Monday, March 24, 2025

PAINFUL STORY OF ILLEGAL IMMIGRANTS FROM INDIA IN FRANCE


                                      



















                                         





                                      


DUPED BY HUMAN TRAFFICKERS  POSING AS IMMIGRATION AGENTS  IN INDIA..

( All mobile camera photos by Avtar Mota ..Topmost photo...Grave of  Jean Paul Sartre )

In May 2023, I was travelling from Gare du Nord to Alfortville,Paris  in a metro train. A young Indian traveller sitting on the opposite seat was weeping inconsolably to the astonishment of other passengers. I asked a  lady sitting next to me as to what had happened to him. She replied  in French ,"Je ne sais pas pourquoi. Vous lui demandez s'il vous plaît" meaning ,"I don't know  why . You ask him please ." 

 Knowing my limitations in French language, I replied ," Parlez vous anglais" meaning ,'Do you speak English . She said ," oui " meaning ,'yes' .  I said , "  Si jai la reponse, je vous en ferai part " meaning,' if I get some response , I shall let you know' . And then I asked the youngman the reason for his weeping. He was reluctant and continued weeping. I  could see innocence visible on his face . He was from Punjab  . I moved to his seat , offered him my  water bottle  and put my arm over his shoulders.  I started my conversation in English but he was not comfortable. I started  talking to him in Punjabi as spoken in Majha region of Punjab as  he was from some vilage in  Gurdaspur . The youngman narrated that he had received information that his mother had died yesterday but he couldn't travel to India as he neither had passport nor  proper papers. He was illegal immigrant duped by some relative who had promised good  job and good life to him in Europe about  7 years back. This relative had directed him to a Jalandhar based agent who took a  hefty sum of 14 lakhs from him  . His father had raised Kissan Krishi Card loan and sold some land to  pay to the agent. He had come to Europe via Russia and Ukraine walking at night and hiding during daytime  through a network of human traffickers . He along with six boys entered Romania and finally landed in Paris via Portugal. Their passports were taken by the agent in Portugal and he had nothing except his mobile .  In Paris, he lived with ten other boys who had similar story . Only 2 had managed Portuguese passports after 15 years  and only after paying about 6000 Euros each  to some agent . Other eight were simply illegal immigrants making their living by selling mineral water or wine bottles to tourists in parks or gardens of Paris city. He added that he loved his mother and wanted to see her face but he had nothing with him to buy proper ticket . Any attempt to travel could land him in  prison and he could be deported after serving prison term. All the ten lived in 3 rooms in the outskirts of Paris city  . Their life was cooking, washing, sleeping and begging people to buy water or  wine and avoid police . He was not sure if at all he shall get resident status anywhere in Europe . There was no way to return to India. I consoled him .  The French lady heard the story and turned pensive . She took out a packet of  chocolate from her bag and gave it to the youngman. Looking at me she said, " c'est un problème humain. il doit y en avoir beaucoup comme lui. Les gouvernements devraient leur offrir une option unique de retour honorable." meaning ,'This is a human problem. There must be many like him.  Governments should give them  onetime option  of honourable return.'

( Avtar Mota )


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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

Friday, March 21, 2025

DANCE DRAMA LALLESHWARI

                                        














                     





"LALLESHWARI  " DANCE DRAMA OR STAGE ADAPTATION OF LALLA  VAAKHS ( VERSES ) 


I saw one one-hour dance drama/stage adaptation of   Lalla Vaakhs scripted by Bal Krishen Sanyasi at Abhinav Theatre on 20th March 2025  It was something special, superb and scintillating. A crowd of 1000 came to see it in a theatre that had a capacity of 600. Many were sitting on the floor while some watched it standing. It kept the audience spellbound. Never have I seen something like this performed on stage after Dina Nath Nadim's Vitasta. It was comparable to  Rama Vaidyanathan's dance drama on Lal Vaakhs performed at SKICC Auditorium Srinagar in 2012. Special mention needs to be made of sets designed by artist Virji  Sumbly. Other prominent contributors to this dance include  Ramesh Marhatta ( narration ), Shazi Khan ( Lights )  , Bharti Kaul( costumes ) , Shammi Dhamir (make-up) ,  Heeramani Singh (  videography ), Pallavi Kaul ( singer ) and Saurabh Zadoo ("Malinev hoe" composition ).
                                       

                                     

   
 Presented by Vomedh  in collaboration with North Zone Cultural Centre ( Patiala ),the dance drama was performed by Suman Pandita as Lalleshwari and Arvind Tickoo as Sidha Sri Kantha . It was directed by Rohit Bhat . Lal Vaakhs were set to music by Rajesh Khar and sung by  Shazia Bashir .
                                            
Though deeply rooted in Kashmir’s Trika Shaivite creed, Lal Ded had risen much above the world of creeds or labels. One can safely call her a torch bearer of  ‘Mediaeval Mysticism’ and ‘Bhakti Movement’ of the country. Ramanand ( 1400-1470 ), Kabir (1440-1518 ), Guru Nanak  Dev ( 1489-1538 )and Sant Tukaram ( 1577-1650 ) followed her. Like Kabir , she also makes symbolic use of swan ( Raaazhans ), grinding mill ( Gratta ), washerman ( Dhob) , weaver ( Vovur ) , and lotus flower ( Pamposh ) to put forth her spiritual thought . Her frequent use of Prakash Dhaam or Prakash Sthaan is synonymous with Kabir’s Anahad Naad or “ Baaje Anhad dol “ or the musical chimes that are created when the seeker gets a glimpse of reality .
                                                


It was satisfying to note that the Vaakhs selected for the opera carried the core message of the Shiva Yogini. Suman Pandita was spectacular in her stage performance as Lal Ded. Her body language, facial expressions and movements on stage matched the intense feeling of Lal Vaakhs she was singing. Attired in Pheran, she looked like a Yogini in trance with strains of Vairagya.  Her acting on more than 30 Vaakhs was exceptional.  Some Vaakhs that were put to dance drama are:- 

           

"Goruss Pratchhom Saasi La’teiy
Yuss na Kenh Vanaan Tuss Kyaa Naav.
Pratchhaan Pratchhaan Tha’cheiss Ta loosuss
Kenh’nuss Nishe Kyah’taam Draav"

(To my Master, I asked a thousand times,
By what name should we call the nameless one.
Drained I became from seeking this knowledge,
And lo ! Something emerged from Nothingness only.)

"Lalithh Lalithh vadaai Boh Vaai
Tchietaa Muhutch Peyii Maai
Rozii Na Pataa Loh Langareitch Tchhaai 
Niz Swroof Kyaah Mothuaai Haai"


(Nonstop, I shall sob  for you ,
O Mind, How you fell to this worldly greed.
Not even the shadow of this shall hang around at the end.
O Mind! Why did you ignore the real self within ?)

"Kandheiv karakh kandhe Kandhe 
Kandheiv karakh kandhe Veylaas 
Bhoogaai Meethii Deitithh Yuthh Kandhe 
Athh Kandhe Rozii na soor na saas"

( What this fuss of fulfilling the demands of this body,
Ornamenting it , providing numerous luxuries and sweetmeats for it ,
Not a secret but a well-known fact ,
Not even its ashes would survive )

"Gagan Tcheiyii Bhootal Tcheiyii,
Tcheiyii chhukh Dhyen Pavan taai Raathh,
Arag , Tchandun , Posh Poen Tcheiyii,
Tcheiyii Chhukh Soruyii Ta Laegizey Kyaah"

( You are the Heavens and the underworld,
The night as well as the day!
You are the existing flowers, water, sandalwood and the grains of rice,
You, who is everything,
What else can I offer you in worship? )

"Shiva keshv va Zin va
Kamalaz Naath  Naam Daarien
 YuhMey Abhlii KaaeisteinBhav Roz
Suva Suva Su Va Suh"

(You may call him Shiva, Keshva ,Budha or even lotus-born Narayana,
Makes no difference.
Whoever it may be ,
I wish this poor woman released from the sickness of life ,
Weak and helpless she is ,
Unable to meet its truest purpose !”)

"Aami pana so'dras naavi chhes lamaan
Kati bozi dhai myon meyti diyi taar
Aameyn taakeyn poniy zan shreman
Zuv chhum braman gara gatshaha."

(Tied to cotton thread, I tow my boat to cross this vast sea.
Would that God hear my prayer and help me to cross over!
I run waste like water held in poorly baked clay pots,
Would that God hear my prayer as 
my soul desires to reach its real home.) 
                                       













                                           
                                              

Arvin Tickoo as Sidha Sri Kantha or Guru of Lal Ded was superb. The sets, lighting and music matched the aesthetic purity of the Vaakh which are sung by Kashmiri Pandits as Slokas of Bhagwad Gita or treated at par with Rishi Vasugupta's Shivsutras. The Vomedh team should take this dance drama to cities where Kashmiris reside after 1990. This dance drama demands audience and visibility . About this dance drama, Padamashri Pran Kishore Kaul wrote this  to me:-

"  am really happy to see the younger generation  carrying our legacy forward.  Rohit Bhat has established his identity as a competent director with his play Birbal. I am sorry for not being there to see this production. The shots you have sent and your review have made me feel the stature of the production. Highlight is Virji Sumbli's art direction. I know his calibre as he has worked with me in the making of the film Sarvavyapak. Bhagwan Gopinath as its art director.Please Convey my greetings to all of them".........Pran Kishore Kaul, Pune 

                                                                      
Lastly, Lal-Ded has an indelible impact on the Kashmiri psyche. It has remained unabated inspite of a time lapse of about seven hundred years. This is also a fact that we have failed to place Lal Ded on the ground geographically. She belongs to Pampore yet there is no visible spot either in Sempur or Pampore or Lal-traag (that had more than 60 Kanals of land)  to place her geographically. The Lal-traag spring which the great saint poetess used to visit frequently stands completely encroached upon.   She has yet to find a place in her own land. Does she also face exile?
( Avtar Mota )



..Creative Commons License
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.