The BJP’s keenness to wave again the magic wand that helped it beat Mandal in the 1990s could be a sign that the ruling party’s 2019 script will have a ‘mandir accomplished’ theme
THERE’S something a foot in Ayodhya. A set of political and legal events, unfolding almost in lockstep, are deigning to bring back to life a theme that fundamentally altered India’s polity and inflected community relations at a deep, symbolic level a quarter century ago. This week, India marks the 25th anniversary of December 6, 1992—a whole generation has grown up in the post-Babri Masjid demolition phase. But the social amnesia that usually attends such events is poised to break. The signals are crystal clear. Ayodhya is no longer a frayed slogan from the past, a vague promise from the BJP’s own directive principles. It’s a live issue, and the construction of a Ram mandir will be a concrete thing India’s ruling party will take to the 2019 election—perhaps even as an accomplishment.
The straws in the wind have been there for a while. Witness what happened on May 31, the day after a special CBI court filed charges of conspiracy against veteran BJP leaders L.K. Advani, Murli Manohar Joshi and Uma Bharati in the demolition case. Ayodhya sprang to life as Yogi Adityanath came to pay obeisance to Ram Lalla—the first chief minister of UP to visit the disputed Ramjanmabhoomi site in 15 years. Slogans of ‘Jai Shri Ram’ and ‘Mandir Yaheen Banaayenge’ mingled with shlokas as Yogi prayed to the deity. The message was unequivocal: the vanvaas is over and Ram, the mobiliser, is coming home.
The chief minister was back in the temple town on Diwali-eve, symbolically welcoming the Prince of Ayodhya back from his exile. The town was resplendent as 1.71 lakh diyas—equal to the population of Ayodhya—lined the banks of Sarayu with the temples as the backdrop. The symbolism couldn’t have been more compelling as the saffron-clad Yogi, an unapologetically Hindutva figure now in power, performed the aarati on the river bank.
ãã®èšäºã¯ Outlook ã® December 11, 2017 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã ?  ãµã€ã³ã€ã³
ãã®èšäºã¯ Outlook ã® December 11, 2017 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã? ãµã€ã³ã€ã³
Layers Of Lear
Director Rajat Kapoor and actor Vinay Pathak's ode to Shakespeare is an experience to behold
Loss and Longing
Memories can be painful, but they also make life more meaningful
Suprabhatham Sub Judice
M.S. Subbulakshmi decided the fate of her memorials a long time ago
Fortress of Desire
A performance titled 'A Streetcart Named Desire', featuring Indian and international artists and performers, explored different desires through an unusual act on a full moon night at the Gwalior Fort
Of Hope and Hopelessness
The body appears as light in Payal Kapadia's film
Ruptured Lives
A visit to Bangladesh in 2010 shaped the author's novel, a sensitively sketched tale of migrants' struggles
The Big Book
The Big Book of Odia Literature is a groundbreaking work that provides readers with a comprehensive introduction to the rich and varied literary traditions of Odisha
How to Refuse the Generous Thief
The poet uses all the available arsenal in English to write the most anti-colonial poetry
The Freedom Compartment
#traindiaries is a photo journal shot in the ladies coaches of Mumbai locals. It explores how women engage and familiarise themselves with spaces by building relationships with complete strangers
Love, Up in the Clouds
Manikbabur Megh is an unusual love story about a man falling for a cloud. Amborish Roychoudhury discusses the process of Manikbabu's creation with actor Chandan Sen and director Abhinandan Banerjee