The mundiad : sic transit gloria mundi

The Mundiad is a mock epic poem in heroic couplets. Modelled on structures of classical epics such as Homer's Iliad, Virgil's Aeneid and Milton's Paradise Lost, yet set in the contemporary world of globalisation, the poem celebrates the detritus of everyday life Kylie Minogue, pornography, new ageism, genetic engineering, IVF, screen culture, among many others. Reviving the ancient poetic ambition to speak differently about the things of this world, The Mundiad is startlingly original and is destined to be a cult classic.

Dharma and grief: secularisation of a sacred emotion

The presentation begins with the moving scene of Va¯lmi¯ki's grief over the bereavement of the survivor of the two birds in amorous union as one of them is pierced by a hunter's arrow. After considering Abhinavagupta's doubt about the genuineness of Va¯lmi¯ki's grief, the paper moves to Maha¯bha¯rata as the women from the warring clans bear witness to the horrendous carnage ensuing from the battle, and the constant rebuke that Yudhisthira, head of the Pa¯ndava clan, faces from Draupadi¯ for wandering the earth without finding a stable foundation for Dharma or grounding it in firm absolutes. We liken Yudhisthira to Mahatma Gandhi facing the near-collapse of the Indian subcontinent as it was being rent apart with communal violence on the eve of its Independence. But we also compare Yudhisthira with Hamlet, the tragic grief-ridden character, who is equally bewildered and confused by the array of emotions and sensations that overwhelm his lingering body upon news of the death of and ghostly encounter with his murdered father. With this as the context, we take the occasion to explore recent thinking on the 'hard emotions', in particular, grief, sorrow and mourning, and link the challenging inner and social condition to the calling of Dharma (righteous law, normatively worthy action). Drawing from some comparative work (academic and personal) in the study of grief, mourning and empathy, we shall discuss the treatment of this tragic pathos in classical Indic literature and modern-day psychotherapy. We shall demonstrate, despite being secularised, these emotions continue to serve as the sites of imagination at a much more personal and inter-personal level that are not antithetical to a Dharmic (sacred) quest despite their haunting presence even when 'the four walls collapse around one in the intensity of duhkha (suffering, sorrow)' (Tagore).

Louise Lightfoot and Ibetombi Devi: the second Manipuri Dance Tour of Australia, 1957

Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi’s cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.