We saw Hitler in person….. Met Dhyan Chand & Hockey Team in Berlin Olympics 1936 / Rashmi Talwar / The Tribune

‘We saw Hitler in person…’

This nonagenarian looks back and shares with Rashmi Talwar memorable snapshots — some historically significant and some evocative and personal

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‘We saw Hitler in person…’

This nonagenarian looks back and shares with Rashmi Talwar memorable snapshots — some historically significant and some evocative and personal

‘We saw Hitler in person…’ This nonagenarian looks back and shares with Rashmi Talwar memorable snapshots — some historically significant and some evocative and personal full of memories PICTURE P.C. Mehra I hollered ‘India, India!’ into the hooter that I had made to cheer the Indian team and watch the finest dribbling the world had ever seen of Indian hockey wizard Dhyan Chand. This was at the Berlin Olympics in 1936. Our coat lapels flaunting the Indian National Congress flag (there was no Indian flag then), 25 of us Indians had the rare opportunity to watch sports history being made as India drubbed Germany 8-0,” recalls 92-year-old Parkash Chand Mehra, who was then 22. PICTURE: SIGNIFICANT CHAPTER IN HISTORY: Adolf Hitler along with other dignitaries coming down the stadium to inaugurate Berlin Olympics in 1936 “Only days earlier we had sat in the Berlin Olympics stadium, where we saw Adolf Hitler in person. We saw him descend the steps of the stadium in his military uniform and inaugurate the games. The dictator had literally made Olympics-1936 a showcase for extolling the ‘greatness’ of Germany under him. Towards this end, he instituted a torch-carrying ceremony in parts of Europe under Nazi rule. “Berlin was swamped with uniformed Germans and Nazi flags flying right next to Olympic flags. Photographs of the Fuehrer sold like hot cakes, while soldiers marched through the streets of Berlin — all this lent an unnerving feel to the place,” remembers this resident of Amritsar, whose business of dyes and chemicals took him to different countries. PICTURE: Hockey Wizard Dhyan Chand PICTURE: Indian Hockey team that defeated Germany in the Berlin Olympics in 1936 Excitedly showing rare photographs of Dhyan Chand and the then Indian hockey team clicked with his camera (Roliflex model) in Berlin’s Olympic Village, this nonagenarian said: “The visit was made possible by one Swami, manager of the Indian hockey team, who was from our Forman Christian College, Lahore. In fact, even before the Olympics, the masterful jugglery of Dhyan Chand had become legendary.” A prosperous businessman, Mehra reminiscences two highlights of the Games: Dhyan Chand’s jugglery that defeated the German team and Jesse Owen’s (a Black) impressive victory that dented Hitler’s propaganda about the ‘superior Aryan race’. Mehra, born in 1914 in Amritsar, incidentally shares his year and place of birth with Field Marshal Sam HFJ Manekshaw — who led India’s victory over Pakistan in the 1971 war. They were classmates for a while at Hindu Sabha College. Agile and with a sharp memory, Mehra recalls the aftermath of the Jallianwala Bagh massacre in Amritsar in 1919. Just five years old then, he admits that he didn’t hear the booming gunshots ordered by General O’Dyer as they (Mehra’s family) lived in the congested and noisy Sirkian Bandan Bazaarwhere the sound may not have carried. However, he recollects standing near a large window and seeing men loot textile rolls and running helter-skelter. “Later, I saw troops coming to the bazaar. Our locality was agog with talk of people returning to their houses by crawling on their bellies at gunpoint. My father had left Jallianwala Bagh just 15 minutes before the firing started. A 12-year-old cousin Jai Gopal was untraceable for some time and his return brought relief.” A year later, Mehra went to DAV school, Lahore, where he used to see freedom fighter Lala Lajpat Rai, a strong proponent of DAV institutions, almost daily in his house opposite the school. Then one day the headlines in Urdu newspapers Vir Pratapand Milap screamed of a barbarous attack on Lalaji by SSP, Lahore, J. A. Scott, during a silent protest on October 30, 1928, to boycott the Simon Commission. Eighteen days after this assault, Lalaji succumbed to his injuries. Angered by the brutality, Bhagat Singh, Rajguru, and Sukhdev along with other freedom fighters decided to kill Scott. Recalling the assassination of JP Saunders by Bhagat Singh, Rajguru, and others, Mehra reminiscences, “It was a chilly day on December 15, 1928, the last day before winter break in DAV School — where Bhagat Singh had also studied. Saunders was shot outside the police station just opposite our school. Hidden behind the boundary wall grill in DAV College, adjoining the school, they fired shots from there and then escaped. Troops surrounded the police station soon after, while some chased the shooters. Our entire hostel was searched. The next day the confusion cleared — ASP JP Saunders was killed and not SSP JA Scott.” Looking back, Mehra smiles at the recollection of the most magnificent moment when he watched the royal procession for the Coronation of King George VI and Queen Elizabeth in London. George VI was the last to hold the title of ‘Emperor of India’ when India and Pakistan became independent. On May 12, 1937, the coronation was the first televised event in the history of Britain. Only about a handful of people could watch as the relay was limited. The live scene, however, held one spellbound. Describing the royal spectacle, Mehra said: “As I stood as part of the crowd outside Westminster Abbey in London, I saw the King and Queen ride in the Grand Gold Coach. I saw little Princess Elizabeth (the present Queen, she was 11 years old then) with Princess Margaret Rose, wearing identical gowns with flowing trains and little coronets resting delicately on their heads. The event was a spectrum of activity with a galaxy of men in military uniforms, hundreds of troops — mounted and on foot — and scores of bands playing martial tunes. The address of the new King was broadcast on radio. Days ahead, London was bathed in gossamer lights. Churches, banks, hotels, stores and private places were illuminated; gardens and parks were most enchantingly decorated. The Royal Canadian mounted Police looked bright in crimson coats, while as many as 600 Indians in turbans had come with trumpeters and drums. Ten years after this event, Mehra witnessed the trauma of Partition in his hometown Amritsar, when riots broke out. Looting and hooliganism went on unabated as rumours ruled and truth became a casualty. Hordes of refugees came across the newly created Radcliff Line. “We kept an ‘open house’ where anyone was welcome. Half a dozen families stayed with us. They related stories of the maar-kaat. My family’s flourishing raw silk business was temporarily affected.” Mehra, called Angrez by friends, talks of the holy city’s Civil Lines that literally developed before his eyes. The Thandi Khui outside the summer palace of Maharaja Ranjit Singh was ironically ‘partitioned’ between Muslims and Hindus even before Partition. They went in for separate pulleys, buckets, and glasses, but drew from the common (sanjaaha) water. Mehra’s is moved as he turns the yellowed pages of a letter in a photo-album. It has been written by a German girl, Hildegard Susmann, who he has been trying to locate for the past 50 years. This Angrez, whose fitness invites envy as he takes no pills and even walks without a walking stick, says he was in love with this German. Her family had suffered immensely during World War II. However the family — half-Jewish — carried his portrait made by Hildegard’s artist mother when they were forced to abandon their house during a bombardment in 1943. “I did not leave ‘you’ behind,” wrote Hildegard to Mehra after fleeing Germany. Family constraints made them drift apart. They met for the last time in 1957 in Rome. In a letter thereafter, she wrote: “A lovely dream, paradise on earth still lingers`85.” That was the last he heard from her. Despite the tragedy of losing his wife Kamlavati, daughter Rajeshwari and daughter-in-law Mini in quick succession — and all to cancer — Mehra prefers to stay alone but looks forward to the visits of his son Prem and his family. At the end of each day, Mehra quietly lays back on his rocking chair to listen to World Space Radio to update himself on the latest happenings in the world.

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Book Review Mohan Raina: The Soul Art of Kashmir / Rashmi Talwar / Kashmir Images

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Book Review

ART IN KASHMIR & MOHAN RAINA THE CREATIVE GENIUS

By Sudesh Raina

Amazon

Pages: 307,

Rs 695/ $21

The Soul art of Kashmir

Rashmi Talwar

Some artists are born of a feather. Art reaches out to a soul to house its flights of imaginative treasures. Artist Mohan Raina was one such born of a quiver of plumes. His art flew. It reached unknown shores. Some rose like a tidal wave, some in a manner of a feather float, some struck a sensuous caress. All in all, his palette and strokes engulfed the art scene in the little paradise of Kashmir. Drawn from a proud artistic lineage, Mohan’s grandfather- Pt Narain Joo, was an accomplished artist of miniatures; father- Shiv or Sieu Raina a famed artist, teacher, modeller, craftsman, and innovator. Mohan’s churnings were unique. His manifestations spoke a distinct language of symbols interwoven with realism. As his nimble fingers and heart flew over varied surfaces they bore his unique stamp of excellence using many conventional and non-conventional art mediums.

“Art in Kashmir and Mohan Raina the creative Genius” a voluminous 307-page book, penned by Sudesh Raina, author, and son of famed artist Mohan Raina is a befitting tribute to the exceptional artist of Kashmir. The book is a painstaking labour of love, lest, the history of art in Kashmir, forget the energy of an outstanding and multi-talented artist. It offers a rare insight into the development of art in Kashmir, its journey, and the unique contributions of an unsung artist of that period. The book professes the expertise of Mohan Raina –to be incomparable. Mohan left his imprint on the art world to an extent that it is the subject of Ph.D. thesis even today.

The book itself is a result of meticulous research by Sudesh the author, a painter himself, who took on the dedicated mission that took years to search, assimilate and assemble facts and join the lost rings of Mohan’s artistic genius. The compilation is the brilliant bonding of these rings to present a chain of Mohan’s sizable artwork. An artist, whose legacy includes the creation of “Jammu & Kashmir’s State Emblem” which is still in use.

Mohan- was an artist, who could leave nothing without a tinge of his genius touch, for instance, the wedding card designed for his daughter Dr. Usha Raina with Dr. Chand Narain Dhar, is evocatively symbolic. One can see the moon or ‘Chand’- the name of the bridegroom, holding a bright early morning sun, or the ‘Usha’- the name of the bride, inside a six-cornered geometrical figure or the ‘Shatkona’. A ‘Shatkona’ is a symbol of Shiva-Shakti yantra i.e. a union of male and female; a fusion of Prakarti and Purush,  as explained by an avid writer Avtar Mota in his blog –The Chinar Shade.

The hardcover, written and compiled by Sudesh, could by no means, incorporate the expanse of his research.  Mohan’s works of art were scattered globally, with the family possessing not a single piece from his huge repertoire. The book, however, presents a fairly wide window about the artist, his flight of imagination, his story, his history, and his artwork that qualifies as magnificent with a matchless style. The book incorporates the born artist’s fledgling steps, honing his skills in that stratosphere and emergence as an artist of class apart, which is a spur for art students of today.

In those times, Mohan’s father Shiv or Sieu Raina, a brilliant artist himself, was quick to tutor the exceptional talent of his son as a Guru and together they explored varied visual art forms. After studying art at Amar Singh Tech Institute, Srinagar, Mohan Raina looked beyond his home towards the seven seas in pursuit of knowledge; and studied at ‘City & Guilds Institute, London’- a global giant in skill development and work-based learning programs. Here, he studied to enhance his art and design skills, combining textiles and painting. He further studied contemporary painting, and art history at the University of Illinois, USA. Mohan’s ultimate recognition came when he earned the prestigious UNESCO scholarship. The book elaborates on several ‘firsts’ to Kashmir’s academic and art landscape, including Mohan Raina being- the first Kashmiri to go abroad to study art.

The journey of an open-minded artist, experimenting, applying methods and strokes to varied mediums and materials, and employing skills and stratagem, to create innovative pieces of unforgettable art in Kashmir, is well catalogued in the book. From being employed in J&K state’s Information Department, came Mohan’s opportunity to churn out prestigious artwork including the state emblem, and logos for institutions of repute comprising ‘Government Medical College Srinagar and SKIMS. His portraiture brings vivid portraits such as of Mehjoor–The ‘Shair-e-Kashmir’; along with some outstanding ones of Kashmiri greats and also family members. He created unusual and meaningful brochures, illustrations, posters.  The Republic Day tableaux- were designed and implemented by Mohan, which won top honours beating all other State Tableaux. Over the years, Mohan created innumerable landscapes, portraits, abstracts, and monograms besides a wide range of art pieces. The author of the book has tried to leave very little untouched. He has included beautifully illustrated pages giving a glimpse of Mohan’s diversity in his creations, to the reader.

The book illustrates pictures of nature paintings done ‘en plein air’ by the nimble hands and eyes of a gifted observer. The pictorial-rich book throws light on the style of Mohan’s art that hugged realism, his favourite being seasons around his home turf of Srinagar. For the 19^th and most 20^th century artists, it was not unusual to paint landscapes of their surroundings, and if the environs were as enticing as Kashmir, the sky of the artist’s canvas was limitless. In places, Mohan’s creations could be compared with the style of Gustava Courbet, a French artist who stood out with his realism of surroundings of life –‘undecorated ‘ and some deliberately ‘unromanticized’.  In some of his works, his landscapes can be compared to those by Asher Brown Durrand.

Even the portraiture collection of Mohan including of Mehjor- the state poet, of Habba Khatoon, Lal Ded, and many Kashmiri Pandit greats could be compared with Courbet’s style of catching the gesture and nuance of a person, instead of just the profile.

Mohan produced one of the finest collections of art estimated to count as about 1000 pieces, the book also uncovers his hand at creating Industrial Murals. Lamentingly, not a single one of his magnificent artwork is possessed by his own Raina family!

He writes about the tiny locality of ‘Badiyar Bala’, as a creative oasis in Srinagar, where the artist was born; describing it as an epicenter of art and artists of every hue and shade. He traces the exalted lineage of Mohan Raina’s grandfather- Pt Narain Joo, an accomplished artist of miniatures; along with the artist’s father Pt. Shiv Raina- a reputed painter and sculptor and one credited with the establishment of the first Art gallery of Srinagar in Habbakadal area. This ideal artistic environment carried the silken thread that beaded many of the arts and artists of the times, including those from the performing art, in Kashmir. The book beholds the artistic flair of Mohan’s father -Pt Shiv curating budding artists, who rose to exceptional levels including Ghulam Rasool Santosh and Suraj Tikoo.

The volume traces the journey of Mohan to becoming the award-winning creator of the J&K State tableaux for the Republic Day Parade in January 1958. Interestingly, the author of the book -Sudesh Raina, was made to sit on the tableaux titled “Winter in Kashmir” wearing a ‘Pheran’ and holding a ‘kangri’ in the role of a Kashmiri child.

Such a hub of talent hardly went unnoticed by those sitting in the seats of power,  and acknowledgment for the exceptional talent came in the form of coveted invitations. Once, Shiv Nath Raina along with his family was invited for Lunch by the first Indian Prime Minister of India -Pandit Jawaharlal Nehru. “This was on 29th January in 1958, post the Republic Day celebrations”, a picture of which is carried in the book where the PM’s daughter and future Prime Minister Indira Gandhi was also present, Sudesh recalls that memorable moment. The book is embellished with many pictures of Mohan with prominent personalities including Sheikh Abdullah and the heirs of the erstwhile ruling monarchy of Kashmir.

The book records the pre-independence art scene in Kashmir that established the Progressive Artists’ Association – aimed at promoting art and culture in the valley. An illustrious artist S.H. Raza known for his fascination with Bindu (dot) and triangles, during his visit to Kashmir in 1948, exhibited his paintings – leaving an indelible mark on many of the local artists. Remarking on the artistic work of Mohan, the artist Raza is reported to have said: ‘Mohan is a great versatile artist in the making.’

‘No Indian or western masters overwhelmed young Mohan’, the book records. However, Rembrandt for his style of portraiture and Raja Ravi Verma in the way he depicted scenes from the epics- exercised a great influence on him. He also liked Paul Cezanne for his varied painting style. Mohan preferred structured compositions and recreating nature and not its substitutes.

Art critics view

Avtar Mota, an avid writer, critic, and blogger observed about Mohan Raina’s repertoire of art that ‘Mohan’s art didn’t stay on the canvas or some materials alone; it included its replications in fine Interior Décor. Mohan’s series of paintings depicting popular folklore ‘Akanandun’, was uniquely replicated on curtains in thread-work by ace Kashmiri craftsmen.  In his blog ‘The Chinar Shade’, Mota writes–“Mohan Raina prepared hundreds of designs for handicrafts including the famed Kashmiri shawls. Mohan’s strokes also entered into designs created by crewelling- a Kashmiri embroidery technique and were replicated on apparel and wall hangings based on Kashmir’s folklore, flora-fauna, and scenic beauty”.

Mota writes-“Mohan did a series of paintings on Omar Khayyam’s Poetry, just the way A. R. Chugtai did a grand series on Ghalib’s Poetry. A Kashmiri poet, writer, and journalist Ghulam Nabi Khayal possessed a few copies of the book of Kashmiri translation of quatrains of Persian poet Omar Khayyam, published in 1961. Khayal had sought assistance from Mohan for doing artistic Illustrations of the Quatrains. Today they are a treasure trove.”

Book’s inception:

Taking advantage of the lost name of the artist and his existence, others had started plagiarising and usurping not only the works but also honours and crediting themselves with them. Such a claim to Mohan Raina’s artworks on an open platform of Facebook spurred the author and son, to get down to cataloguing the soul of his multi-faceted father’s artwork. 

Sudesh says, “It was an unimaginable hunger to not let down my father, and let his genius strokes go unnoticed, unsung, in the annals of History of art in Kashmir, that eventually impelled me to embark on this lofty journey to locate art collectors, private and public galleries from around the globe, to bring bits and beauties of Mohan Raina’s creative works in the public domain The various unique and innovative techniques, the artist employed to achieve outstanding results, had to be catalogued. Alongside this, the precious stories of his artistic life, his journey, and his innovation and imagination led to this meticulous compilation into a valuable book. ” The compilation is truly a collectible for art galleries, art connoisseurs, historians, and collectors. “This is a tribute to my father as well as my family especially my mother’s strong, silent, support to my father’s evolvement into this creative genius”.

The book touches on the vivid reality of the start and the rapid spread of tumultuous years in the Kashmir History of 1990, which led to the exodus of the Kashmiri Pandits from the valley. In one section Sudesh writes -“It pains me how the widespread militancy erupted in the Valley in 1990, played havoc with his (Mohan Raina’s) treasured collection. Everything was looted, and plundered when our ancestral House was ransacked and later the house was gutted in a devastating fire. With such a colossal loss, sometimes I am led to un-believe that my father ever used a ‘brush and canvas’. A little solace arises when I set my eyes on a few of his paintings that were gifted to friends or his artwork hanging in Galleries in India and abroad. My Father, a lover of poetry and music, could not be contained just by colours strokes, and forms, he could beautifully strum the ‘Sitar’, and Faiz Ahmed Faiz remained his favourite poet. We lost hundreds of music LPs and the imported gramophone that was dear to him, to plunderers. It was that Gramophone on which he would often listen to Begum Akhtar’s Ghazal: “Meray Hum Nafas Meray Hum Navaa, Mujhe Dost Ban Ke Dagaa Na De.”

 This reminds me of Emily Dickson’s poem –

‘Hope is the thing with feathers…….

That perches in the soul……

And sings the tune without the words…

And never stops…at all…

The author can be reached at rashmitalwarno1@gmail.com

Published DATED: 29th August 2022

Golden Temple turns bridal with Exotic Flowers on First Parkash Purav / Rashmi Talwar/ Kashmir Images

Golden Temple turns bridal with Exotic Flowers on First Parkash Purav   

Rashmi Talwar

Amritsar 27^th August 2022-

The Golden Temple Amritsar was ornamented with exotic flower decorations to mark the First Parkash Utsav (opening Ceremony) of the Holy book of the Guru Granth Sahib, to be held tomorrow 28^th August. This day commemorates the first Parkash (opening ceremony) of the holy book. The day is an important landmark for Sikhs as the community considers the Holy Book as a living Guru.  

Around 25 varieties of aromatic and exotic flowers including macrophylla- French Hydrangeas, black orchids, Cymbidum or boat orchid, daisies, and Penelope a kind of musk rose besides varieties of poppy adorned the flower display. About 10 truckloads of flowers worth Rs 4 crore having high shelf life were specially imported from the Netherlands, Thailand, and Singapore, and flown from  Banglore, Kolkata, and New Delhi, to embellish the shrine, on the occasion.

The shrine is seeing a maximum number of pilgrims during this festivity, informed Jagtar Singh Shoora, the shrine’s environment manager.

Lady who saw the First Indian PM crying copious tears … / Rashmi Talwar / Kashmir Images

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INDIA AT 75

Lady who saw the First Indian PM crying copious tears …

Rashmi Talwar

“Ae Mere Watan Ke Logon …” indisputably one of the most moving patriotic songs of India, replaced the traditional Christian hymn “Abide with me”, for this year’s Beating Retreat Ceremony marking the 75^th year of Independence of India. ‘Abide with me’ was decades old, staple tune that concluded the musical extravaganza of Republic Day celebrations.

Incidentally, the British hymn ‘Abide with me’ was the favourite of Mahatma Gandhi – the Father of the Nation. On this milestone year of 75 years of the Nation’s Independence on the 29th of January, the colonial symbolic tune was dropped, and replaced with the poignant Bollywood creation-‘ Ae Mere Watan…..’.

‘Ae Mere Watan …’ is an iconic song that had driven the First Prime Minister of India Pandit Jawahar Lal Nehru to tears. This happened on 27^th January 1963, at Ramlila grounds in New Delhi.   The song, a moving tribute to soldiers fighting battles and wars for the country touched a raw chord in the Nation’s First PM, who cried copious tears hearing the song so movingly sung by Lata Mangeshkar.   “I noticed a teary-eyed Prime Minister and was afraid, wondering, if I had made a mistake! Backstage when I met Panditji, the PM said to me ‘Lata, tumne aaj mujhe rula diya’ (Lata, you brought tears to my eyes today).” Lata – the Nightingale of India recalled this incident a few years back.

At that exact moment when the patriotic song reverberated in the Delhi-located stadium, sitting amidst the spectators was a petite girl who came with her friend to watch the spectacle of musical greats singing live. She was, Reena Chhibber.  

Recalling that time Reena who turned 90, this year, and crossed all hurdles to visit her ancestral home in Pakistan in July in this historic year, for the first time, exactly 75 years after Partition, articulates about that momentous day in history, in a conversation with the author –      “On 27^th January 1963, as part of Republic Day celebrations, my keen interest in music took me to Delhi’s National Stadium or the Ramlila grounds. The august gathering there included India’s first Prime Minister Pt Jawaharlal Nehru in the front row. I was sitting with my friend, only two rows behind Pt Nehru, when Lata Mangeshkar sang the moving patriotic song “Eh Mere Watan Ke Logon, Zaara  Ankh Mein Bharo  Lo Panii ….” Not only was the Prime Minister deeply emotional, his eyes brimming with tears, as India had seen its brave soldiers give their lives in the recent war then, but the entire audience was also in tears.                    This occasion at Ramlila grounds came merely 66 days after the Indo-China War that started on 20^th October and ended on 21st November 1962. Through newspapers and other oral communication it was learned that the PM was deeply shattered by the debacle in this war,” Reena recalls. It was surmised that Nehru’s Health deteriorated after India’s defeat in the Sino-India war which he perceived as a betrayal of trust by China. The PM spent months recuperating in Kashmir.

Reena further filled in about that milestone occasion –“Along with Lata Mangeshkar, were three other top singers of the times– Mahendra Kapoor, Talat Mahmood, and Mohammed Rafi. Mahendra, was then a promising newcomer in the Music world of Indian cinema. i remember  Talat Mahmood sang “Hungame – Gumm se tangg aakar…” he was my favourite, and Mohammed Rafi sang – “Ae Gul Badan…..’ It was the most prized moment to see the live performance of adorable singing greats’, as well as the opportunity to see the First Supreme Head of the Country in one place” Reena recollects.

“I met Nehru Ji many times in my life”, from the time I was a little girl in Rawalpindi and Nehru ji delivered a lecture and attended a tea party in his honor, near our house, to other social and formal occasions.

In pre-partition times Reena’s family which was quite well off possessed a gramophone and a radio and recalls her father getting the latest LPs (long Playing) at home. Her home in Rawalpindi, she remembers, was an oasis of music and many in her family were good singers including her brothers, and herself. Reena fully relived the moment of her childhood recently in full public glare from Pakistan media and public, when she hummed an old Bollywood song on ‘Rains’, while holding on to the balcony grill of her ancestral home, like a little girl. She visited Rawalpindi a month back, for the first time after 75 years of separation, and regaled the Pak people with many old songs during her 10 days in Pakistan. Reena braved it alone to reach her home in Pakistan and even spent a night in her room, which she holds as the most precious moment. She was granted a visa by the Pak Minister for Foreign Affairs Hina Rabbani Khar.

“This love for melody goaded me to see the musical program at Ramlila grounds which turned out to be a historic moment”, Reena said smilingly    

The nonagenarian had also witnessed another history in the making – of the hoisting of the ‘First Indian flag of Independence’ at the Simla Ridge on 15^th August 1947, after traversing a 30-mile long trek from Solan to Simla to watch the spectacle along with her family.  Reena and her family left their home, hearth, and heart, in Rawalpindi, when she was 15, during the Indo-Pak Partition 1947. None of her pre-partition family is alive today. Incidentally, famous writer Ruskin Bond too witnessed this historic moment in Simla, at the age of 13, and penned it vividly in his memoirs.  

Coming back to the unparalleled patriotic song, known to make even stones weep, ‘Ae Mere Watan…’ it was penned by Kavi Pradeep and composed by C. Ramchandra. Lata Mangeshkar was hesitant to sing it at first as she had rehearsed it only once. Moreover, she wanted to sing it with her sister Asha. Eventually, the poet persuaded her to sing in the presence of the PM and it turned iconic, owing to its content and the way it was polished and carolled by Lata.  Significantly, the song is played daily at the beating retreat ceremony at the Wagah Attari Border, Amritsar, and conjurers up the patriotic spirit amongst nearly 10,000 spectators that watch the Beating Retreat Ceremony at the border. The number of spectators doubles on weekends.

As per history -The British hymn ‘Abide with me’ was written by Scottish Anglican poet and hymnologist Henry Francis Lyte in 1847. Ironically, less than three years after the declaration of Independence from the British in 1947, the British hymn became a part of India’s Beating Retreat Ceremony in the year 1950.

Early this year the army released a brochure on dropping the British Hymn and listed 25 other tunes to be played on Republic Day 2022, marking the 75^th Year of Indian Independence. A senior officer in the army stated –“The country has wilfully distanced itself from the symbolism of shackles of slavery of the British era.” These 26 tunes included –‘Kadam Kadam Barhaye jaa….’, and ‘Hind ki Sena…’ played at a musical extravaganza ceremony concluding the Republic Day Celebrations at Raisina Hill to Vijay Chowk, New Delhi.         The patriotic Hindi song –‘Ae mere watan ..’ that captivated the collective psyche of the nation was introduced as part of efforts towards “Indianisation” of the military, including its tunes, traditions, and customs, some of which were drawn from the British era.

Beating Retreat is a century-old military tradition when troops disengage from the battle at sunset with the lowering of flags against the backdrop of the setting sun.

Author can be reached at rashmitalwarno1@gmail.com