Saam Lal’s Goats and the College of Art

On a burning-hot April afternoon (like today), sometime in 1994 or 95 Suneet Chopra entered the Ishtihaar office, his face red and profusely sweating. A safa, the kind worn by a peasant-mazdoor leader was dripping on his head. Without saying a word he pulled up a chair and sat down. Cleaning his glasses with the gamachha, he ran his fingers through his beard and drank two glasses of water. A cup of tea later he asked me to get up and come with him. “Where to?” I asked. At the Delhi College of Art, there is a show of final year students’ works on display and for sale.”  When Suneet spoke with that kind of authority you couldn’t say no. We drove to the college where the artworks of final-year BFA students were on display for assessment and for sale. Walking up and down the corridor and the hall, we looked at the artworks but weren’t ready to pay the prices students had labelled them for. We were about to leave when we met Saam Lal (that’s how he pronounced his name). Saam (Shyam), a peon-like assistant at the college, held a few rolled sheets in his hand. He had displayed two others on a cord along the outer wall. Those were HIS paintings. Shyam Lal, who had never attended school, learnt to draw and paint at DCA only. A few works that he managed to sell in a year supplemented his meagre salary. Looking at his works Suneet retraced his steps, and so did I. Suneet kept looking at the “Goats” – a gorgeous single one, and a clean-coated family of four. Suneet asked Shyam Lal to open the roll in his hand, which had two more artworks; Goats again. He looked at me and nodded, signaling that we should take these. Between the two of us we bought all four works. Shyam Lal asked for 2,500 each. Mind you, these are 3×2 feet fabulous works, watercolour on acid-free chart paper. The two in picture are with me, I wonder what Suneet did with his. Over thirty years now… every time I look at these works I remember both Suneet and Saam. Suneet is gone, I wonder what ever happened to tall, emaciated, smoker Saam who could hold both a brush and a bidi in his left hand while painting. Syam signed these works for us with a pencil tucked in his left ear. I cherish these.

For those who don’t know: late Suneet Chopra was an art critic, writer, and poet. He was a trade unionist; Secretary of the All India Agricultural Workers Union and a Central Committee member of CPI(M). Born in Lahore, Suneet was an alumnus of Modern School and St. Xavier’s College, Calcutta. He taught regional development at Jawaharlal Nehru University Delhi. More than everything else, the ever-smiling Suneet was a fine human being. 

An eveneing with Pushpesh Pant

​When Pushpesh Pant talks about food, he makes your mouth water even before you’ve really known the dish. By discussing the history, origin, species, process, and the love that goes into making a dish, he makes it so interesting that you feel like trying it the very next day. Just meeting him and listening to his tales of life and the kitchen truly satiates—both the spirit and the appetite. An evening with him is a harvest of culinary wisdom. Yesterday, at the Hans magazine’s “Zayka aur Zaban” event, the air was further seasoned by the presence of Vineet Kumar, author of Bachelor’s Kitchen, alongside Vandana Rag and Rachna Yadav.

पुष्पेश जी को मिलने और उनसे ज़िंदगी और रसोई के किस्से सुनने में ही आदमी तृप्त हो जाता है, मन से भी और पेट से भी, जिसके बाद इधर उधर कुछ खा कर आप जायका खराब नहीं करना चाहते। बहुत फ़ायदे हैं हर बैठक के। बीती शाम हंस पत्रिका के ज़ायका और ज़बान कार्यक्रम में बैचलर्स किचेन के लेखक विनीत कुमार, वंदना राग और रचना यादव से भी मुलाक़ात हुई।

Sunil Janah: Photographing Wretchedness and the People’s Manifest

Sunil Janah would have been 108 today (17 April). His powerful photographs documented India’s independence movement, its peasant and labour movements, famines and riots, rural and tribal life, as well as the years of rapid urbanization and industrialization. The pictures he took were “a powerful mobilising tool, bearing witness to a brutal famine that the British were actively trying to deny.” About this picture of two tribal women, he said, “I took a number of photographs unknown to them; they were watching Margaret Bourke-White at work. The young girl was particularly striking.” Janah is quoted about his picture in the book, ‘The Second Creature‘, published by Signet Press in 1943. In the next picture (from a show at Museuo Camera, Gurgaon) are Sunil Janah and Margaret Bourke-White, c.1946, who collaborated on many projects.  Sunil Janah was an Indian-American photojournalist and documentary photographer who worked in India in the 1940s.

क़यास – उदयन वाजपेयी का उपन्यास

अपने अंदर रह रहे किसी किरदार की तरह उदयन जी का ये उपन्यास करीब चार बरस तक मुझ से परे, अनजान सा बैठा रहा। फिर एक रोज़ रू-ब-रू होते ही कहानी ने सब उंडेल दिया – प्यार, उलाहने, उम्मीदें, शिकायतें और सपने भी। हम भी किसी सिनेमा सा सुनते और देखते चले गए, बिना इंटरवल के। अब दुख ये है कि क़यास को चार साल पढ़ा क्यों नहीं । भरपाई यूं होगी कि उदयन जी का लिखा सब पढ़ना होगा। ब-वक़्त ऐसे बेहतरीन लेखक और उनका शांत-उजला लेखन मेरी पकड़ से इस लिए भी दूर रहता है कि मैं उसके लिए अपनी समझ तैयार कर लूँ। अगर आप ऐसी कहानियाँ पसंद करते हैं जो बहुत शोर-शराबे वाली न होकर शांत और सोचने पर मजबूर करने वाली हों, तो ‘क़यास’ आपको जरूर पढ़नी चाहिए। 

‘क़यास’ हिंदी लेखन की बेहतरीन कलात्मक रचना है जो चुप्पी में घुट रहे इंसानी रिश्तों को सादगी से पेश करती है। कहानी ‘सुदीप्त’ के इर्द-गिर्द घूमती है, जो किसी छोटे से शहर में आ कर किसी पुरानी, बंद पड़ी लाइब्रेरी को फिर से जीवित करता है। कहानी की शुरुआत में ही सुदीप्त की हत्या हो जाने के बवजूद कहानी अपने शांत रौ में बहती रहती है जिसके बाद कहानी का हर किरदार  सुदीप्त की हत्या के कारण या हत्यारे के बारे में ‘क़यास’ (अनुमान) ही लगाता रहता है। पूरी कहानी सुदीप्त से जुड़े अलग-अलग लोगों—उसकी पत्नी मृदुला, नौकर लखना, बेटी नुहा और मित्र वंदना—के मन में उठने वाले ऊहापोह, शक, और उनके अपने ‘अंदाजों’ के ज़रिए आगे बढ़ती है। कोई जासूसी कहानी न हो कर ये इंसान की महीन ज़ेहनी परतों में छुपे अपने-अपने क़ातिल को बेनाक़ाब करने में कामयाब होती है। सुदीप्त की हत्या के इर्द-गिर्द बुनी गई ये कहानी कातिल को खोजने के बजाय, उसके करीबियों के मन में उठने वाले ‘अनुमानों’ पर केंद्रित है। उदयन जी कहानी में भी कविता की ले और रस ले आते हैं । छोटे-छोटे अध्याय कहानी में आने वाले अगले मोड के इंतज़ार में पाठक की दिलचस्पी बनाए रखते हैं। अपने-अपने अंदरूनी डरों का आईना साथ ले कर चलता हर किरदार दूसरों के बारे में बनाई राय की विफलता से जूझता नज़र आता है।

Singing Minstrels in my city

Check the attached video

Just like the Bauls in Bengal, and the Keertankaars in the Marathwada region, singing minstrels were a common sight in North Indian towns and cities until about three decades ago; then they vanished. Driven away by the security and safety paranoia of cities, and the allegations such as theft, these people moved to the hinterlands and were no longer seen singing on buses, trains, footpaths, or sometimes even outside temples. Covid pushed them further away. Was surprised to see them on the street this morning. I love how they mix Bhakti texts with film tunes and their simple choir-style singing. *I am still learning to edit videos. All geeks are welcome to teach.