Wednesday, August 24, 2016

KNow Your Prakriti

Have you ever wondered why the gharelu nuskhe and home remedies work for some ppl and not for some others? The answer lies in the first chapter of Charaka Samhita, which I read during pregnancy.

Every body is composed of Triguna and Tridosha. These determine your prakriti or constitution. Every food item has its own Rasa and Sattva (essence), which in turn has an effect on the Guna/Doshas.

One of the first things we must do, is to understand not only our "Dosha" but also our "Guna". I am saying this specifically bcs the Ayurveda practitioners I speak to work on dosha.

The Triguna is - Satvik, Rajsik, Tamsik. The Tridosha is - Vaat, Pitta, Kapha. These determine everything about you - your temperament, ailments, what medicines will work for you, et al.

If you take a remedy that does not work with your prakriti, it will not have the same effect.

So, the takeaway from this early morning gyaan is this - maybe we should become aware of our own prakriti, and then align our food, actions and lifestyle, to that prakriti. It will bring a lot of harmony to our lives and wellness. For instance, my guna is Satvik. Accordingly, I don't eat meat or rich food. I cannot be in places where there is anger or greed.

Friday, August 19, 2016

Review of Mohenjodaro - The Ashutosh Gowarikar movie 2016

The test of a period drama is this.. Did it take you back in time? And the test of good storytelling is this - Did you hold on to your seat? The answer to both, in case of Mohenjodaro is this - YES.

To understand a period drama, you'd have to know at least a little about the ancient civilisation. If you don't, please enter with an awareness that you are unaware (Read: Ignorant.  It is as humbling as it sounds), and not with the attitude of what all is "incorrect"(because, honestly, you have no clue.)
Just enjoy what's on the screen. Someone has done the hard work for you already.

This line is especially true for the genius who saw the trailer of Mohenjodaro and said "The Great Bath finally gets color." My response: "What did you think? They lived life in black and white?"

Majority of the people will tell you that Mohenjodaro is a love story set in an ancient civilisation. But that's not what it is at all. After the intermission, something truly dramatic emerges - this is a story of power and incredible betrayal. The story of Srujan, albeit briefly narrated, is the story of Mohenjodaro. It is a  story that fills your senses and puts everything into perspective.  A story that is entirely credible, even considering whatever little we know about the civilisation.

First, the important stuff. Is there entertainment? Yes. There is. You can soak yourself in the yellow of the soil, the beauty of the sets, while trying to recreate the motifs that we may be familiar with. You can focus on how gorgeous Pooja Hegde looks, how great the casting is. But if none of this matters, feel free to enjoy the music. It is soothing and melodious and... like all AR Rahman.. beautiful!

Or you can enjoy the multiple sub plots that emerge like tiny surprises out of nowhere.. adding even more intrigue to an already great story. The beauty of this story is the subtlety of the sub plots. You really, really have to use your brain to understand the many things that are happening here.

Maham was expelled from Harappa because he made a side deal for smuggling. And then he made a dam on the Indus, for the exact same reason. How he reached a democratic city state and worked to systematically annihilate all institutions of democracy within the establishment - to emerge as a Dictatorial "king" who also goes on to nominate his son to rule after him - unilaterally.

The simple fact that even though its a green, green land in the valley of the mighty Sindhu, because of the dam, the vegetation around Mohenjodaro is the desert "Keekar" - while the rest of the landscape is verdant and lush. The way the crowd stands up when Sarman enters the arena, and what that does to Maham. If you like subtlety, this is soooo your thing.

On the technical, the cinematography is great. The digital art is largely credible, except for a couple of places. The biggest let down is Hrithik's stitched dhoti. I don't know whether to blame the costume designer or the star. Because in the scene where Srujan moves to destroy the dam with a handful of supporters, they are all wearing dhotis. The casting is great. Each performer fits the role to a T - down to the giants who played cannibals and the wife of Maham.

The sound is just right - there is no overpowering background music. In Art Design, there is no unnecessary grandeur. This was a mercantile civilisation with class division, and square was a uniform feature of construction. All of that is faithfully reproduced. The strength of this movie is the absence of grandeur. There is beauty without exaggeration - which , I think, is also true of the civilisation that it draws from.

The one flaw I noticed  in the story - when you say "Sindhu ka nyaya" - one expected a water element. That's all.

As a historian, I took away 3 important things from the movie, at least 2 of which are valid hypotheses worth exploring:
One, that perhaps, the civilisation was composed of independent city states.
Two,  that the Indus Valley people migrated East to create a new civilisation in the twin valleys of the Ganga and the Yamuna. I think that one merits some more discussion.
Three, that the burial/cremation practices varied by geography and by class of people. I have been convinced for a while that given the very small number of skeletons recovered at various sites, the final rites would have to be a combination - varying by the region/ class of people. This movie mentions that the Harappans floated their dead in flowing water. That's not an idea I had considered earlier, but we still do it in the Ganges, and for cities that had a long forest ahead, it would be a completely safe thing to do, without any risk of contaminating the water.

So there, plenty of food for thought. And something that I say for very few movies: If you haven't watched it, you absolutely must.

Friday, August 12, 2016

And the Nightingale sings
with full throated pain...

(not my own. Just remembered from forever ago)

Tere Bina nahi jeena mar jaana dholna..

https://www.youtube.com/watch?v=caeWF2EDjXE

Bcs its Sukhwinder Singh.. bcs its these lyrics and bcs its from this movie..

Sunday, July 24, 2016

Aise hi...

कभी कभी तय करना मुश्किल हो जाता है, कि क्या ज़्यादा है - हमारी दूरी में छिपी करीबियां, या हमारी कुर्बत में बदी दूरियां। 



Wednesday, July 20, 2016

Hotel Heartbreak

I checked into Hotel Heartbreak many years ago. Now, i have a permanent suite there.

All rooms in this hotel are single occupancy. The minute you share your room with someone, you have to check out. Its the house rule.

You get your cocktails. No restriction. You get music of your choice. its lovely there.

Monday, July 18, 2016

Kavita / Poetry


मैं रोज़ दूर भागता हूँ उस से
बड़ी छलनी है
रोज़ नया प्रपंच...
और मैं
फंदों से
भागने को आतुर
पूरी तरह से निर्बल


बड़ी मोहिनी है
जकड कर पीड़ा के इंद्रजाल में
मोह का मायाजाल बिछाती है !

Friday, July 15, 2016

I miss deep conversations

I miss deep conversations. The kind that talk about poetry, love, loss and smiles. The kind that are not spoken. But take place over bookmarks and dried flowers in old, forgotten books. The kind that speak a sentence and take your breath away. That kind. The kind where someone shares a song and you listen to it, and you both know what that means.


I miss those.  

Thursday, July 14, 2016

Gulzar

उखाड़ दो अरज़-ओ-तूल खूँटों से बस्तियों के
समेटो सड़कें, लपेटो राहें
उखाड़ दो शहर का कशीदा
कि ईंट-गारे से घर नहीं बन सका किसी का

पनाह मिल जाये रूह को जिसका हाथ छूकर
उसी हथेली पर घर बना लो
कि घर वही है
पनाह भी है।
तुम्हारे हाथों में मैंने देखी थी एक अपनी लकीर, सोनाँ


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जिस्म सौ बार जले फिर वही मिट्टी का ढेला
रूह इक बार जलेगी तो वह कुन्दन होगी


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कब से बैठा हुआ हूँ, मैं ‘जानम’
सादे काग़ज़ पर लिखके नाम तेरा

बस तेरा नाम ही मुकम्मल है
इससे बेहतर भी नज़्म क्या होगा


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