THE FULL CIRCLE: PART 3
“Swagat mein gaari sunayeen… Chala sakhee milke…
Inka ke langte nachayeen… Chala sakhee milke…”
Radha’s wedding with Madhav had the tunes of the traditional Bihari Gaari song, with the band playing bhojpuri music as lights flashed from the barat-wallahs carrying battery-powered headstands in the backdrop.
Kailash’s efforts of weekly trips made to the ‘Saurath Sabha’ in adjoining Madhubani district had borne fruit; conducted during Jyestha-Aasadh (June-July) as per Hindu almanac, the matrimonial fair attracted alliances from a number of surrounding villages with marriages fixed in the midst of mango groves after dowry negotiations and matching horoscopes.
Hailing from the scholastic & cultural district of Madhubani, Madhav’s proposal had come across as appropriate to Kailash – an artist by profession; Madhav came from a lineage of Maithili artists famous for the world-renowned Madhubani style paintings. Having won the State award for his art, thanks to a formal education, Madhav was one of the few artists among his lot who were able to market their works well, sidelining the otherwise virtual mafia of middlemen & traders - he had earned a good reputation in the field owing to this.
Post the initial discussions by the elders at the Saurath Sabha, impressed by Radha’s self-brought up background & innocent child-like beauty; Madhav had approached Kailash for his daughter’s hand in marriage through his parents. Kailash had accepted the proposal taking into consideration Radha’s views & assent. The ceremonies & rituals had been well planned in advance with Kailash spending a good sum of his savings ensuring no stones were left unturned as regards the arrangements for his only daughter’s betrothal.
Draped in a richly embroidered saree, with sindoor flashing in the parting between her hair and adorned with a delicate gold mangal-sutra as the centerpiece of her new-formed identity, Radha had placed her henna coloured feet in the new house; accepting her new way of life, she had needed to shift gears managing her role from care-taker of a 2-member family to the home-maker of a 4-member household – the uniqueness of the experience was amplified by the shift from a primarily rustic upbringing to a small town-based marital life. With the demands on her time increasing, from managing the needs of her in-laws to helping out Madhav in his profession, Radha found herself adapting well over time.
Sold for a few thousand rupees each, Madhav’s paintings required skill and implied certain technique. With cotton wrapped around a bamboo stick to serve as a brush, vegetable colours were applied to fabric, drawing double-outlined images filled with diagonal lines or other geometrical designs and intricate outlays. The themes of his paintings were varied ranging from images of Hindu deities to the paintings of sun, moon or the tree of life; the scenes of royal courts & social events to common themes of women at work, shown as either drawing water from the well, carrying pots of water, caring for cattle; animals, cows, fish and birds were all exceptionally captured by his brush & palette. Radha would extend her support by preparing the vegetable colours using natural resources – blending turmeric-lime-pollen for yellow, Palasha flowers for orange, rice powder for white, soot & cow dung for black etc.
Adapting her tongue to the most melodious of the dialects of Hindi among Awadhi, Bhojpuri et al spoken across different districts of Bihar, Radha had adapted well to pick up the Maithili of Madhubani (sweet speech) over the erstwhile Magahi spoken across Sitamarhi. During her first celebration of the Chath festival post-marriage, the entire family had travelled to the banks of the Ganges among the banana plantations of Hajipur to offer salutations to the Sun-God, breaking their fast with dahi-chuda in the evening.
Laxmi-Raja and their companion-ship had been a significant memory etched in her mind and at times, she would long for Laxmi for days at length; recalling the evening trips to the temple, the weekend wallows in muddy-cool waters followed by the long hours of grazing in green pastures. In Laxmi’s absence, Radha had channeled her affection towards the neighbourhood stray dog whom she would feed rice every afternoon, nonetheless, the childhood memories of Laxmi’s company resonated during idle occasions. Having found friends in the next-door Bengali couple, Radha-Madhav would make an occasional trip to the cinema for a bhojpuri/ hindi movie.
The new environment and responsibilities meant Radha found little time beyond household chores - her favourite pastime of swinging her feet to the radio airwaves was replaced by catching the latest songs on television; the addition of the audio-visual medium to her daily experience meant that she could enjoy the appeal of the varied dance moves enacted by the female protagonists of filmdom. Radha especially longed for the evenings when Madhav’s hobby of playing the flute would keep her in good stead – as Madhav’s shapely long fingers touched the polished timber of his crafty bamboo flute to create the sweetest devotional & classical tunes, the meager tingling of Radha’s anklets would combine with a soft clapping of hands and murmuring of lips trying to keep pace humming the tunes. As the tunes from Madhav’s flute grew sweeter in melody through the evening, Radha’s feet would come alive on occasions, with her body swinging to the music and the hands shaping themselves into the most elegant moves as though self-enveloped in a divine trance.
In spite of a loving & supportive husband in Madhav and co-operative in-laws, Radha missed having Kailash around; a trip to Sonbarsa on an occasional basis would help soothe her nerves with regard to her consideration for Kailash’s health – in his prime Kailash maintained tremendous stamina, but with time the physical stress had begun to show on his body. Having fulfilled his obligatory duties, Kailash on his part had devoted himself to the assistance of the Rural Development Board of Sonbarsa besides carrying on his agricultural pursuits on an irregular basis.
On an invitation from the Madhubani Artists Self-Help Group, Madhav had been selected to represent the lot of the Madhubani artists at the Patliputra Arts Annual Conference. This had provided the two of them one of the rare opportunities to be together by themselves – Radha had jumped to her feet hearing the news and had wanted to accompany Madhav in his efforts. After a successful conference, the two had toured the capital city of Patna exploring its glorious past from the golden days under the Mauryas to being the world-renowned centre of learning as Patliputra in the times of Chanakya. The only other occasion Radha had recalled of the two spending time alone was when immediately post-marriage they had traveled to the holy city of Bodhgaya to seek the blessings of the The Buddha who had attained nirvana under the Bodhi tree there.
At that time, their companionship was relatively new, but over a period of time, they had come to understand each other well, being open to & adapting to each other’s tastes – they had come to find the love that they both seeked of each other. The initial shyness of holding hands in public had given way to the unabashed cheek of sharing a racy glance at each other coupled with exploring the cheesy possibility of a quick brush of the lips at times. The bonding though had gone beyond public displays of affection to understanding and associating with the differing identities of self, of the evolving nuclear couple as man & wife in private quarters and maturing into a wholesome relationship in the presence of the rest of the family.
It was during the testing times of Kailash’s demise that Radha had felt the need of Madhav being around – with no son to complete Kailash’s funeral rites, Madhav had extended his full support to ensure the ceremonial rites were honored as per the ancestral practices. His additional care to ensure Radha’s comfort in her solitary mental existence post Kailash’s expiry had bonded the two for life – noticing her liking for dance, he had ensured she receive formal training to perfect her hobby and in the process come over her mental inertia.
Over the 18 months of their marriage, Radha had come to acknowledge and appreciate the principles and values that Madhav had established as the base pillars of their marriage – mutual trust & respect, humility & selflessness with the objective of personal growth. Whilst she supported & appreciated his art, Madhav had wanted her to be self-empowered by getting trained in and practicing it as well; on weekends he would involve himself in voluntary work related to the Madhubani Artists Self-Help Group and ensured that she too was made part of the discussions and workings. On a strong foundation, ideas of building the family construct further were being planned.