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Religion, caste, controversy and the Marathi 'sahitya sammelan'

Marathi sahitya sammelans have always been strongly religion and caste-based, right from the first one in 1878, says author and journalist Samar Khadas.

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"Marathi sahitya sammelans have always been strongly religion and caste-based, right from the first one in 1878, organised by Justice Mahadeo Govind Ranade," observes author and journalist Samar Khadas. “Mahatma Jyotiba Phule declined an invite to the sammelan when Ranade refused to let him speak of caste-based discrimination and untouchability." 

Wondering aloud about the relevance of mythological symbols like Saraswati or Parshuram being worshipped at the sammelan, he asks how its any different from a practice in a state run on Shariyat. “In my visit to Pakistan, I saw all dos — academic, literary or otherwise — beginning with Bismillah ir-Rahman ir-Rahim. How is what we’re doing in ‘secular’ India any different?"

“Bal Thackeray rubbished both litterateurs and the sammelan disparagingly, but the organisers didn’t find a problem in naming the podium after him or inviting his son Uddhav to address them,” he points out and adds, “Yet the moment a few radical Muslim voices opposed the inclusion of reformer Hamid Dalwai’s works in the granth dindi since he called himself an atheist, the organisers were willing to toe their line.”

Dalit litterateur Ananda Pawar says Marathi literature has always sought to be monopolised by Brahmins. “Its very subtle and subaltern but the bias is right there to see. On radio it is rare to come upon a Marathi show without a Shantabai Shelke song. She was a poet, essayist, short story writer and had translated some of the most well known classics from foreign languages into Marathi. Yet, not being a Brahmin and woman at that has is the reason why she has never been given the same honour as a Ga Di Madgulkar, Mangesh Padgaonkar or Pu La Deshpande."

Interestingly, the Sambhaji Brigade has called off its proposed protest after the organisers relented and released the programme schedule booklet without any picture of Lord Parshuram. The deity has come back on the stage, occupying space right next to Goddess Saraswati.

While the sammelan’s executive chairperson Prakash Deshpande insists, “The picture on the cover of the booklet was not as important as its contents. Now that the Sambhaji Brigade and the sammelan have arrived at an understanding, please do not vitiate the atmosphere by creating more controversy," he refused to be drawn to why the two mythological characters continue to find pride of place on the stage.

Others organisers however, felt those opposing these symbols were stressing their point more than necessary. “These are either ill-informed opinions or rabble rousers seeking publicity," said one of them who spoke to DNA on the condition of anonymity. “The iconography being opposed is not religious in this context, but has a socio-cultural importance. Once we go down that street, we run the danger of writing off a large chunk of our literature, poetry and music too."

Given how not only this 86th edition of the sammelan, but every other before this one has been marred by some or the other religious, caste-based or political controversy, it is no surprise that none of the great living legends from Marathi literature attend. “Why should I be interested in joining a gaggle of voices who’ve nothing to do with literature?" says Sahitya Akademi award winner Dr Bhalachandra Nemade who scoffs, “Since what they churn out in the name of literature is of such shoddy quality, controversies are the only way these ‘worthies at the sammelan find a way of getting written about."

According to him, instead of organising sammelans people behind it should introspect why neighbouring Kannada has better literature and has got eight Jnanpith awards while Marathi only three.  

Echoing Nemade, playwright-writer and legend Mahesh Elkunchwar told DNA, "There’re more politicians than litterateurs at these sammelans. Maybe since they give money fo it, they feel it is alright to swamp the stage too." He was amazed that many go to sammelans to promote their work. "As a writer, why’d I need ploys like a sammelan to push my work? I’ve always had a niche audience and they seek out my work." 

He laughs at how litterateurs like Nemade and him feel out of place with both the sammelan wallahs and the Anglophones. "The condescension that the Anglophones show towards like ‘vernacular’ writers like us fills me with disgust. This ensures that none of the Literature fests invite us, and as far as the English media goes, we don’t even exist. Which is best, since we are able to pursue writing without any distraction."

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