The Enduring Legacy of Gananath Obeyesekere 1930 to 2025: A Personal Reflection —- M.D.Muthukumaraswamy

 The Enduring Legacy of Gananath Obeyesekere 1930 to 2025: A Personal  Reflection

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M.D.Muthukumaraswamy 

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The world of anthropology and religious studies mourns the passing of Emeritus Professor Gananath Obeyesekere (1930-2025), a monumental figure who departed at the venerable age of 95. His intellectual contributions have profoundly shaped the landscape of these disciplines, leaving an indelible mark on generations of scholars, including this writer, a folklore scholar and poet deeply indebted to his insights, particularly those found within his seminal works, The Cult of the Goddess Pattini and Imagining Karma and Rebirth . These books, among his extensive oeuvre, have served as touchstones in the exploration of cultural forms and their intricate relationship with human experience.

My own intellectual and creative journey has been significantly informed by the questions Obeyesekere posed and the analytical frameworks he developed. In the introduction to my poetry collection, An imagery wins An imagery kills, I grappled with a fundamental inquiry: "when one entity takes up the hue, the attributes, of another entity, does that give even a flash of an insight about the moral universe?" . This preoccupation with the transformative power of cultural forms, their capacity for union, disintegration, and transgression within religious thought, philosophies, and even environmental factors , finds a powerful resonance in Obeyesekere's anthropological explorations. His work has illuminated the dynamic interplay between seemingly disparate cultural elements, offering profound insights into the ways beliefs and practices are shaped, negotiated, and reinterpreted within diverse societies. 

Obeyesekere's key contributions to anthropology and religious studies were multifaceted. He was a pioneer in exploring the intricate relationship between psychoanalysis and anthropology, examining how personal symbolism intertwines with religious experience. His research also dealt with the European exploration of Polynesia, analysing its implications for the development of ethnography.He offered profound insights into Sinhalese Buddhism and the complex concepts of karma and rebirth. His intellectual curiosity spanned diverse theoretical frameworks and geographical regions, reflecting a commitment to interdisciplinary scholarship. Notably, Obeyesekere engaged in a significant intellectual debate with Marshall Sahlins concerning the rationality of indigenous peoples. In this exchange, Obeyesekere firmly maintained that indigenous people think in fundamentally the same way as Westerners, expressing concern that any alternative view could lead to their portrayal as irrational or uncivilised. This stance underscored his commitment to ethical considerations in anthropological research and his challenge to Eurocentric biases, advocating for a more respectful understanding of non-Western thought .

Among his extensive body of work, The Cult of the Goddess Pattini, published in 1984, ( study of worship of Kannagi, the heroine of Tamil epic Silappathikaram) stands as a landmark achievement. This meticulously researched volume offered an unprecedentedly detailed analysis of the Pattini cult, a significant religious complex within South Asian ethnography . Obeyesekere's examination was comprehensive, encompassing the historical, sociological, and psychoanalytical dimensions of the cult and its multifaceted role in South Asian culture. The book's innovative interdisciplinary approach, which seamlessly integrated historical context, sociological analysis of rituals and social structures, and psychoanalytical insights into the symbolic meanings and psychological functions of the cult, was truly groundbreaking for the study of religion in South Asia. His analysis was deeply informed by his extensive fieldwork and personal participation in the rituals of the Pattini cult since 1955. This long-term ethnographic engagement provided him with a profound and nuanced understanding of the cult's evolution and its significance in the lives of its practitioners, yielding insights unattainable through purely observational or textual methods.

Within The Cult of the Goddess Pattini, Obeyesekere meticulously examined the complex myths, elaborate rituals (with a particular focus on the post harvest ritual ), and rich symbolic traditions associated with the goddess. He also offered a nuanced cultural analysis of the broader Buddhist pantheon in Sri Lanka and critically engaged with empiricist notions of South Asian historiography . His argument emphasised the crucial role of myth and anthropological interpretation in understanding the historical significance of seemingly historical figures, suggesting a methodological preference for cultural meanings and social functions over literal historical accuracy. 

Obeyesekere meticulously documented the process of the transformations in the physical structures of her shrines from the 1930s onwards. By linking these changes to broader sociocultural forces in South Asia, he demonstrated the dynamic and adaptive nature of religious practices. Of particular interest was his exploration of the problematic status of Pattini as a virgin, wife, and mother, and his insightful analysis of her complex relationship with her  husband and his courtesan Madevi. Drawing connections to Hindu-Buddhist socialisation processes and family structures in the region, he applied psychoanalytical concepts to illuminate the underlying social and psychological functions of the cult.

The scholarly impact of The Cult of the Goddess Pattini has been profound. It is widely recognised as the most comprehensive and detailed analysis of a single religious complex not only in South Asian ethnography but arguably in the entire field of anthropology. Its meticulous detail, theoretical sophistication, and extensive fieldwork established its enduring legacy as a foundational text in the anthropology of religion. The insights and analytical framework presented in the book have been fruitfully applied in broader scholarly discussions concerning gender dynamics, narrative genres, and the intricate interplay of power within South Asian expressive traditions, demonstrating its relevance far beyond the specific study of the Pattini cult .

Obeyesekere's intellectual contributions to the understanding of fundamental human beliefs extended beyond the study of specific cults. His 2002 publication, Imagining Karma and Rebirth, offered a groundbreaking and ambitious comparative analysis of rebirth concepts across a remarkably diverse range of cultures . By comparing beliefs from Amerindian societies, Buddhist traditions, ancient Greece, and various other small-scale societies, he significantly challenged the long-held notion that the concept of rebirth originated solely within Indian religious traditions. This pioneering cross-cultural approach was a major contribution to comparative religion, prompting scholars to reconsider the geographical origins and cultural variations of these beliefs. The book entered on the innovative theme of "ethicalisation" – the critical process by which morally right or wrong actions become intrinsically linked to an individual's destiny after death and subsequent rebirth. This process transforms simpler, ethically neutral rebirth eschatologies into the more complex karmic systems prevalent in Indian and Greek thought. This concept of “ethicalisation" provides a valuable analytical tool for understanding the evolution and diversification of rebirth beliefs across different cultures.

A key argument in Imagining Karma and Rebirth is that fundamental beliefs about rebirth are not unique to Indian religious traditions but are found in various forms across a wide spectrum of human societies. These beliefs arise through independent invention, cultural borrowing, or shared underlying human concerns about mortality and the afterlife . The book offers an insightful exploration of the cultural construction of karma and rebirth, demonstrating how these seemingly universal concepts are deeply embedded within specific cultural contexts and shaped by local beliefs, practices, and social structures. This emphasis on the cultural shaping of these fundamental beliefs resonates deeply with my own scholarly work on the dynamic nature of cultural forms. 

Obeyesekere further explored these themes in his 2005 or 2006 publication, Karma and Rebirth – A Cross Cultural Study. This work echoed the comparative approach of Imagining Karma and Rebirth, further reinforcing and expanding upon the cross-cultural analysis of rebirth concepts across a wider range of societies. It reiterated the detailed comparative analysis of the diverse manifestations of rebirth beliefs across different cultural contexts. A central argument remained the idea that the concept of rebirth is profoundly shaped and moulded by specific cultural environments, reflecting local cosmologies, ethical systems, and social structures. This insight about the cultural shaping of rebirth deeply resonated with my own understanding and scholarly perspective.

The central themes explored in my poetry collection An imagery wins an imagery kills resonate deeply with Obeyesekere's anthropological inquiries. My poetic examination of the interplay of cultural forms and the potential for imagery to offer insight into the moral universe echoes his scholarly pursuit of understanding how cultural and religious representations shape human understanding. This thematic convergence highlights the profound intellectual kinship I felt with his work.

Over the years, I have had the privilege of teaching Obeyesekere's seminal works to numerous students. His insights remain remarkably relevant for understanding the complex interplay of culture, religion, and society. My own poetic exploration of divinity emerging from the confluence and unity of diverse elements, and the re-emergence of new forms when these elements fall apart and rearrange , finds a powerful parallel in Obeyesekere's understanding of the dynamic and transformative processes within cultural and religious systems. His significant scholarly contributions to understanding the syncretic richness of Buddhist and Hindu folk traditions in Sri Lanka have provided a valuable scholarly context for my own creative explorations of cultural fusion and the emergence of novel spiritual expressions.

 The passing of Gananath Obeyesekere marks the end of an era in anthropological and religious studies. His groundbreaking work, characterised by its intellectual rigour, interdisciplinary approach, and profound insights, has left an enduring legacy. As a folklore scholar and poet deeply influenced by his scholarship, I offer this personal and scholarly reflection as a tribute to a towering intellectual figure whose work continues to inspire and illuminate our understanding of the complexities of human culture and belief. His contributions will continue to shape scholarly inquiry for generations to come, and his profound impact on my own intellectual and creative journey remains immeasurable

Gīta Hudson: An Abstractionist with a Red-Hot Palette ——- M.D. Muthukumaraswamy

 Gīta Hudson: An Abstractionist with a Red-Hot Palette

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M.D. Muthukumaraswamy

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At the inauguration of Gīta Hudson's exhibition today January 25, 2025 , I had the pleasure of speaking about her work and highlighting the unique aspects of her artistic vision. This write-up is the written version of my spontaneous speech.

Gīta stands as a prominent abstract colourist, sharing the legacy with acclaimed artists like Achutan Kudalur and Athiveerapandian. Her bold use of colour, particularly her fascination with red, sets her apart. Much like Robert Burns's poem "My Love is Like a Red, Red Rose" transformed the perception of red from violence to passion, Gīta reclaims this vibrant hue, infusing it with energy and vibrancy while retaining its significance in the pointed direction of war, lust, blood, and violence. 

Gīta's artistic promiscuity is evident in her seamless blend of abstract and figurative elements. She fearlessly juxtaposes seemingly disparate forms, much like the unexpected turns of phrase in modernist poetry. Ancient temple towers and adorned feminine figures emerge from abstract fields, surprising and captivating the viewer. This interplay between representation and abstraction is a defining characteristic of her work, as seen in the two circular paintings described. In one, a bird takes flight amidst a chaotic yet strangely harmonious blend of textures and muted tones, while in the other, a serene, almost meditative figure emerges from a similar abstract ground. These works explore the duality of chaos and calm, the known and the unknown, inviting contemplation on the cyclical nature of existence and the interplay between human identity and the natural world. It's worth noting that Gīta's exploration of the circular canvas format owes a debt to the influential artist Douglas, whose work has clearly inspired her in this regard.

Further demonstrating her artistic versatility, Gīta incorporates mixed media into her creations, adding a postmodern dimension to her work. The use of discarded DVDs of "Gone with the Wind'" is particularly striking. These discs, bearing iconic images from the film, are embedded in a vibrant abstract field, creating a dialogue between classic cinema and contemporary art. The addition of a mirror amidst the paintings, reflecting the viewer's image alongside the shimmering DVDs, adds another layer of complexity. The paintings seem to gaze back at the observer, prompting reflection on the act of perception and the nature of art itself.

Gīta's command of colour and composition is evident throughout her work. Whether exploring the duality of fire in a predominantly red and black abstract piece, or capturing the energy of a sun-drenched landscape in a vibrant explosion of warm hues, she demonstrates a confident and expressive approach.

Adding another layer of intrigue to the exhibition is the inclusion of Sujatha Shankar's inconspicuous notes alongside Gīta's own annotations displayed with the paintings. These whispered secrets, tucked away amongst the artworks, create a sense of intimacy and invite the viewer to delve deeper into the artists' creative processes. This subtle interplay between the visual and the written word adds a unique dimension to the exhibition, making it secretly accentuated and rewarding for those who take the time to explore its hidden depths.

Gīta Hudson is a bold and innovative artist who challenges conventional boundaries. Her exploration of colour, particularly her use of red, her fearless blending of abstraction and figuration, and her incorporation of mixed media all contribute to a dynamic and thought-provoking body of work. Gīta's art invites viewers to engage with its energy, symbolism, and the complex interplay between form, colour, and meaning.

Forgiveness, Reconciliation, and Individual Choice in Frames: "Limits of Change" Exhibition Illuminates the Forgotten Indo-Korean Peace Story —— M.D.Muthukumaraswamy

 Forgiveness, Reconciliation, and Individual Choice in Frames: "Limits of Change" Exhibition Illuminates the Forgotten Indo-Korean Peace Story

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 M.D.Muthukumaraswamy 

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Day before yesterday, on Monday, February 10th, 2025, I had the opportunity to experience the multi-formatted exhibition 'Limits of Change commissioned and presented by InKo Centre, Chennai, conceived and written by Parvathy Nayar and Nayanthara Nayar, and directed by Yog Japee, currently graces the Lalit Kala Akademi, Chennai, inviting audiences to an immersive exploration of a little-known history of India and Korea. 

Further details can be found at  https://www.inkocentre.org/limitsofchange.html   

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Historical Background:

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In the aftermath of the Korean War, the Custodian Force India (CFI), a brigade-sized unit of the Indian Army comprising nearly 6,000 personnel, embarked on an unprecedented and delicate mission. Dispatched in 1953 as part of the Neutral Nations Repatriation Commission (NNRC), the CFI played a pivotal role in managing prisoners of war (POWs). India's steadfast commitment to neutrality and its significant contribution to the NNRC positioned it as a central mediator in resolving the complex issue of POW repatriation that followed the Korean Armistice Agreement.

The CFI's mandate was rooted in the principle of non-forcible repatriation, a concept both novel and humane in the context of post-war prisoner management. Tasked with the custody of POWs who resisted returning to their homelands, the CFI was responsible for prisoners from all sides of the conflict – the UN Command, the Korean People's Army, and the Chinese People's Volunteers Command. Indian soldiers undertook the establishment and management of POW camps within the Demilitarised Zone (DMZ), bearing the sensitive responsibility of elucidating to the POWs their fundamental rights and diverse options regarding repatriation. This ensured each individual could freely determine their desired destination, be it North Korea/China or South Korea.

Leadership of the NNRC, and consequently oversight of the CFI’s operations, rested with India’s General K.S. Thimayya, with Ambassador B.N. Chakravarty serving as his alternate. The NNRC itself was a unique multinational body, reflecting the complex geopolitical landscape of the Cold War era. The challenges confronting the CFI were immense, navigating a charged political climate with divergent expectations from involved nations. While China advocated for the comprehensive return of all soldiers, the UN Command resolutely opposed forceful repatriation. The CFI skilfully navigated these conflicting demands, upholding the humanitarian principles central to the NNRC mandate. Ultimately, the efforts of the CFI, under the NNRC umbrella, proved instrumental in reaching a resolution to the contentious POW issue, significantly contributing to the establishment of the Korean Armistice.

Upon the successful completion of their mission, the Custodian Force India returned to a hero's welcome. A documentary featured in the exhibition showcases the rousing reception accorded to the returning brigade by the then Chief Minister of Tamil Nadu, Kamaraj, Governor Rajaji, and the Defence Minister of India. A poignant moment captures the soldiers visibly relishing the taste of home-cooked Indian food after their arduous deployment. In the aftermath of the NNRC and CFI mission, a small number of POWs, approximately eighty individuals, who resolutely declined repatriation to either of the Koreas or China, chose India as their neutral haven.

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“Limits of Change” Exhibition Spaces:

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In a compelling departure from conventional exhibition formats, "Limits of Change" unfolds as a multi-sensory journey, inviting audiences to traverse nine distinct spaces and delve into a largely unacknowledged chapter of history: the Indo-Korean connection forged during the Korean War. More than just a historical account, the exhibition, entered around the autobiographical narrative of Parvathy Nayar, daughter of Major Nayar of the Custodian Force India (CFI), masterfully blends personal story with historical occurrences, fiction with fact, to illuminate India's significant peacekeeping role under Prime Minister Nehru's leadership in the 1950s. In a world often dominated by narratives of conflict, "Limits of Change" carves out a unique space to explore themes of forgiveness and reconciliation, using innovative presentation techniques to resonate with contemporary audiences.

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Framing the Narratives of the Exhibition:

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The exhibition's unconventional structure is immediately apparent. Moving through nine carefully curated spaces, the audience embarks on a narrative journey that unfolds layer by layer. Within these spaces, a diverse range of presentation techniques converge to create a rich and immersive experience. One installation features boxes, reminiscent of building blocks in their uneven arrangement, displaying black and white photographs of soldiers. This visual framework, coupled with the multi-part poem “Firefly Prophecy,” which explores themes of forgiveness and peaceful reconciliation, effectively frames the exhibition's narratives. Beneath these visual frames, carefully selected objects are displayed, acting as tangible links to the past. Throughout this spatial and sensory journey, the poem "Firefly Prophecy" acts as a thematic anchor, its verses resonating within each space and subtly guiding the audience towards the exhibition's central theme of forgiveness.

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‘Turtle Messages’ in the Storytelling and Theatre:

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Adding another layer of intrigue are the “turtle messages,” a unique presentational element that, metaphorically speaking, embodies the slow, deliberate, and sensitive communication inherent in the CFI’s delicate mission. The actors portraying Curator P and her assistant skilfully employed “turtle messages” within their storytelling and theatrical interludes, imbuing the technique with a sense of transferred significance. For instance, the actor embodying Curator P would deliberately open a small wooden box, slowly unfurling a message, while the actor portraying the assistant curator would read from the aged pages of a diary, recounting events within the CFI-maintained camp. These actors delivered a commendable performance, holding the attention of the intimately sized audience. Director Yog Japee deserves praise for crafting an interactive storytelling theatre that was both engaging and sensitive. With great consideration, the assistant curator announced at the outset the description of a violent scene within one of the spaces, thoughtfully offering audience members the option to step out momentarily. The interactive storytelling beautifully integrated the subjectivities of the POWs, inviting audience members to respond with “yes” or “no” to questions regarding repatriation, rendering the “turtle messages” a particularly impactful element. 

While the infographics displayed on the passage wall appeared densely detailed and somewhat cluttered, this may have been unavoidable given the breadth of information. A closer look during the guided tour revealed that the infographics extended beyond the 1950s, the exhibition’s primary period, and traced events into the 1970s.

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Personal and the Historical:

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At the heart of "Limits of Change" resides the deeply personal story of Parvathy Nayar and her father, Major Nayar. The exhibition bravely interweaves Parvathy Nayar’s autobiographical exploration with the historical reality of her father’s service within the CFI. Sri Nandan Prasad’s seminal work, “History of the Custodian Force (India) in Korea, 1953-54,” published by the Historical Section, Ministry of Defence, Government of India in 1976, corroborates Major Nayar’s participation as an officer within the CFI brigade. This skilful blending of personal and historical threads allows the exhibition to tap into the emotional core of the CFI’s mission, offering a profoundly human perspective on a large-scale international undertaking. Through Parvathy Nayar’s intimate lens, the audience gains access to the enduring legacy of the CFI, moving beyond conventional textbook narratives to engage with the lived experiences of those directly involved. Adding further dimension, the interactive storytelling element, featuring Curator P and her male assistant as narrators under the direction of Yog Japee, breaks down traditional exhibition conventions, fostering a more dynamic and participatory engagement with the exhibition's central themes.

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Artistic Objects in the Exhibition:

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The exhibition incorporates diverse artistic objects, varying in their modes of reference. From the starkly literal barbed wire evoking a prison wall to a symbolic sculpture of human figurines scattered on the floor, the artistic references span a spectrum from the literal to the profoundly symbolic, juxtaposing beauty and horror. Notably, the installation of paper origami birds spiralling upwards into a tree and the seeds archive stand out as aesthetically profound and deeply moving in their conveyed messages.

Ultimately, "Limits of Change" transcends a mere recounting of historical events. The exhibition resonates deeply with the intertwined themes of forgiveness and reconciliation, concepts powerfully underscored by the recurring motif of the "Firefly Prophecy" poem. By illuminating the often-forgotten Indo-Korean connection, the exhibition underscores India’s historical commitment to peacekeeping and its proactive role in fostering global peace under the leadership of Prime Minister Nehru. In a world still shadowed by conflict and division, "Limits of Change" stands as a poignant reminder of India’s historical contributions to peace and the enduring power of forgiveness and reconciliation.

By prompting profound reflection on forgiveness, reconciliation, and the fundamental importance of respecting the choices and rights of prisoners of war in the aftermath of conflict, "Limits of Change" leaves a lasting impression. It urges viewers to contemplate the enduring relevance of India's peace-centric approach on the global stage. Emerging from the exhibition, one is left to ponder the lives of the approximately eighty POWs who chose India as their home. Their stories, though largely untold, serve as a powerful epilogue to the narrative of the Custodian Force India, emphasising the enduring human consequences of conflict and the profound value of respecting individual choices even in the most challenging of circumstances.