Durga, Ravana & #MeToo debate

Sandeep Sinha

The #MeToo debate rages on in the country even as the Navratras and Durga Puja are being celebrated. While these festivals are about celebrating the power of womanhood in the form of kanjak worship and the aura and grandeur of a deity known to slay the evil, the #MeToo debate has also brought out this ability in a different form—by making women come out of the closet and also their determination that nothing can keep them down. While a final word is still awaited in these cases, what is heartening is that it has encouraged people to come forth and speak without the fear of stigma ensuring silence. Reputation has been brought out of woodworks and put to test, engendering a public debate.

Ravana whose effigy is burnt on Dasehra every year did not live in the #MeToo era. Yet, he kidnapped Sita. It is an act for which the demon-king is condemned, but the kidnapping was said to be an act of revenge for Lakshmana had cut off his sister Surpanakha’s nose. Surpanakha was no feminist, nor was she a women’s rights activist. She merely had a romantic interest in the brothers. But she was humiliated and Ravana wanted to avenge it. Ravana kidnapped Sita but did not violate her. A beautiful poem in Hindi, captures the virtues of Ravana amid the epitome of vice he is said to be, Sita jivit mili, yeh Ram ki hi takat thi; Par pavitra mili, yeh Ravana ki bhi maryada thi… (That Sita remained alive was due to Ram’s prowess, but that she was not violated because of Ravana’s dignity).

The conduct of Ravana is also in contrast to that of Rama who gave up on Sita because of an insinuation made by one of his subjects. While Sita spent time in Ashok Vatika, in Ravana’s custody, she went through agni-pariksha and was again forced to find shelter with sage Valmiki after being banished by Rama. It is said Tulsidas did not condone this act of the Maryada Purushottam and described Luv-Kush as Sita’s son’s, omitting Rama: Dui sut sundar Sita jaye, Luv-Kush Ved Puranan gaye. (The two handsome sons are of Sita’s, singing hymns from the Vedas and Puranas).

The poet describes the feelings of Ravana thus as his effigy is set on fire: Mahsus kiya hai kabhi, us jalte hue Ravana ka dukh; jo saamne khadi bhida se baar-baar puch raha tha; Tum mein se koi Ram hai kya? (Have you felt the pain of the burning Ravana who asks the crowd in front of him-- Is anyone Rama among you). The poem is aptly called, Ravana ban na bhi kahan asaan tha? And how about burning an effigy of #MeToo along with Ravana?   

Having grown up in a Bengali neighbourhood, I have come to cherish Durga Puja fondly. It is a throwback to the idyllic days of yore when one would visit pandals every day for three nights in a row — Saptami, Ashtami and Navami and offer pushpanjali to the goddess in the mornings. Durga Puja is said to be more of a cultural celebration than religious unlike the Navratras, having more to do with celebration and not just devotion. Durga is not just a goddess but a part of family, the daughter of the house who comes to her parents’ house for the autumn break. It is deeply connected to art, crafts, music and theatre and is also not just about fasting. To reconnect to my past, I have found myself visiting the Kalibari in Chandigarh every Durga Puja, loving the feel of the pandal, the incense and the dhol beats.  

So, as we celebrate our Navratras and Dasehra, here’s wishing you Shubho Bijoya.