The Dance of Shiva’s Third Eye: A Lower Class Indian Woman Against the English Law of the Middle Classes in Damini(1993)

07.11.2016 (edited 14.05.2024)

Jai Maata Di! (Hail the Mother Goddess!)

Although it was appreciated in India and won a number of awards, the Hindi film Damini (1993) is largely and unfairly unappreciated in the West. It is one of my favourite films. What you see is an answer to the injustice of the middle classes that masquerades as legal truth. and how to base resistance against it. The resistance to the law is in the form of the image, idolatry and photography. The film is not obviously about vision and photography, although for those that see nothing and will try to stop others seeing, it is emphasised that photography is integral to the medium of film.

Damini is about English law, the remnant of British colonisation in India, and its relationship to vision, particularly the vision of a woman of the lower classes. Damini (‘the lightning’) is a lower-class girl that marries into a rich family and makes friends with the house-maid Urmi. Damini’s brother-in-law Ramesh (‘the ruler of Rama’) rapes Urmi, pinning her down below him with the help of his friends and Damini sees him doing so. Damini finally agrees to say what she saw in the court of law, but every attempt is made to exclude her lower class woman’s truth by the middle class which is fully in control of the western-derived legal apparatus, a truth in which the exploitation of the lower classes forms a continuum with the sexual violation of woman and her forced submission to masculine desire. Damini is indeed confined to the mental asylum because of her truth – the lawyer who goes up against her says that she is mad. Here, Damini is indeed driven insane.

Then, in one of the most powerful scenes in world cinema, Damini sees a procession of Durga Maa (‘the Invincible’, Devi Maa, the Mother Goddess, Mata Rani, The Mother Queen, Maa Shaktishaali, The Powerful Mother) in the streets accompanied by the common people through a window in the asylum and regains her memory. The look of the idolater upon the idol, the Mother and the multiple forms of Hinduism behind her, the last true religion of syncretism and one that is not organised around scripture (whatever its other faults), merges with an intense tandava, perhaps one of the most intense dance sequences on film. Damini (‘the lightning’) flashes and her energy is converted in Shiva’s dance, the dance of creation, preservation and dissolution. Shiva is Durga’s consort – her lover. Damini becomes the lightning because it illuminates the world in a flash – like photography and the writing of light.

The dance begins with the eyes and the eyebrows, as can be seen in the video. For it is the opening of Shiva’s third eye, the eye of power. It is a dance of vision. Damini’s bindi, the red mark on her forehead, represents the third eye. The story of Shiva’s third eye is traditionally associated with anger and the renunciation of desire, the renunciation of the desire for the middle class in the movie, it would appear, and the form of power that they represent. The dance is not a solo performance. It is directed at the enemies of the Indian lower class woman. The dance requires mastery of will and body, improvisation and the knowledge of classical forms. The dance is a fight which pre-empts the moves of its opponents, which enlarges and expands the body, which can suit the circumstances and adjust and adapt, which can bedazzle and confuse its opponents. The dance is a carefully constructed martial arts performance, like kata in karate. It is both exhibition and internal consciousness.

Shiva’s third eye is a vision bestowed from integration with the Mother Goddess. For Shiva, like Damini, is the one that loves the goddess – Shiva is Damini’s consort. The love of the Mother Queen and Damini’s bhakti returns her to herself and her vision and gives her the energy to fight for her truth, the truth and vision of woman and the lower classes. It allows her to fight against the legal system of the middle classes and flee the asylum. It gives her the force to say what she saw and destroy the forces of concealment and reorder the world.

The empowered Damini unites with a good lawyer who submitted himself to the desire of woman, his wife, in order to take up his occupation and she is triumphant. The good lawyer returns Damini to her alienated husband, he returns her to her love: he gives her back her desire. In one scene, the good lawyer calls himself a tiger: the tiger is the vehicle of the Mother Goddess, also known as Maa Sherawali, the Mother with or of the Tiger. The good lawyer’s wife, now dead, is only presented to us as photograph, the image. When one looks at the traditional images of Durga, the connection is clear. In an inversion of the picture of the rape that Damini saw, with woman pinned down by men, the Mother is above the tiger, it is her vehicle which she directs (the tiger itself is the national animal of India and Mother India). Above the law, there is the Mother and the law itself must only be the Mother. Thus, the quote by Mahatma Gandhi at the beginning of the movie which is said to have inspired it: “There is a higher court than courts of justice and that is the court of conscience. It supercedes all other courts”.

Damini’s justice is self-serving. It has an identity which it declares and serves, the identity of an Indian lower class woman. It is meant to protect a lower class woman that is her friend. Damini’s justice is based in emotion and empathy. She feels the hurt of another. Damini’s justice invokes a different form of power to the middle class men in power, a power that is feminised and derives its source from the mother and the sphere of the maternal. Damini’s justice is resistance: to serve not those in power, but those that are disenfranchised from power. In India, rapes are concealed by men so that the honour of their household is maintained. Thus, the powerful can prey on the weak. Damini’s justice exposes the act of making the less powerful submit to the powerful via gender in Indian society and calls for the public to claw back their honour. It is a film where justice operates in the honour economy and not the property economy of the West, where the white middle classes not only control the legal apparatus, but are also favoured by it as clients because they have more money.

Shiva’s Ability to Withstand the Flood of Woman’s Power

10.04.2024

Woman in the male imagination is the awesome and sublime power of nature. Uncontrollable, devastating.

The other name for Durga the Mother Goddess, the one with the tiger, is Shakti or ‘power’. Kali, her other face, is unchecked rage and blood lust. The beserker. Total carnage.

Amongst the gods, there is only one that can control and shape the flood of woman’s power. Over and over again in the myths. It is Shiva, the lord of the beasts (pasupati).

In one myth, Shiva is the only one powerful enough to funnel the flow of the river Ganga (Ganges) from heaven as she falls to earth. Devastatingly she floods down with raw energy. Serenely, he takes her force into his untamed head of hair to bring her down to earth.

In another myth, Kali’s dance of blood lust is only brought to an end when Shiva lays down before her so she dances upon him. It is the cosmic dance – the creation of the universe. Shiva’s control that channels the raw power of woman, the flood of her rage and power.

In both myths, there is one striking aspect of Shiva. That he is completely inert and still, passive. This is his power. Where woman floods with elemental force, Shiva sits down quietly to let the flood enter his hair, or he lays down before it. It is with stillness that the flood of woman’s power is channelled to create life – whether through the water or through the creation of all things. In response to total emotion, like Kali’s, in response to being moved, like in emotion, like the movement of the flood of the Ganga, Shiva is meek and unemotional. Unmoving. Unmoved.

Have you ever argued with the woman you love in the heat of her passion? You cannot fight them. Because you cannot hurt them when they are already hurt. It is wrong. It goes against the responsibilities of being a man. It is dishonourable. So you have to become inert. In response to fury, you reply without emotion. In response to provocation, you are still. In the face of accusation, you are silent. Shiva embodies the only way to act: with absolute restraint and self-control. The one you love is attacking you with everything she has got. She wants to kill you. The only one that can hurt you is hurting you. And you? You have to put your head upon the sword that she offers, and offer her your naked throat. You have to become Shiva. It is the only way forward. Psychologically, even if you are losing the argument, but your opponent is getting more and more heated, by becoming cooler and cooler, you win. That is what it means to be Shiva. Absolute stillness. Stillness in war, as personified by Yudhishthira in the Mahabharata, the leader of the hero brothers (Yudhishthira means ‘still in war’).

You can read more of my poetry and my other books including fiction and prose on my personal blog which features the Open Access MEHMI PRESS:

https://lnkd.in/eP2auKX3

Day Off – How Do You Capture a Distinctive Portrait?

09.04.2024

The Cosmic Dance – Kali dances on Shiva as this is the only way to contain her bloodlust and destruction.

What can I say? I love Kali. So every woman I love becomes Kali. And I become Shiva. It is fate. It is the cosmic dance.

……

Easy. Simple. Unimaginative. There is a preconception amongst some of the non photographers that a portrait is nothing much. Not a real exhibition of skill. Especially the selfie.

Yet the way that you pose and the way that you present yourself to convey your identity is a skill. Whether you want to look appealing or hostile, whatever emotional bond you want to create with the viewer through the craft.

Today, I took it to the basic level. I held the camera at arm’s length in front of me and pushed the button. The magic of technology.

How did I convey my identity?

First off, I posed in front of the bookshelf which is my library. So that indicates that I am a reader.

Then, it was time for the framing. I chose to cut off bits of my face. To add the mystery. It is a technique taken from Japanese art too – I volunteer at a Japanese art gallery. Japanese art itself is influenced by India and Buddhism. So there is that happening there.

Lighting is positioned to catch in the eyes which have been described as my best feature by others, not just women. These eyes are the eyes of my grandfather. It is the family connection. Eyes themselves are described as the ‘windows into the soul’.

The face is filled with light to alleviate the appearance of wrinkles – I am standing next to the window. Light creates a flattering portrait.

In one portrait, I look into the camera. Intimacy. A direct and confrontational challenge. We stare into each other’s eyes. The aggression. The other two images, I look away. The creation of distance. The air of introspection. The books in the background add to that idea of the introvert.

No props. The face fills the frame. There is no distraction. The complete focus is on me. Therefore, the images become intense and illustrate my intensity.

All considered decisions. Yet, the portrait itself is regarded not only as a vulgar, but also narcissistic form. Even though we always present ourselves in our best light to other people. At least in public.

……

Called my friend in the morning who is recovering from the operation for support. She is still suffering. When I call her, she doesn’t want me to go. I said bye about four times. That is what love is.

Contacted my mentor who is recovering from cancer to hope his operation goes well.

Leg is fucked. But the doctor got in touch so I called back because I missed the call as I was talking to my friend. No appointment. But they will call again tomorrow to try and sort one out. How fucked is the leg? Painful. Swollen. But I still ran on it to get to the bus and I caught it. So how fucked is it actually? If you believe in your body and you have mental strength, you are invincible. The Tiger is capable of smiling whatever happens. And helping others despite anything. I have been raised to be a hero and a warrior. There is a saying in India: Men don’t feel pain.

Writing about the Japanese art for the Japanese art gallery in the morning. Then, wrote an article about Indian film songs for the new volunteering space. Then I wrote some new tour excerpts for some other plants for the Gardens. So all the volunteering stuff is done. About four hours invested into art, education and culture and to save the world by inspiring people about plants, climate change and the environment.

Bought some books on history and the V & A and its history at the charity bookshops in the local area. That was one hour gone – that’s why I had to run for the bus.

Bought some lilies for myself and my mother – I walked down. Another forty five minutes. As I walked, I admired the gardens in the local area. It is the time of growth.

I took the photographs, made the artwork. But what would the day be without a poem about Helen? Here it is. For her. Even if she is not reading.

she is always late

she hangs around the people

that are always late

time is not something she really thinks about

or they think about

because they are young

and their dismissal of time

is a part of them

and I who watch the clock always

feeling time’s hot fangs and breath behind me

I who waited patiently forever for her

for nothing

I for whom time is slowly running out

to do the things that must be done

I who does not have any time with her

I wonder at her dismissal of time

Pain; Giving My Tours; Meet up with Friend; Chocolate Orgy at the Chocolatier; Innocence

My friend liked this photo because he said I looked really happy in it.

03.04.2024

I got a deep paper cut on the index finger of my left hand yesterday. It has been stinging the whole time. The paper – quite thick – sliced so much into me. The pain was terrible. But the thing about pain is that it makes you feel alive. So I have kept the cut open to the elements without a plaster. It looks like a surgical cut, so clean and crisp. For such a small injury, it occupies a big place in the mind and the senses. That’s why Indian people call love a wound. Because it hurts all over with the exquisite pain of life.

This is the second incident of pain this week. I was standing around and suddenly something collapsed in my back. It lasted two days, two days of pain. So it is the season of pain. Meaningless pain and meaningless suffering.

But the back has healed now. The body will just recover from anything that you throw at it – almost anything.

I was giving out the tours which I wrote today. One woman told me that it is the first feminist art tour that she had ever been on in her life. Why have I written this tour? Where I write about feminism sometimes, I criticise what it says. Because I honestly don’t agree with the perspectives taken. But I am not a woman. Of course, I would see things differently. We have been raised to worship the mother goddess, amongst my other religions. We see the mother as the source of power and life, the source of legitimacy and justice. That is our ‘feminism’, to use the Western word. However, in this Western feminism, the idea that women are ideally mothers is wrong. In Western feminism, what ‘choice’ means is that you should work as a wage slave. It is a capitalistic feminism, not like ours which is for the poor. Where the most important thing is not work, but family. But this is what feminism is: it is about real choice. So you have to be able to give women choice and you have to respect those choices and support those choices. And not judge someone as inferior because they are women and not men. So that is how I am a feminist: because I support choice, even when I don’t agree with those choices. Because our people have been judged as inferior. We are the same as the women have historically been. We are women. But where is our choice and the respect for it?

Another friend is leaving from my life. She understood me because although she is from a different generation, she is still Indian.

I met up with my friend after work. He is off on holiday for a bit. We went down to the pub first and then we went down to the chocolatier’s. I don’t write what we talk about here. Because those conversations are honest – too honest for the people that might be reading here. Men’s conversations. I had a chocolate orgy over there – brownies with vanilla ice cream. There was a massive portion.

People think that if you go after a woman that is younger than you, that you are using your experience to an unjust advantage. In fact, these women have more experience than me and have had more relationships than I have had. It’s just a fact. So anyone that thinks that I am putting anything over any of these younger women is wrong. They are putting something over me with the way that they are treating me. Because the innocent one is me. I have been with a few, just a few. From the times before this new generation of people that are the only people that I know now. So anyone that is judging me is wrong about it. So Helen, Girl 3 and Potential Girl are the ones that are using their experience on me. Not the other way around. It is not the case that they are younger and therefore more inexperienced.

Today’s questions – with no definite answers:

Why are some people introverts and some people are extroverts? Nobody knows. I said that it is the context that determines how you act, not some kind of innate personality trait.

Why do so many women say they are introverts (they all talk to you when I start talking to them, so I don’t think that is correct)? If they are introverts, is this socialisation and gendering? Or nature?

Why are so many obsessed with cleanliness? Is this socialisation? Or nature?

I managed to get up early in the morning today. And I managed to do some extra work in the morning. So, I am back on track. I just have to keep it up. Everything in life is just habit. When I wasn’t feeling well, I woke up late, as late as I could. I developed an unhealthy habit. Now, I just have to develop a healthy habit.

The Mask of the Superhero and the Nakedness of Kali

08.03.17

On this International Woman’s Day, I, a bad person, will talk about a woman that has inspired me. To me, she is a fictional woman, although Hindus revere her as a real person. I want to contrast her with the masked superhero. I want to show how she is both more valiant and powerful than the masked superhero. I will first set out my ideas about the mask of the superhero. I will then talk about Kali and her wonderful nakedness. I want to contrast two forms of power. The first power is masculine. In this power, identity is concealed. That is the strength of this power. The second power, that of Kali, is feminine. In this power, identity and the body are apparent. That is the strength of this power.

Let us start with the superhero. The superhero is typically male and typically masked. One notes the pattern not just in comics, but also in the recent superhero films which have been made and which have been popular. Why is the superhero masked? The mask conceals the identity of a man and the concealment of identity protects the superhero. The mask allows the superhero to live a “normal” life outside of the battlefield in incognito. The mask of the superhero is also said to protect his loved ones. The mask is therefore related to the making of the normal and normalcy. The mask is said to protect love and loved ones. It is presented as social rather than anti-social. The mask as seen as necessary in the make-up of society and social organisation. The mask separates the field of action from the field of normalcy.

The mask is also associated with law and the separation of the public sphere and the private sphere. The mask allows the superhero to move out of the identity of a single man and fight for a supposedly abstract and universal justice. The mask and the concealment of identity is the way that the individual man can move out of his own limited perspective and life into a field of battle which is much bigger than himself. The mask allows a man to fight as the champion of justice against injustice and evil.

The mask is therefore crucial to the concealment of identity and the fight for justice. It enables the fight for justice as it conceals identity and only as it conceals identity. It is only then that the hero can become an abstract and supposedly universal figure outside the limitations of what is human. If the mask is a symbol of power, it is of a power which attempts to divest itself of identity. If the power of the mask is associated with anything, it is associated with the justice of the West.

The mask of the superhero can be contrasted with the nakedness of Kali. Kali is the supreme Woman and the supreme Warrior. She is the Mother of the whole Universe and the supreme form of power. She is also the destroyer of evil. She is the protector and the liberator. Kali stands for a justice envisioned as female, not male. Her female body is emphasised, as is her nakedness. As Wikipedia states, Kali “is often shown naked or just wearing a skirt made of human arms and a garland of human heads”. Kali wears no disguise when she steps into battle, nor any armour. She is fearless. She assumes no other identity than her own. Indeed, it is not even possible for Kali to be clothed. As Wikipedia states, “[s]he is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti.” The explanation of a Hindu is more telling: “She is shown nude because no finite clothes can cover the infinite” (http://hinduism.stackexchange.com/questions/3412/why-is-goddess-kali-shown-topless).

If the bloodthirsty and invincible Kali is a fighter for justice, then she never stoops to conceal her identity. She betrays no weakness. She does not fear that others will know her or her loved ones. She does not need a mask to give her power. She is power herself. Her power is naked. Her power derives from her femininity and her association with nature. For where the male superhero needs clothes which are produced by humans, Kali stands at one with nature in her nakedness. She is nature herself and the mother of all. She is the supreme power of femininity and the female form.  She is the beauty of the body.

These are the two opposed forms of the fighters for justice. The masked superhero and the naked Kali. The mask of the superhero hides his face, his features, his human expressions and his eyes. He stays in a state of calm repose, as no one can see or feel his emotions. He acts outside of vision and the limits of vision. The nakedness of Kali is an assault on the senses. She is a vision herself. One sees emotion and anger in her face. One feels her through sight as total fury and devastation. As Wikipedia states, “[h]er eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling.” Emotion, femininity, animalism, nature. These are all attributes of the vision of Kali. Her body highlights the bodily senses which are attuned to the material world: her eyes which see are red and more evidently visible and her tongue also to be seen, that tongue which tastes food and which is out to taste blood. Kali is beautiful because she is aggression and anger itself. Her hair is disordered and she is outside of any conventional depictions of beauty. Her power is her beauty, the power of fury unleashed.

Such is the mask of the superhero and the nakedness of Kali. This is the character of two fighters for justice. The masked superhero is Western and male. The naked Kali is from an ancient India and she is the supreme embodiment of Woman as the Mother of us all. The masked superhero hides his face and his emotions and expressions. He wears what is really a uniform for one person. Kali wears nothing. She is without shame and supremely confident in herself and her body. The masked superhero has a split personality: the unlimited fighter for a seemingly abstract and universal justice and the limited man. The masked superhero is a recent invention. Kali is beyond splitting. Kali is beyond the contemporary. Kali is beyond the limits of all: she is infinite. She is supreme form. She never dies. She comes in every age. She fights for justice in every historical period. This is why Kali is inspiration and the masked superhero is contemptible.