Lao Tzu

Lao Tzu, "The emperor has heard about you and he would like you to become a part of his court. He needs wise men there."

Lao Tzu treated the messenger very courteously, but said, "No, it is impossible. I am grateful. Thank the emperor, but it is impossible."

When the messenger was going, Lao Tzu washed his ears with water, and washed the ears of the donkey also. A man who was standing by the road asked, "What are you doing, sir?"

He said, "I am washing my ears, because even the messenger from the world of politics is dangerous."

The man asked, "But why arc you washing the ears of the donkey?"

He said, "Donkeys are very political. He is already walking in a different way! The moment he heard and saw the messenger from the court, he became very egoistic. Donkeys tend to be political. I don't much understand the language of the court, but he understands, because similar donkeys are there. The language is the same."

The man laughed. It is said, even when the story was reported to the king, that he also laughed.

People laughed about Lao Tzu; at the most, a crazy old man, eccentric, but nobody took him seriously. And he could never influence people to such an extent that they should organize his teaching. No religion, no organization, could come out of his teachings. He remained alone. He remains alone, but purest.

Seriousness in art

The ego can exist only if you take yourself and everything seriously. Nothing kills the ego like playfulness, like laughter. When you start taking life as fun, the ego has to die, it cannot exist anymore. Ego is illness; it needs an atmosphere of sadness to exist. Seriousness creates the sadness in you. Sadness is a necessary soil for the ego. Hence our art is so serious, for the simple reason that they are the most egoistic people in the art. They may be trying to be humble, but they are very proud of their humbleness. They take their humbleness very seriously.

interview

Sandarbh with a decade long history in site specific, experimental and community based collaborative art practices has come up with its first nature Sandarbh from 20^th to 30^th October in Silvassa. Nature Sandarbh is a unique initiative in the history of Sandarbh as it evocates and revitalize the missing link between the artist and nature. Nature being the inspiration to various art and artist is evident throughout history. It may be the dance, music, engraving of the tribal societies or the landscape paintings, nature take various forms to satisfy the artistic inspiration and creation.

The organizers of Sandarbh this time came up with a specific themeThe Nature and the Artist. The extension of art into nature is conceived as a vibrant dialogue leading to our understanding about nature and our society. How we understand, assimilate, alter and co-exist with nature. Talking to one of the artist and organizing member of Sandarbh Somu Desai, the conception of nature art workshop and idea of bringing Sandarbh to Silvassa is made clear.

Sandarbh in Silvaasa: I want to create platforms for small town art students

Interview with Somu Desai

Ritesh Panda: Somu, you have been active as an artist and activist in Silvassa for a long time. Could you please tell us how you happened to be in Silvassa and decided to make it as your turf?

Somu Desai: Silvassa is a Union Territory and geographically it is a part of the South Gujarat region. Silvassa is famous for its forests. Many people come to this place as a part of their vacationing in Daman, which lies a few kilometers across Silvassa. In this region there are a lot of traditional art forms like Warli painters and Tharpa dancers.

During my college days I used to come to this forest area to do my trekking and sketching. Slowly I developed friendship with the officers here. Many of them come on deputation posts from Delhi and they have been generally interested in art. I live in Killa Pardi, a few kilometers from here. Once I became friendly with these officers, I started coming to this area quite regularly.

A few years back, in one of meetings with these officers, I suggested how Silvaasa could become a major attraction in India’s art and culture map. We have a lot of forests and natural beauty. We have three forests resorts here. Why don’t we get artists from cities here? Initially it was difficult to convince the officers. So I went on to do some art workshops in and around these areas with the students from B.A Mehta Kala Mahavidyalaya, Amalsad and Fine Arts College, Amalsad. Slowly Silvassa became an attraction for many young artists and art students.

Ritesh Panda: Could you please talk about your educational background and other activities?

Somu Desai: I studied in B.A Kala Mahavidyalaya, Amalsad. As in most of the small town fine art colleges, here too the students were trained to become designers and workers in the flourishing textile industry in South Gujarat. Students were not exposed to contemporary art or gallery systems or anything. As I used to visitBombay quite regularly, during my college days, I could see a lot of art. After graduating, I went to Bombay to become an artist. But you know, with a degree from a small town college and no patrons around, it was difficult to survive. So I started working as a designer. I could have gone into my family business. But somehow I wanted to live an artist’s life. So after almost a decade, I decided to go to Baroda and live there.

Ritesh Panda: Apart from working as a designer, what were your activities during those ten years of obscurity?

Somu Desai: I never left my friends in Pardi and Silvassa. I made trips between Silvassa and Bombay and in the meanwhile the officers were alerted to do some public art projects. I got the commission to do a few sculptures in and around Silvassa. It gave me a lot of confidence. But I did not have the right situations to stay back inSouth Gujarat and work. There were no friends with whom I could talk on art. It was frustrating. I am talking about the late 1990s.

Ritesh Panda: How did you find a way out?

Somu Desai: I went back to my college, tried to get students to work with me. My friend Akshay Naik, who is a professor in my college, has always been very supportive. He encouraged the students to work with me. But the students were not ready to take a plunge. They couldn’t think on their own. They were all thinking about a career in the textile mills. None was thinking about going to JJ School orBaroda or Delhi to pursue higher studies.

Ritesh Panda: And you decided to do it all alone?

Somu Desai: My decision to go to Baroda was a sort of symbolic move. I was already in my mid thirties and I did not want to join the college to do pursue a post graduation. But I knew that Baroda was the place where a lot of artists live and work. It is the place where you could find a lot of fresh and vibrant minds. So I shifted to Barodaand set up my studio there. Soon my studio became a meeting place for several artists and young students. Actually, I was learning a lot through my association with these friends.

But then again and again you had to face this issue: you are coming from a small town college so you are not so great. After ten to twelve years of experience in working as a designer and artist, here you are again thrown back to the position of a student. But I worked along with the youngsters and seniors alike. Many of them were skeptical about my moves but soon I could convince them that I was there for learning and improving and eventually proving my mettle to myself.

Ritesh Panda: Now you are with all the artists. Many people look up to you for support and guidance. How did it all happen?

Somu Desai: In 2007 I was in Baroda. Then I came to know about Sandarbh happening in Partapur. A few friends were going and I joined them as I was interested in nature oriented public art. I had already traveled in Bastar and worked with certain NGOs working with the local artists and artisans. In Partapur, I thought, I could extend my activities in a new location.

I should say, 2007 was a life changing year for me. In Partapur, I met JohnyML, art critic and curator. I had already read of articles written by him and I was already a fan of his writings even without knowing him in person. Initially, it was difficult to warm up towards each other but soon we shared a few cigarettes and became friends. Meeting JohnyML was really a turning point in my life. I was a volunteer in Sandarbh and he was a visitor. But by the end of Sandarbh, we had already decided to couple of interesting workshops in Silvassa. Meeting Chintan Upadhyay in Partapur was the beginning of another great friendship.

Ritesh Panda: Then why did you leave Baroda?

Somu Desai: My decision of leaving Baroda came as a shock as certain chain of ill happening took place in my family. Despite my interest to stay back in Baroda has to be reviewed and I had to take a firm stand in order to support my family and relations in Pardi. Leaving Baroda wasn’t a very tough decision to take because my family needed me and I have to choose my priorities.

Ritesh Panda: Pardi and Silvassa became your base and did it change the attitude of the local fine arts students?

Somu Desai: Akshay Naik and I myself invited JohnyML to give a talk in BA Kala Mahavidyalaya. He came and spoke to the students. He could not speak in fluent Hindi. However, in his broken Hindi he could convey what he really wanted from them. The students liked his presentation. He asked them to come out of their cocoons and fly to the big world. And interestingly many did. Today so many students from this region apply for higher studies in Baroda.

This visit was in a way historical, at least for me and my friends in this region. JohnyML proposed an idea of traveling across India and visiting the small town fine arts colleges. Soon we turned that idea into a reality. JohnyML spoke to the artists and well wishers and they supported us with funds. We traveled along the north India region and visited eighteen fine arts colleges and made a report. This report could be seen in www.artroutes.in. Photographer Feroze Babu fromKochi gave us pictorial and technical support. It was a great trip. And interestingly, the trip was concluded with a visit in the B.A Kala Mahavidyalaya, where the students gave us a great welcome.

Ritesh Panda: What are the other projects you did during that period?

Somu Desai: I did ‘Vibrant Gujarat’, the mural project in Baroda. It was conceptualized by JohnyML. The ‘Still in Baroda Thrill in Baroda’ sticker project was another exciting project that I did. I participated in Video Wednesdays @ Gallery Espace, New Delhi. Then I helped in bringing a lot of art camps to in and around Silvassa, Daman and Pardi. Today a few artists have planned to set up their studios in this region. I am also one of the directors of the artists residency program ‘the Zero Kilometer’ with JohnyML (www.zerokilometer.com)

Ritesh Panda: You are now the Director of Silvassa Art Gallery. Is it a government post?

Somu Desai: The building where now Silvassa Art Gallery works from was a court. I proposed the administration to develop it as a gallery. They renovated it and changed it into a gallery. I organized a few shows here and this gives an opportunity to the students and graduates from this region to exhibit their works. Also I presented Chintan Upadhayay rare and academic works here. I invited JohnyML to curated a video show, which he did early this year. Now I am the officiating director of the gallery. I don’t want to take any permanent posting as I want to be a full time artist and activist.

Ritesh Panda: How did Sandarbh come here?

Somu Desai: Chintan Upadhyay has been asking me to organize it in Silvassa for long time. I wanted to give it a new twist. I did not want it to happen just like another site specific workshop. I wanted it to be a nature workshop where artists could work in any medium, not just the site specific work. Even they can create sounds. They can act, perform and photograph. So I was preparing for that all these days. And today it is becoming a reality. I asked a few friends including critic JohnyML to suggest the names of the artists and they are all coming to work here. There will be established artists visiting during the workshop and doing performances and presentations.

And personally speaking, by doing Sandarbh here, I create an opportunity for the young art students here to come and volunteer themselves in the project and learn from the participating and visiting artists.

Workshop in action

Sandarbh workshop and residency started with the welcome meeting, with various participant from different part of India. Giving a brief introduction on the history of sandarbh Somu Desai announces the opening of the workshop.



Slide presentation on the national and international workshop and residency done by Sandarbh and BLVS.







Group of artists and volunteers hiking in and around the Luhari forest




Workshop opening music and party

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If you are identified you feed the mind; if you are not identified you stop feeding it. It drops dead on its own accord.

One day Buddha is passing by a forest. It is a hot summer day and he is feeling very thirsty. He says to Ananda, his chief disciple, “Ananda, you go back. Just three, four miles back we passed a small stream of water. You bring a little water — take my begging bowl. I am feeling very thirsty and tired.” He had become old.

Ananda goes back, but by the time he reaches the stream, a few bullock carts have just passed through the stream and they have made the whole stream muddy. Dead leaves which had settled into the bed have risen up; it is no longer possible to drink this water — it is too dirty. He comes back empty-handed, and he says, “You will have to wait a little. I will go ahead. I have heard that just two, three miles ahead there is a big river. I will bring water from there.”
But Buddha insists. He says, “You go back and bring water from the same stream.”

Ananda could not understand the insistence, but if the master says so, the disciple has to follow. Seeing the absurdity of it — that again he will have to walk three, four miles, and he knows that water is not worth drinking — he goes.

When he is going, Buddha says, “And don’t come back if the water is still dirty. If it is dirty, you simply sit on the bank silently. Don’t do anything, don’t get into the stream. Sit on the bank silently and watch. Sooner or later the water will be clear again, and then you fill the bowl and come back.”

Ananda goes there. Buddha is right: the water is almost clear, the leaves have moved, the dust has settled. But it is not absolutely clear yet, so he sits on the bank just watching the river flow by. Slowly slowly, it becomes crystal-clear. Then he comes dancing. Then he understands why Buddha was so insistent. There was a certain message in it for him, and he understood the message. He gave the water to Buddha, and he thanked Buddha, touched his feet.

Buddha says, “What are you doing? I should thank you that you have brought water for me.”
Ananda says, “Now I can understand. First I was angry; I didn’t show it, but I was angry because it was absurd to go back. But now I understand the message. This is what I actually needed in this moment. The same is the case with my mind — sitting on the bank of that small stream, I became aware that the same is the case with my mind. If I jump into the stream I will make it dirty again. If I jump into the mind more noise is created, more problems start coming up, surfacing. Sitting by the side I learned the technique.

“Now I will be sitting by the side of my mind too, watching it with all its dirtiness and problems and old leaves and hurts and wounds, memories, desires. Unconcerned I will sit on the bank and wait for the moment when everything is clear.

Jesus and Nicodemus

One professor of Jerusalem University went to see Jesus. Of course, he went in the night. His name was Nicodemus; he was a very rich, respectable man, a great scholar, well known in the Jewish world. He was afraid to go to Jesus in the daylight, because what will people think? He was known to be a great, learned man, wise — what will they think? that he has gone to this carpenter’s son to ask something?

He was older than Jesus — could almost have been Jesus’ father. No, it was not possible for him to go in the daylight. Cunning and clever, he went in the night when there was nobody else. And Jesus asked him, “Why didn’t you come in the day?” He said, “I was afraid.” Jesus must have laughed. He said, “Nicodemus, for what have you come? What do you want of me?”

He said, “I would like to know how I can know God, how I can know the truth.” Jesus said, “You will have to be reborn.” Nicodemus could not understand. Jokingly he said, “What do you mean? Have I to enter again into a woman’s womb? Are you joking or something? Are you kidding or something?” Jesus said, “No, I mean it — I mean what I say. You have to be reborn. You are such a coward. This is not life. You don’t have any courage. You will have to be reborn! You will have to become a new man, because only that new man can come to truth and realize it.

Even to see me you have come in the night. How will you be able to go and see the truth? How will you encounter God? You will have to go naked. You will have to go in deep humility. You will have to drop all your respectability, all your scholarship. You will have to drop your ego — that’s what to be reborn means.”

The first birth is only a physical birth; don’t be satisfied with it. It is necessary but not enough. A second birth is needed. The first birth was through your mother and father; the second birth is going to be out of the mind. You have to slip out of the mind and that will be your rebirth — you will be reborn.

Gurdjieff used to tell a story

A very, rich man went on a pilgrimage. He had many servants and a very, big palace where he lived alone with all these servants. He called all the servants and told them, “One by one, by rotation, you have to be on guard. I don’t know how much time I am going to take, it may be many years; the journey is long, the pilgrimage is hazardous. I may come back, I may not come back, but the palace, the garden, and everything has to be present as it is.”

They said, “Of course. Whatsoever you say we will do.”

The man went away. Months passed, years passed. By and by the servants started completely forgetting that they were servants because the master had been gone so long. Man’s memory is not that long, and there are things which one does not really want to remember. One’s being a slave and somebody being the master who wants to remember that?

Each servant had to guard the palace in rotation, and when each servant was guarding, he would pretend that he was the master. Anybody coming to the palace or passing by would ask, “Whose palace is this?” The servant would answer, “It is my palace, my garden. Don’t you like it?”
This was happening with all the guards.

Years passed; the guards completely forgot about the master and that he was going to return. “By now he must be dead, something must have happened. And it is good that we got rid of that fellow — now we are the masters.” They declared to the whole town, “We are the masters” — and the town had also forgotten the master. It was long before — only old people remembered that somebody had been there, but it was only very vaguely. When he went, where he went, and what happened to him, nobody was aware.

But one day, the master appeared; he knocked on the door. The slaves looked at him and suddenly fell at his feet: “Master, you are back!”

He said, “I told you I would come back, even though it may take a long time.”

They said, “Forgive us, because the city people will say we have committed a crime against you. We had forgotten you completely, and we enjoyed being the master so much that we declared that we were the masters — and the city believes that we are the masters.”

Gurdjieff used to tell this story, saying that the same is the case with the watcher. The watcher is absent; the mind — which is just a slave — is pretending to be the master. And it is not a question of a few years — for millions of years the master has been absent. Perhaps the master has never been home; there is no question that he had gone, because once he arrives he never goes. So your thoughts, and the combination of thoughts which you call your mind, certainly, confidently believe that they are the master.

Just tn, to watch your thoughts. Remember one thing: Thought itself cannot watch another thought — that is impossible. A thought cannot become a watcher of another thought; so when in your mind the thought arises, “I am watching,” you have missed, because it is a thought. When the watcher is there you will not even have the idea of “Aha! Got it!” Lost it! You were just on the verge of getting it and Werner Erhard entered, and EST finished everything: “Got it!” Even that much, just two words, is enough; the mind is back.

It is always the mind that gets it, or does not get it; the watcher simply watches. No idea is formed, just absolute silence prevails. And in that moment is the seeing, knowing, experiencing — without any thought. Can’t you experience anything without any thought? You will have to learn, because mind has been trained for centuries just to think every experience in words.

Story of a Fakir and Pundit

There is a Sufi story. To earn his living a Sufi fakir used to work as a ferryman on a river. One day a village pundit wanted to go across the river. The fakir offered to take him across free of charge. He used to charge one or two paisa for the journey. The pundit sat down in the boat and the fakir started rowing. They were the only people in the boat.

The pundit asked him, ”Can you read and write?” What else can a pundit ask? He wants to teach others whatever he knows himself. We can give to others only what we have. Pundits are obsessed with their so-called knowledge. He could not see the radiance of the fakir, he took him to be an ordinary boatman.

But the fakir was an extraordinary man. The pundit did not know that the godliness about which he had been contemplating, hearing and discussing was present in this extraordinary man. It was peeping through him. If he had eyes to see he could have found in the fakir all that he had dreamed about and read about in the scriptures. Something was present there.

But all that the pundit could ask was, ”Do you know reading and writing?”

Well, if a pundit even meets God he is sure to ask, ”Where is your certificate? What is your

education?” A pundit has his own world, he lives in his own world of words and scriptures.

The fakir replied, ”No, I do not know reading and writing. I am absolutely illiterate and rustic.”

The fakir said, ”I don’t know anything. I am absolutely illiterate.”

On hearing this the pundit remarked, ”Then one-fourth of your life is wasted.”

The boat sailed a little farther. The pundit asked again, ”But you must know arithmetic at least? It is necessary for maintaining accounts.”

The fakir said, ”I do not possess anything so there is no need to maintain any accounts. Whatever I earn during the day, I spend by the evening. I do not earn more than the need of my daily bread. By the night I am a fakir again. Then in the morning I start earning again.

Existence has been providing for me enough until now so why should I worry about tomorrow? If somebody gives me money, it is all right. If somebody does not give me anything, even then it is all right. I have lived up to now and will be able to live in the future also. Neither the giver gives anything which lasts forever nor the one who does not give takes away something which may be a loss forever – it is all just a play”

On hearing this the pundit said, ”Well, half of your life is wasted.” Just at that time a storm started, the boat began to toss over the waves and it seemed that it may sink any moment. The fakir laughed because the pundit got very frightened. Who will not when death is imminent? The pundit used to talk of deathlessness, used to say that the soul is immortal, but these scholarly claims of the soul, of deathlessness, are of no use when faced by death.

The fakir asked him, ”Do you know how to swim?”

The pundit answered, ”No, not at all.”

The fakir said, ”Then the whole of your life is wasted! I am going to jump because this boat will sink.”