrapped in clean clothes preparatory to their cremation. He took the shots with a zoom lens from outside the boundary walls. But Harsharan Singh did tell him that “though this is a secret place, we have no paid help, all who work here are volunteers and we have no shortage of anything, be it, ghee, wood or perfume needed for the cremations.”  The cremated remains are then collected and immersed in the river Yamuna that flows nearby.

The Angitha Sahibs that are known to exist in Goindwal Sahib and Ludhiana in Punjab and this one in Paunta Sahib. And all of them have an extensive network of collection centres where old manuscripts some 80 to 100 years old come. They need not be just Sikh scriptures, for as Harsharan Singh informs, they get holy books of Hindus, the Gita, Ramayana, the Bible and a variety of other scriptures from Jainism, Buddhism, Islam too and all are cremated with the same reverence and sanctity. “God is one and he is embodied in the scriptures of all religions,” they believe.

When Devinder Pal showed the sants of Goindwal Sahib the preserved scriptures on his laptop, they were angry and wanted him to show them where the original old works are so that they could cremate them. The logic may not appeal to many, but theirs is also a kind of ‘seva’. And their followers are many.

Seva throws light on other efforts at  preserving old books, sometime single handed ones like that of Gurdev Singh Sidhu an author who rummages in old shops of Malwa in Punjab for torn, termite eaten works of Punjabi narrative poetry – a dying tradition.

This is Daljit’s tenth film and will be screened at the Punjabi International Film Festival later this month.

With Thanks from The Hindu, May 27, 2013
(http://www.thehindu.com/todays-paper/tp-national/tp-otherstates/endangered-texts/article4754671.ece)