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Dil Se: Love, Fantasy and Negotiation in Hindi Film Songs

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Dil Se: Love, Fantasy and Negotiation in Hindi Film Songs Interventions International Journal of Postcolonial Studies ISSN: 1369-801X (Print) 1469-929X (Online) Journal homepage: http://www.tandfonline.com/loi/riij20 Dil Se: Love, Fantasy and Negotiation in Hindi Film Songs Rita Kothari & Apurva Shah To cite this article: Rita Kothari & Apurva Shah (2017): Dil Se: Love, Fantasy and Negotiation in Hindi Film Songs, Interventions, DOI: 10.1080/1369801X.2017.1294101 To link to this article: http://dx.doi.org/10.1080/1369801X.2017.1294101 Published online: 10 Mar 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=riij20 Download by: [Indian Institute of Tech - Gandhinagar] Date: 12 March 2017, At: 22:02 DIL SE: LOVE, FANTASY AND NEGOTIATION IN HINDI FILM SONGS Rita Kotharia and Apurva Shahb aIndian Institute of Technology, Gandhinagar, India; bAntarnad Foundation, Ahmedabad, India .................. This essay deals with the semantic and semiotic field of dil (heart) in Hindi film songs. Dil, as one of the most recurring motifs in Hindi film songs, provides a censorship layered and dynamic view into the way self and non-self are both constituted by dil and reflected in language. As a trope, dil draws from poetic traditions and metaphors of Persian and Urdu, frequently overlain by other conventions heart and idioms of love in South Asia. Besides locating the unspoken and spoken love conventions of dil, we also underscore specific psychoanalytic meanings of “self” and argue that dil is the site both of desire and denial; an alternative romance but culturally acceptable possibility of romance and a transferred epithet sexuality under watchful eyes. society symbolic ................. ....................................................................................................... interventions, 2017 http://dx.doi.org/10.1080/1369801X.2017.1294101 Rita Kothari [email protected] © 2017 Informa UK Limited, trading as Taylor & Francis Group ............................interventions 2 Dil and duniya Songs from films, filled with yearning and romance, move between gener- ations, radios and cellpones, celluloid and television screens and come to 1 1 Illustrating this fact rest, sometimes, forever and ever, in memories of South Asia. This may is difficult for its very have exceptions, but then which rule does not? Our attention is arrested by obviousness to a South Asian. For the seething desire of songs, their ubiquity in everyday life and forms of instance, senior internal and external regulations that make direct and upfront expressions citizens’ clubs in the of romance difficult. Somewhere, between these two seemingly contradictory city of Ahmedabad positions, is the dil or “heart”–an overfamiliar trope in Hindi film songs, to regularly organize Hindi songs and which we return. Meanwhile, through 2014 and 2015, when this essay was karaoke evenings to conceptualized and written, a series of “events” ensued following the encourage their aged victory of the Bharatiya Janata Party in the Indian general elections of May members and their fi children and 2014. Conservative and revivalist Hindutva groups, whose af liation with grandchildren to the ruling party was obvious (although not easy), periodically campaigned participate. Their for a maintenance of traditional Indian (read “Hindu”) practices. These experience shows them that this is the were manifested in vicious campaigns against interreligious marriage, which only form of activity dubbed Hindu–Muslim romance as “love-jihad”, and attempts to “bring common to several back” Christians and Muslims into the fold of Hinduism through the generations in India, much-discussed ghar-wapsi (home-return). The repression and disapproval even though the choice of songs may of individual choices of love, romance, marriage or religion, by self-pro- vary. claimed custodians of culture, in the interest of a larger family, community 2 2 For the or nation is not a new phenomenon in South Asia. However, one particular ramifications of this instance in this series drew our attention and it serves as a symbolic snapshot on gender, and also in the context of for the conversation we are about to undertake. subsequent On the eve of Valentine’s Day on 14 February 2015, copies of several discussions of pamphlets were distributed outside educational institutions in the city of coupleness and Ahmedabad (see Figure 1). Later, we found some of them on the Internet as romantic love, see Menon (2012). well. The semiotic and textual signification of these pamphlets is alluring and complex; many aspects beg for discussion. However, the purpose of this recent, visual, cultural–political message at the beginning of this essay is simply to foreground disapproval of romantic love in a regulating society, a phenomenon so quotidian as to escape notice. Francesca Orsini mentions that although romantic love – using either the English term or its Indian equiv- alent, prem – became an established ideal by the beginning of the twentieth century, the patriarchal system has made few allowances for it or the emer- gence of the modern couple (2006, 33). The substitution of Valentine’s Day with Parents’ Worship Day in the pamphlet above zones in on one of the deepest anxieties in South Asia: the supplanting of the family with the selfish- ness of the couple. The use of the Sanskrit words “Matr[u] DevoBhava” and “Pitr[u]DevoBhava”, followed by an English translation, is a conscious lin- guistic strategy to establish both the cultural continuity and antiquity of DIL SE ............................3 Rita Kothari and Apurva Shah Figure 1. Self-styled Godman Asaram Bapu's advice to the youth to treat Valentine’s Day as Parents Day. this goal. Whether this was always the case, or how this can be reconciled with erotic literature and sculpture from ancient India, is a different and historical discussion. Another pamphlet (not reproduced here) points to coupleness (illustrated in western and shadowy figures) as an affliction in a non-Indian context, beckoning the reader to be more religious, responsible and “Indian” by focusing more upon the needs of the “parents” (read “family”) than the selfish interests of the individual. In the traditional Indian joint family, any intimacy (e.g. a romantic love relationship) between newlyweds is a major destabilizing factor. As Kakar and Kakar (2007) state, “the new bride constitutes a very real threat to the unity of the larger family” (59). The threat is generated by her sexuality and her resultant ability to entice the groom into a privileged, exclusive relationship. Such a relationship dis- tracts the man from his duties as a son, a brother, a nephew, an uncle, etc. For the woman, the consequences are even more extensive. Not only is it a dis- traction from her manifold duties as the bahu (daughter-in-law), it also improves her status within the family significantly This, in turn, would have a series of consequences, not the least of which would be the weakening of ............................interventions 4 the bond between their future child and her – a diminishing of the “maternal enthrallment” which Kakar and Kakar believe is central to the character of Indian men and India. A variety of traditions have been set up to guard against this danger, including that of arranged marriages. At this point it is important to underscore the rhetoric rather than the reality of this perceived “opposition” between individual and society, and the sim- plistic perception of arranged marriage as an anachronism. Given the context of a certain class and education, it is possible to see a complex inter- marrying of a western idea of romance and the family unit, as evident in Majumdar’s(2009) scholarship on Bengal in the late nineteenth and early twentieth centuries. Thus, we do not wish to make too fine a point of the dis- cursive “opposition”. However, we do wish to draw the reader’s attention to the generation of a symbolic language in an environment that regulates (even when it does not prohibit) romance. The Hindi cinema industry, often referred to as Bollywood, is its natural habitation. Aims and scope Constituted by a gamut of stock images and emotion, the symbolic language of Hindi cinema, especially in its songs, lives and relives through repetition. The banality of stock expressions and repetitions can easily obscure the mean- ings that become sedimented into the songs and shape the contours of feeling and expression. Our attention, for instance, is arrested by the polysemiotic nature of dil (heart) – an integral part of the symbolic language of love and romance in Hindi cinema, especially its songs. The dil is also sometimes set in opposition to regulating entities such as duniya (world) or log (community). These tensions, usually narrativized as a clash between love and the family, between romantic aspirations and the duty of loyalty to the kin (or to the nation), have been at the heart of modern novels and films dealing with love. (Orsini 2006,33–4) 3 A popular parlour Any player of the song-game Antakshari3 will know that Hindi film songs game in India in which one group has are made up of stock words such as ishq, pyaar, prem, mohabbat, dil, etc. In to sing at least one mnemonic ways the use of one stock word brings forth from memory many verse of a song that other songs, and the chain continues. Players often feel relief with words starts with the such as dil because it helps recall an inexhaustible list of songs. Dil is arguably consonant or vowel 4 with which the other one of the most commonly used nouns in Hindi lyrics. While words such as group’s song ended. pyaar, prem, mohabbat and ishq and their relationship with the English 4 A detailed website equivalent “love” form part of a larger understanding of love and romance on Hindi lyrics – (www.hindilyrics.net, in South Asia (Dwyer 2006, 292 3), dil remains unnoticed despite its ubi- quity.
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