The sect of Jehovah’s Witnesses does not endorse or believe any sign/symbol of temporal power and only pays obeisance to its God, Jehovah. Instead, they stood in respectful deference during the singing. One such case erupted in Kerala when in early 1980s, three children of the Jehovah sect were expelled from a school for refusing to join other students in singing the national anthem. The controversies continued in post Independence phase too. The late 1930s witnessed some bitter communal politics in this regard. The objections and controversies were bound to crop up. It may be worth keeping in mind that unlike her siblings like Jai Hind and Inquilab Zindabad, barring few exceptions as mentioned above, an element of divine presence of a Vaishnav Hindu goddess remains central in the slogan Bharat Mata ki Jai. For Jawaharlal Nehru, Bharat Mata ki Jai was not just about land and geography but also about peasants and people themselves.īy 1907, intelligence department reports begin mentioning Vande Mataram and occasionally Bharat Mata ki Jai as a ‘war cry’. However, in 1935, when Amrita Sher-Gil chose to paint her own Mother India, her brush rendered Mother India as tribal women. The overarching frame remains religious having elements drawn from the vocabulary of Hinduism and national struggle together. This history reveals a fascinating entanglement of the anthropomorphic body of a divine mother with the map/ the territory of the nation. calendar, lithograph, border of dhoti, match box labels and cartoons. The icon of Bharat Mata very quickly acquired a wide ranging visual forms and registers i.e. This was ‘the perfect answer’ to her question, ‘how can a man be a painter of nationalism’ and ‘can an abstract idea be given form with flesh and painted?’ Painted as a beautiful young ascetic, in the eyes of Sister Nivedita, this was a coming together of the abstract ideal of nationalism and art, of human form and the divine spirit. During the Swadeshi movement in 1905, Abnindranath Tagore painted an image of ‘Banga Mata’ but decided to title it as Bharat Mataĭuring the Swadeshi movement in 1905, Abnindranath Tagore painted an image of ‘ Banga Mata’ but decided to title it as Bharat Mata. The icon, the song and the slogan acquired an entangled trajectories but also their own identities. It was sung in the Calcutta session of the Indian National Congress in 1896 by Rabindranath Tagore. However, the score set in Desh Ragini (Kawali beat) came to be included only in the third edition of Anandmath in 1886. The landmark intervention in the history of this icon was Bankim Chandra Chattopadhyay’s Anandamath By 1880 even the song was occasionally rendered in the drawing room of the author in raga Malhar.
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