Marginal Habitation, Spectacular Presences: Ramkinkar and the Elasticity of Margins
Pradip Kumar Datta In common usage the idea of the margins indicates a position that is outside the mainstream yet related to it. This provides a rich vantage point to critique the structures of the mainstream. Very often the epistemic position is elided with the social constituency/position with which this is associated. Often neglected in the advantages of this critical positioning is that it is a mobile one. What is marginal may move sometimes to the mainstream and even if it does not, may then migrate somewhere to a position that is an ambivalent one. This is often true of movements of art or of individual artists with their works – and even of intellectual and ideological movements. Ramkinkar’s life and work appears to me paradigmatic of the mobility of the margins. This is not simply in terms of the fabled recognition (and market price) of the signature of a once neglected artist achieving success and fame. Elements of Ramkinkar’s career – specifically his life and environmental sculpture – suggest a trajectory that is more subtle. Very little is known of Ramkinkar’s early years, but even the little information yields a life that was not tied to a fixed social position. Born in the little known Jugipara in Bankura district (now an urban area), he was from the barber caste. However, from his youth, he was attracted by the clay modelling of the kumars or potter caste and attached himself to one of its leading practitioners, learning by seeing them at work. It was here that his talent was first recognised by Anil Baran Ray, a touring Congressman who set him to work on nationalist banners and posters. The nationalist connection exposed him to Ramananda Chatterjee, editor of the Modern Review – an early nationalist journal that publicised a great deal of contemporary Indian art – and whose roots also lay in Bankura. A close friend of Rabindranath with institutional connections to Visva-Bharati, Ramananda arranged for Ramkinkar to formally study art in Santiniketan. The turn to nationalist mobilisation which enabled new linkages between the elite and their social others, provided the conditions for leaping across social milieu. Ramkinkars’ social mobility ensured for him a position of autonomy – but it also marginalised him in relationship to the collectives around him. Equally significant and far more decisive was the nature of the new milieu that he entered. While drawing primarily on the middle class, Visva-Bharati was founded on a dissenting vision of the world. It produced a new mode of marginality. While Visva-Bharati has become a venerable – indeed a defining – institution of modern Bengal if not of independent India, it did not occupy the same position when Ramkinkar entered it as a resident student in 1925. It can be argued that Visva-Bharati emerged from Rabindranath’s dissenting position on the imaginary of the Nation-State which he called Nationalism, a critique that was crystallised by the Great War of European nations. Visva-Bharati’s location indexed its commitment. Situated about a hundred miles from Calcutta, then the second city of the Empire, it was connected to it – but from a distance. On the other hand, it also sought to service its surrounding villages for self-empowerment through collective functioning and technological infusions. What we have here is an attempt to produce new kind of habitation drawing on an inter-embedding of the rural and the urban while creating networks – through Calcutta, with global connections. In other words, it sought to produce a marginal world with its own ecology that would provide an exemplary model for both the developmental needs of the colonised country as well as an outpost of peace and inter-connectedness for a post war world. To put it differently, its marginal position aspired to re-produce the mainstream. Within Visva-Bharati, Kala Bhavana, the arts school of Santiniketan where Ramkinkar studied and then stayed on as a teacher of sculpture, occupied a significant position. Its art practices moved away from the preoccupation with mythology, history and portraiture that had characterised modern Indian art till then. Instead of working within studios, Kala Bhavana pioneered a move to outdoor painting, representing rural workers and landscapes. In doing this, Kala Bhavana consolidated and enriched the linkage between the middle class world of Santiniketan and the rural world that surrounded it. Ramkinkar occupied an interesting position within this practice. If he had lead a “normal” career his low caste status may well have qualified him to have been an object of this art practice; instead he became the artist who had the privilege to represent what could have been his people. The in-between position of Ramkinkar needs a little more elaboration. I should mention here that Ramkinkar occupied an anomalous position in the actual middle class life of Santiniketan. It is true that he recalled the early days of Santiniketan with great affection, bemoaning its family-like intimacy. It is also true that he was given a great deal of support by Nandalal Bose who headed Kala Bhavana and recognised his talent; and it was Rabindranath who it is reported, upon seeing Ramkinkar working, promised to support him in sculpting massive figures and compositions despite the continuously cash-strapped condition of the university. At the same time, Ramkinkar left behind traces that indicated he was not quite comfortable in his environment. The social boundaries of Santinketan were never quite overtly asserted, but what Ramkinkar’s presence did was to crystallise these. In his memoirs he recollects having been asked about his name; his initial, awkward appearance clad in khadi also roused humour in his classmates. These were powerful intimations of the caste marginalisation that lay in store for him – and which is reflected in the fact that he changed his surname and once even hid his name. More consequential is the fact that he consolidated his marginal position himself. He quite openly drank liquor and had a live-in relationship with Radharani, a low caste widow who was initially his domestic worker and then became his model and muse