The magnificent Rajini Sir seems unable to avoid being the embodiment of mythology. Recently, he has been equated to the Trojan Horse from the Odyssey, suggesting that his appealing Dravidian cinematic persona may be packed with a BJP / Arya Samaj political intent, waiting to be let in past the Dravidian gates of Tamil Nadu governance. Now, with his own Mahabaratha reference in the context of the Modi government’s move to revoke Article 370, he has been equated to Abhimanyu the warrior son of Arjuna. In an open letter to Rajinikanth Arun Ram, Resident Editor, of the The Times of India, Tamil Nadu, writes, ” I am happy that you have found your Krishna and Arjuna in Amit Shah and Narendra Modi, though you are not sure who is who. That’s fine, as long you realise that you are the Abhimanyu the BJP badly needs in Tamil Nadu.”
Abhimanyu is the son of Pandava champion Arjuna and nephew of the Lord Krishna himself. At the tender age of 16 he was the most powerful, and perhaps vainglorious, of warriors. But despite wreaking havoc on the Kauravas in the battlefield he is killed and his role in the plot of the Mahabaratha seems to be much more as a catalyst of victory than as a victor. You see, his father Arjuna is ambivalent about using his powers to destroy the enemy. The Kauravas are after all the cousins of the Pandavas! With the killing of his beloved son, however, Arjuna is personally afflicted and is open to the martial wiles of the masterful Lord Krshna.
Abhimanyu was a dispensable element in the plot of the Mahabharata. I hope Rajini Sir will avoid the pitfalls of personifying such figures from Indo Aryan mythology as the dissembling Trojan Horse and the tragic Abhimanyu, on the political battlefield of Dravida Nadu.
Please visit Koboi Project series – Kaza Nunteng Porta.
We completed the last street intervention of Koboi Project in Belem at the Monument to the Discoveries on Sunday 30th June at 9pm. It was a glorious evening as the sun went down on Prince Henry the Navigator and his discoverers, on SUPERSTAR Rajinikanth and on the Koboi Project! Special thanks to Jane Frankish and Pedro Silva.
In the 3rd and concluding performance for the Pavilion Without Pavilion, Bangkok Biennale 2018, I made an impromptu photographic action on the 3rd of September at Wat Arun. This action was premised on the conflation of two gargantuan Dravidian icons that have attained global currency, Demon King Thotsakan (Dasakantha or Ravana) and contemporary SUPERSTAR Rajinikanth. They are both unquestionably giants of global Indic culture, one from the historiographical past of Farther India and Suwannaphum, and the other from the more immediate realm of Kollywood.
Mass is Kollywood jargon for massive or hit or popular or something like that! Whatever it actually means, the one thing that is clear is that Indian cinema is all about a sense of scale! This is also the mechanism or mechanics of democracy … the majority of the people … mass!!! Tamil Nadu has been governed by Mass since the days of Annadurai … MGR, Karunanidhi, Jayalalitha ……
With days to go till the worldwide release of Kaala, SUPERSTAR Rajinikanth gets asked the metaphysical question of his life – While on a visit to the victims of what a UN working group has called a police atrocity in the context of the 100 day environmental protest in Thoothukudi, a young man among the injured asked him – Yaar Nee Ayah? or Who are you sir? In my reading, the perfectly pitched question interrogates the capacity in which the Rajinikanth visit was being made – that of the Kollywood hero, the renowned philanthropist or, indeed, the newly minted politician!
This question, which should have come as no surprise as it was foreshadowed in celluloid, as represented in the image above, seems to have sent out Thalaivar into a tailspin. In subsequent interactions with the media Rajinikanth revealed a highly conservative streak … contrary to the image that the meticilous marketing campaign has built-up for the release of Kaala, whose revolutionary protagonist leads a ghetto uprising of the downtrodden, Rajinikanth seems to have a highly reactionary core. He blamed ‘anti-social elements’ amongst the protestors for the state violence – police shootings that left 13 protesters dead. He even seems to have said that continous uprisings will turn Tamil Nadu into a graveyard … Yikes!
In this double whammy of self-infliction, Rajinikanth seems to have squandered his capital in mass perception – the a unity of person and persona, that he has painstakingly built up over decades of cinematic imagineering … and as a consequence, film Kaala and his character in it, which have been promising great heft, suddenly seem hollow and feather light … more significantly Rajinikanth has revealed his so-called ‘Spiritual Politics’ to be, on this matter at least, fully aligned with the State AIADMK goverment and the BJP Federal government. Sadly Rajni also lost his temper with reporters breaking yet another invaluable image asset – that of the unworldly and unperturbed sage. How will the upcoming film, the Kaala character, the aspiring politician and the man recover from this … I for one will be following closely!
The Koboi had been developing his look after the SUPERSTAR’s image in Kaala (to will be released worldwide on June 7th) for his performance at Courtyard Hiroo, Tokyo at 7 pm on 11th May 2018 I am a fan of Rajinikanth and, as such, I relish the simple pleasure of ‘being’ the Thalaiva. I am, however, also cognizant of the aesthetic and critical connotations of my play. What is the measure of similitude – how much ‘looking like’ does it take to ‘look like’ or signify another person or persona? What is the threshold of sufficiency? Is such similitude founded on ethnic, even ethnocentric, notions of identity? What is the inner dimension of such a representation? How does one actually form a meaningful image of another? When does homage become piracy? Is this a pastiche or a parody, and if it is a parody – what is it a parody of? What, is the difference between a popular and a fine art image in the contemporary taxonomy of the arts? Most poignantly and pertinently, Kaala may be the last of my easy and heartfelt appropriations of the SUPERSTAR’s image as, having launched into politics in Tamil Nadu, Rajinikanth has now placed himself in a different context of signification. Along with Thalaiva’s long-time colleague in the Movie business, and now political co-aspirant, Kamal Haasan, I fear that Rajinikanth’s avowed ‘spiritual politics’ will take on the pungent saffron hues of Hindutva (the Hindu Right)!.