‘Jal Sutra - An Experiential Discourse’

As the world grows by way of population, geography shrinks by way of mappings. To day it is no longer a question of continents across the globe with large cultural and geographical divides but of a global consciousness. In spite of cultural differences there is a strong undercurrent of connectivity. Globalisation is bringing our world together in ways never before imagined. No longer enclosed and self-reliant, societies and nations are increasingly inter-connected and reliant upon each other, in an intensifying cross-fertilization of culture, and an interconnectedness of trade, media and economics on an unprecedented scale. A feeling now pervades that no community/culture is an isolate; that daily existence within most countries are increasingly enmeshed in global processes and structures.

The needs and aspirations of people drift along a common strand and in their desire to achieve there is a depleting of resources, of which there are limited caches. Water is one such essential and increasingly precious resource. It is not inconceivable that the next war or debate may centre on this most vital of elements. The first of five elements according to the ancient Indian text, the Manusmriti, water has always held a place of value in our consciousness and philosophy. From the very beginnings of Vedic thought the importance of water in both the religious and social milieus is apparent. Within the cultural framework of Indian thought process itself, water has enjoyed a unique and respectable status.

As part of the drive to focus interest on water the Visual Arts Gallery, India Habitat Centre organised an experiential discourse on water. Supported by the Royal Netherlands Embassy, the Hydrology Project and the India Habitat Centre Jal Sutra became an important point of departure. Traversing multidisciplinary trajectories, voices of conservation architects, art historians, sound, visual and installation artists, filmmakers, poets, dancers, singers and photographers came together in a dialogue that celebrated water in all its myriad emanations. From the poetic and evocative to the pragmatic and critical, the daylong seminar was insightful and invigorating.

Bangalore based visual artist C.F. John explored the notions of ‘Water as Consciousness’, through a series of sight specific installations with water the central motif. Conservation Architect Ratish Nanda discussed the importance and role of water in architecture with specific reference to Medieval monuments and constructions. The Kathak Danseuse from the Jaipur Gharana presented an evocative recital of ‘The Witness of Water’ Prerna Shrimali, which combined texts from the Rig Ved, poetry of Padmakar and employed traditional Kavits interspersed with Kathak evoking the imagery of water.

“Then the winds blow, 
Then the lightning’s fall, 
Then the flora sprouts and grows,
Then the space overflows,
Then the land prepares for the welfare 
When Parjanya the rain god protect the earth by waters.” 
( Parjanya Sukta 5.83 Rigveda)

“The waters that rain in the skies, 
The waters that spring themselves from below the earth, 
And flow in the canals, 
And go towards the ocean; 
The waters that are clean and sacred 
Those goddesses of water may protect me here.” 
(Ap Sukta Rigveda)

Acclaimed singer Vidya Rao brought to life the ‘Water Bearers’ through the rich tradition of Thumri while designer and photographer Parthiv Shah’s multi-media presentation of ‘Water Scapes’ formed the backdrop combining sound and images describing water in all its diverse representations. While film maker Madhureeta Singh Negi brought to the screen a breathtaking view of the Kumbh through a film and sound installation, Priya Sarrukai Chhabria through a poetry reading evoked images of water as conceived of by the bhasha poets from Kalidasa invoking the great Margi tradition to Prakrit Love Poetry from the Gathasaptasati of Satavahana Hala to the Sangam era in the South. My paper ‘Imaging Water in Indian Mythology’ explored the concept of the river within the Indian ‘karmic’ and ‘dharmic’ tradition with particular reference to the rivers Ganga, Yamuna, and Saraswati and their myriad manifestation through literature and iconography.