Gabbeh. [Source – mk2films]Readying the carpets. [Source – mk2films]
Let the colours dry, and you,
Who has been waiting, yes you,
Gabbeh, smile, for I will come
Riding my horse, I will come,
To steal the decorated rug
With you inside,
At last, I will make you mine.
*
Gabbeh, the 1996 film, is a simple tale of a gipsy girl, her clan and the way their life goes on.
Unfolding beautifully just like an artist painting a canvas, Gabbeh quietly touches the grand questions.
What is the purpose of existence, what is this feeling of love, what makes colours so harmonious, so arresting?
The complexities, the insatiable desires, the mind games, what helps and what hinders, how do we know?
What is to be said, heard and done before death?
The film weaves a beautiful pattern of such thoughts, but subtly, charmingly that one gets truly absorbed in the flow of the story and does not feel staggered or burdened at all.
The story is exceptionally close to reality even though the style of its narration is truly poetic. It is simple and complex, romantic and mystifying, colourful and rough, complete and incomplete.
Presenting life from a woman’s point of view, talking about the role of a woman in a family, sharing her aspirations and wishes with us, the entire story thus, inherently is full of warmth, colour and calmness, making the love palpable for the viewer.
The best way to describe Gabbeh would be to call it a dream. It is a folk tale, a myth and yet an unembellished raw saga; hazy, vibrant, unreal and real at the same time.
Gabbeh is an experience, a dream that you must see one day.
Written and Directed by – Mohsen Makhmalbaf, Gabbeh – Shaghayeh Djodat, Music by – Hossein Alizadeh, Cinematography – Mahmoud Kalari, Edited by – Mohsen Makhmalbaf, Language – Persian.
Jonathan Livingston Seagull and his students. Image from Pixabay.
Jonathan Livingston Seagull wanted to master the art of flying. Soaring up in the sky, above the white ocean of clouds, he felt truly free.
Though very unlikely of a seagull, Jonathan flew high ever so high, he practised and failed umpteenth times, but he never gave up.
An outcast, he lived alone and happily spent his time in his quest to achieve perfection.
On reaching a higher level of existence, he meets gulls like him who wanted to enhance their flying skills. It was not heaven for everyone there were learners.
Chiang, the guru of them all, teaches Jonathan how to let go of the concept of time and space so as to travel freely in the Universe.
“Begin by knowing that you have already arrived”, said Chiang.
Wondering if someone else, one who dares to question and take risks, needs guidance on Earth, he returns.
“Devil” for some and “angel” for others, Jonathan teaches a few eager ones. Practising, failing, practising again, Jonathan’s students rise above the Flock, the mundane.
Jonathan Livingston Seagull then continues his journey to guide other gulls who must have been waiting for him somewhere else in the Universe.
Richard Bach’s fable is soothingly clear, and thus, appears too simplistic to many. Just like flying looks simple only until we give it a try.
He equates perfection with freedom, emphasising on practising and a thirst for knowledge as the golden path to it; a path where you walk ahead passionately and not cumbersomely.
Every little bud in nature rises high, soaking in sun rays, moving towards it. Rising high, shedding the old self, stepping forward to explore the unknown, dwindling before making a firm stand is what life’s journey is all about.
Jonathan Livingston Seagull, “a one-in-a-million bird”, if appears to be too perfect and his ideas if sound too far-fetching then you should look at your on-going journey and answer these questions – what are you looking for in life – perfection in some form or maybe a balance?
And what is balance if not a proportion of perfect this and perfect that?
Even better, you should meet Shelley’s Skylark.
Hail to thee, blithe Spirit!
Bird thou never wert,
That from Heaven, or near it,
Pourest thy full heart
In profuse strains of unpremeditated art.
*
Higher still and higher
From the earth thou springest
Like a cloud of fire;
The blue deep thou wingest,
And singing still dost soar, and soaring ever singest.
‘Blithe Spirit’ calls Percy Bysshe Shelley a Skylark that is soaring up in the sky (or Heaven, or near it), singing beautifully and gloriously that to him it is nothing but unprecedented ‘unpremeditated art’.
The Skylark, invisible to his eyes, has such power in its voice that the poet likens it to ‘a cloud of fire’.
Shelley beseeches the Skylark to teach him what it knows; a divine secret it must be for nothing on earth could outshine it. Joy so true, Shelley calls it ‘a star of Heaven’.
Nature’s bounty, the golden glow worms, the rainbows, the playful wind, a young maiden’s love and a poet’s grand verses, Shelley says the Skylark’s song, that flows in a ‘crystal stream’, is above them all.
What thou art we know not;
What is most like thee?
From rainbow clouds there flow not
Drops so bright to see
As from thy presence showers a rain of melody.
*
Like a Poet hidden
In the light of thought,
Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears it heeded not:
*
Like a high-born maiden
In a palace-tower,
Soothing her love-laden
Soul in secret hour
With music sweet as love, which overflows her bower:
*
Like a glow-worm golden
In a dell of dew,
Scattering unbeholden
Its aëreal hue
Among the flowers and grass, which screen it from the view:
*
Like a rose embower’d
In its own green leaves,
By warm winds deflower’d,
Till the scent it gives
Makes faint with too much sweet those heavy-winged thieves:
*
Sound of vernal showers
On the twinkling grass,
Rain-awaken’d flowers,
All that ever was
Joyous, and clear, and fresh, thy music doth surpass.
The Skylark, above these mortal dilemmas, sings with pure love and delight. And in contrast we, humans, are locked in the past or the future.
We look before and after,
And pine for what is not:
Our sincerest laughter
With some pain is fraught;
Our sweetest songs are those that tell of saddest thought.
Shelley urges the Skylark to teach him just half of what it knows, this ‘harmonious madness’ so that he could capture it within and share it with the world.
The Skylark if not a gleaming reflection of perfection, then what is it? If its song is not a song of freedom, then why is the melody ‘a flood of rapture so divine’?
It must be that just like Jonathan Livingston Seagull, the Skylark returned to Earth, to guide and share its knowledge, to remind the poet that ‘freedom is the very nature of his being’.
Unlike a miracle, both took time to convey what little they knew of the truth. The Seagull stays to make his students practice and the Skylark sings till the chosen one – the poet in this case – hears its joyous voice.
Showing what doors can perseverance open and how patience leads to strength, the Seagull and the Skylark leave it up to the individual to unfold the story further.
Birth and death are timed then and a fully lived life, with all its imperfections, aims for a balance, for perfection that guides it to fly high and well.
“Hurry up girl, there is a lot to do”, said Mama and Sue Anna smiled for she was dreamy. And she had a good reason to feel so, she was making Ganpati Bappa’s idol with shaadu mitti (a type of clay).
In Ganesh Chaturthi, a ten-day-long festival in which colours rise in glory and fragrant flowers dance, sweet songs are sung and delicious sweets are distributed, all the Sue Annas in the world become brighter blessed beings.
Yes, there are many Sue Annas, the ones who are a bit more kind, the ones who love to find creepers ruling their garden and butterflies sharing their stardom, the ones who are cheerful when it is cloudy, the ones who dance in the rain loudly… you got it now, right?
But then they are a bit forgetful too, daily chores trouble them and they easily catch the flu.
Stealthily the sickness resides and gives a victory shout, but ha-ha-ha, lovingly all the Sue Annas broom it out. After all, they are Lord Ganesha’s favourite.
“Where are the garlands? Oh! You’re still not done? Sue Anna…”, said Mama and Sue Anna smiled, looked at her and said, “Did you say something?”
Mama told her about the unfinished tasks and Sue Anna yawned, stretched and added lazily, “first let Ganpati Bappa come to our home, he is only half-ready… see for yourself.”
And she gestured Mama to look at the idol. “The clay is so soft… this colour is so rich, right Mama”, and without waiting for a reply Sue Anna got busy once again.
“My Lord Ganesha… little elephant head and beautiful big eyes… a modak (a sweet) in hand and sitting elegantly on a grand asan (seat)…“
Mumbling these words for hours and hours, Sue Anna finally finished making the idol.
She then rushed away on hearing her Mama, Papa, maid and neighbour’s voice, all calling her at once for some work.
When she returned after tackling it all, to her surprise she saw that there is not one but two little Ganpati Bappas in front of her, both smiling sweetly with twinkling eyes.
Utterly amazed Sue Anna kept staring at the two idols, she then said, “Mama, Ganpati Bappa twinned up! Mama!” And Sue Anna ran to the kitchen beaming.
Ganpati Bappa is here to shower more blessings on you, don’t you remember your wish… I mean wishes… go and get your diary… hurry up girl, there is a lot to do!
Photographs, phot + graph which is Greek for “light + writing”, are marvellous means to capture moments almost forever – a print may fade, a digital file may vanish – that shares, and if seen keenly expresses, the truth.
The truth has as many versions as the fish in the ocean, each one equally powerful, waiting to reveal itself to the one awaiting.
This photograph was taken in 1984 by photojournalist Steve McCurry for the National Geographic magazine in a refugee camp for Afghani people in Pakistan, where he documented the ordeal of hundreds and thousands of them.
“Haunted eyes tell of an Afghan refugee’s fears”, these words, imprinted on the magazine cover, talk about her Present i.e. the war-torn Afghanistan of 1984-85, but her eyes are talking about an ancient saga which was and which still is unfolding.
It is the tale of a fierce innocent soul that struggles to survive, that dares to live.
Dorothea Lange who took the iconic photograph titled the Migrant Mother, Nipomo, California (1936) while she was documenting the lives of Americans and migrants during the Great Depression also captured something similar; the struggling life of a thirty-two-year-old migrant mother of seven, her tired yet firm gaze reflects perseverance.
Talking about her technique as a documentary photographer, Dorothea Lange said –
“My own (sic) approach is based upon three considerations – First: hands off! Whatever I photograph I do not tamper with or molest or arrange. Second: a sense of place. Whatever I photograph, I try to picture as a part of its surroundings, as having roots. Third: a sense of time. Whatever I photograph, I try to show as having its position in the past or in (sic) the future”.
Dorothea Lange
An idea/ a concept with which I cannot agree more for both these photographs are real, deeply rooted in their culture and have a position in the past and the future… amazingly the present has faded.
The image of the Afghan Girl has stayed with me for all these years and somehow I can relate to her.
I am afraid and at the same time curious when I see this image, afraid because her fierce glare raises so many questions that cannot be answered and curious because I (and we all are in fact) am a part of this ancient saga.
While documentary photography documents facts, it is interesting to see that the fact when it comes to every living being is more alive and beautiful than a tailored presentation; there is a hidden true story behind every image documented.
In 2002, the mystery behind the identity of the Afghan Girl was resolved as the National Geographic team found out who she was.
Sharbat Gula, photographed by Steve McCurry (2002).[Source – Public Delivery]
Sharbat Gula aka the Afghan Mona Lisa lived a difficult life like millions of refugees in the world and only in 2017 was given a home by the Afghanistan government.
Similar was the story of Dorothea Lange’s migrant mother, who later lived a much secure life.
The subplots run along with the main storyline.
A pure photograph picks one strand from the ocean that has the power to reveal what the unfathomable ocean hides within.
For me, the Afghan Girl and the Migrant Mother are two such photographs.
The World of Steve McCurry exposition in Palais de la Bourse/Beurspaleis of Brussels in May 2017. [Source – Wikipedia Commons]
[Recently I completed a photography course (MoMA – Seeing Through Photographs) online and learned more about this fantastic field. I had researched and written about the Afghan Girl for an assignment.]
Let us go back in time, a few centuries back, in the mid-17th century to be precise, to meet Matsuo Basho and embark on a journey to the interiors of Japan.
Folding screen with Birds and Flowers of Spring and Summer by Kano Eino, a 17th Century Edo Period Japanese painter. [Source – Wikipedia]
A fabulous poet, known for his Haikus, Basho wanders giving voice to nature, the moon, the earth, the seasons, the rain, the monkey, the dragonfly, the cicada, and everything that he observes.
He paints his dreams in the air; the flora breathes that air and blooms like a dream.
Let us go and learn this art from the master himself.
Falling sick on a journey
My dream goes wandering
Over a field of dried grass.
Basho has fallen sick, he is old now, this haiku is usually considered as his farewell poem, but our journey has just started, we need to travel back a few more years.
He is funny, oh, but let us keep going back in time for we need to learn the art of painting dreams in the air, remember. Stay focused!
The rough sea
Stretching out towards Sado
The Milky Way.
Sado is a city in Japan’s Sado Island and Basho travels there to witness the vast sea and the endless sky.
Look, at night the sea becomes a mirror for our galaxy.
Seasons come and go, each one is beautifully recorded in Japanese poetry; Kigo, the representation of and the reference to the seasons is still a part of Japanese culture and literature.
Different seasons, different Bashos –
First winter rain-
Even the monkey
Seems to want a raincoat.
Monkey and Waterfall by Mori Sosen, a Japanese Edo Period painter, 1747 – 1821), Honolulu Museum of Art. [Source – bing.com]
I heard it too, the splash of water, you all must have heard it as well, somewhere, sometime… here, right now the frog’s jump turned the clock back, ending the journey, bringing me to the present.
That ancient pond of time glimmered with stories abound and I was in one, the frog living its routine life made me surrender to the present moment and splash, I returned back.
Basho’s work, what a wonderful portal to the enchanted dream that can be perceived anytime, by anyone…
And you will never know, I will never show, what I feel, what I need from you, no.
The salmon coloured light is bright in me and still, you cannot see. This colour is all over the space and at night the salmon coloured moon shines to tell you the same, but still, you cannot hear.
Oh no, I am not upset, I am saying it out loud for I know the story now. I love this story now.
Raphael took his bow and arrow that day and went to the jungle to hunt, like any other day. Raphael you saw that hare and you readied yourself, you shot and missed it.
What happened, why did you smile then? Ah, the hare was of salmon colour too, right? You smiled and ran your fingers through your hair, I know.
And you will never know, I will never show, what I feel, what I need from you, no.
Stop shying away… you from me and me from you. Cannot you feel the salmon coloured road on which we are walking? Miles apart and years away, destined to meet along the way.
The journey began long back, neither I nor you remember when. But it is sweeter that way, for there is a mystery and scope for the unexpected.
Raphael when the heart breaks, it takes not a moment to bring it all to an end. Raphael the tears only wish for love.
Fighting in the battle when you took a step ahead, so did I, struggling against the mean voices and terrible lies. The salmon coloured sky reached out to both of us then, I know because I believe in the story.
And you will never know, I will never show, what I feel, what I need from you, no.
We will hold hands and dance and clap and sing together, painting the walls around in salmon colour.
I am not afraid of forever, are you? Tell me this and more when we meet.
*
Post inspired by Imany’s beautiful, soulful song “You will never know.”
And the Warli drama unfolds… thunderous applause… come and watch the puppets dancing, dancing to the tunes of folktales… look at, but beware, the bewitching dance movements will make you happy and take you to the wonderland. And you will dream the original dream. Ohhs and aahs and wows and wahs!
Hey puppeteer, where are the strings and where are you hiding? “I am over here”, said the puppeteer and added, “the strings are invisible and so am I, my dear.”
But the puppets were ready, the performance had started. Shush! Shush! The tale of a King heard never before by some.
“Where is my horse, commander?”, asked the portly King. “Sir, you’re riding it”, gasped the tired commander. The horse neighed and snorted.
Meanwhile his subjects went through their daily chores of dancing little more…
Playing the Raga Pranayama in my heart and soul I am sitting inside this quiet room for so many days now and slowly this world has stopped reeling.
The shrivelled old self shed off its glories and achievements and regrets all at once, it was painful and I did die a little. Then all I did was to look up and breathe, close my eyes and breathe again.
Now brighter, with no desire to compete with light or a sharper mind or the maestro musician, I sit simply playing the Raga Pranayama.
Yes, often my memory makes me feel overwhelmed, and yet something allows me to accept it all that too with a smile.
And softly the wind brings a message from the meadows that the dandelions are gushing with joy and beaming for one and all; that the butterflies are coming carrying colours for you and me; that the stream is singing, sparkling sibilantly, shy at first, vibrant then. Oh it is lovely!
It is a new beginning, I am sitting in my room and everything has changed as I play the Raga Pranayama.
Dispelling the emaciated fears that had spread and frolicked in my mind, dispelling with the truth of this life force running lightly within and without… the fears just succumbed in the end and this I will remember, always, so that I too can share and struck a happy peaceful note.
Voices together, singing this happy note, playing the Raga Pranayama will eventually rise above the gloomy cry of this malady.
Together we will rise and break that wall which was once built greedily by us. Hold on, hold on for it will pass.
Play with me the Raga Pranayama in your heart and soul and let the life energy guide you.
That hazy glow you see when you close your eyes and breathe, that dot, it is the one that surmounts, it has and it will, sometimes with and sometimes without the shell.
Raga (Sanskrit for “colour” or “passion”) is a melodic framework for improvisation and composition in Indian classical music. Read more here.
Pranayama (prana, Sanskrit for “life force” or “vital energy” and yama, Sanskrit for “restraint” or “control”), is a set of meditative practices designed to control pranawithin the human body by means of various breathing techniques. Read more here.
Also, listen to the magnificent Ragas that inspired me to write this post – Raga Rasia by Pandit Ravi Shankar
Raga Brindabani Sarang by Pandit Hariprasad Chaurasia
Learn more about Data Art by the fantastic Dr. Kirell Benzi, click here.
What is tolerance… the capacity to endure hardships and… and the willingness to accept beliefs, respect the opinions that are different from our own.
Tolerance, they say, shows that you are educated for you listen, you debate and you rule out what is not plausible.
You stick to what gives you clarity and what appears to be true, true for one and all because we, the people, are walking forward together.
The boundaries are superficial.
And so the intolerant idea that in its core aims to divide, to break, to segregate is a foolish one, it does not succeed in the long run.
But oh, oh, we are complex beings, we are slow and we glow with pride or we moan with guilt and we disturb the peace, we freeze the disease in our minds and resist the resolution till the very end of the war.
We the humanity and I the individual still do not know who is more powerful… powerful not only to survive but powerful enough to understand, to forge a balanced world, to see through eyes unclouded by hatred… powerful enough to show tolerance.
The three voices are saying the same thing.
It is the mark of an educated mind to be able to entertain a thought without accepting it.
Aristotle
The highest result of education is tolerance.
Helen Keller
Tolerance implies no lack of commitment to one’s own beliefs. Rather it condemns the oppression or persecution of others.
Endless footprints following footprints/
When suddenly a few of them rise/
To bloom like a flower.
Greetings!
A storyteller, following the ancient tradition of cave chroniclers, standing in vrikshasana (the tree pose) on a hill top (it is sunny, but windy), breathing in and out stories (relishing it all, but at times overwhelmed), declares animatedly that she will continue to – tell stories, share rare story gems, and connect with the pacy universe while also keeping the website ad-free.
Big thanks to my readers. Stay tuned!
Also, a humble request to the new subscribers to check the spam folder after subscribing. Silly (but necessary) confirmation emails often land there instead of the bright inboxes. Merci!
Ya-hoy!
Chiming Stories (formerly Home Chimes)
P.S – Supporting a storyteller is good for the world’s health (and undoubtedly, for the storyteller’s health as well). Shower some love by sharing, commenting and subscribing to the Weekly Newsletter.
Gabbeh, the 1996 film, is a simple tale of a gipsy girl, her clan and the way their life goes on. Unfolding beautifully just like an artist painting a canvas, Gabbeh quietly touches the grand questions.
Ranked as one of the greatest British films of all time, The Lavender Hill Mob confides in the audience, letting them see, feel, laugh and think without tickling persuasively with a joke here and a punch-line there.
Godard… Breathless and Alive
A Tribute to Jean-Luc Godard, the Film Philologist who Reinvented Cinema.
Yes fly! For walking on the second track is dull and usual, but dreaming high, high, high requires tools. Tools like the right pair of shoes, a chirpy, gritty soul that eats butter-jam dreams, a soul that drinks milky-milky creams.
Silver cascade shimmering the night sky, music to the waves and surreal beauty to the eyes, the Moon loves the art of discipline.
It may be difficult to believe for the Moon’s splendour defies time, it stupefies the clock, it follows the path of a dreamer, but how could this be possible if the Moon knew not discipline?
In this moment, I am a little bit of this and a little bit of that, I am complete and incomplete, I am pleased and uncertain, I wish for nothing and I know I have to wait.
Because the distance covered reminds me of the hurdles I have crossed and the ones I could not, it reminds me of a throbbing past and a dreamy future and it reminds me of how much time is left.
Meredith and the Green Lake
Illimitable Splendour
A joy so complete without any rise or fall, so free without any time corners, so real without true being false, false being true.
