By recounting childhood memories, they explore the nature of the people they met related to a particular field, sometimes they introduce a social event, event, and sometimes they describe their experiences. There is a frankness in this statement. “But there was inner joy in escaping from the swirling melodies, singing like free-flowing water. When he got tired of the box, he would leave the covers of the tied daggachati and make it as much as he wanted.” (page 92)
In the article ‘All blames the government’, the author’s obsession with bhajans, Rashtrasant Tukdoji Maharaj’s bhajan book, Baban Pusadkar’s smiling tabla, Dr. Bodkhe’s deep voice and Ram Rao’s mellow voice, various people met in the bhajan group, Madhu playing the tabla, the ritual center of the bhajan group, the passion for telling stories etc. show the spiritual mind of the Bodhankars, the love for the saintly guides, the attraction and the respect for the culture.
No matter how much a person grows up economically, morally, he becomes small while reminiscing about his childhood and leaves the taste of childhood in his mind. If anyone has done the most shaping of personality in his life, it is ‘holy yard. The author says that the courtyard plays a very important role in the flourishing of personal life. “Though the yard was one, its role changed every season.
Just as the same dancer changes different clothes and ornaments while performing different roles in the same play and dazzles the audience, so does the best dancer change his costume. Experiencing life, experiencing people, experiencing life and happiness while sitting in this house-yard, patiently facing the situation.” This is what they think. The embers of transformation swallowed up the most pure joy in human existence. Mati Maya was buried by transformation, the courtyard became valid. Expressing this regret of the courtyard, he writes “The cries of the courtyard can be heard under the cement. The village has changed. The roads were made of cement. “The goddess was killed by Shendra and the earth was finished with cement, the superstition of transformation killed the earth.” Coconuts are not seen in Vidarbha but father planted the sprout in the urn, the tree grew, coconuts grew and after father’s death, the young tree withered within a few days. Nature loves man. They believe that Dhanodi’s courtyard was the reason for his becoming rich in mind. He strongly believes that his life has been enriched because of Angan.
Childhood events, persons, their lives, habits described by Vijayraj Bodhankar in ‘Gagara’ are introspective. All these memories are very fresh even after so many years. They get lost in expressing it.
Palhana’s house, Jopatya’s house, Baburao Shastrakar’s house, Abhyankar’s Toleganj mansion, Dafya’s house, Bhau Kadam’s house all these houses seem like an encyclopedia of human patterns. That is why they say that no one has the will to demolish the ‘House of Memories’. Although all the articles in this book are independent, their umbilical cord is connected with each other. Arvi Dhanodi Bahadarpur is the reason for this. While studying in the village, the author is seen cultivating many hobbies along with education. Bodhankar considers his present as the cradle of art. He has a great affinity for Ajol, which enriches him with painting experience rather than school studies.
Just as Ajol created the painter in us, it also infused the interest in religious work, mythological stories from Ramayana-Mahabharata. Grandfather was a famous painter, sculptor, goldsmith, so the people he met taught us many things. Hence, they call Ajola as the origin of life poetry.
The games played in the village are an academic version of Tantra education. Because sports gave confidence beyond books. Today’s generation does not know the games Gilli Danda, Surkandi, Dabhote, Panmakad, Monsoon Khuppasam, Panphukani, Kabaddi, Bhowara, Tipper, Ring game. So they feel that their childhood is missing out on the great joys in life. In childhood, play was not by buying toys, but by creating them. Hence creativity, personality, positive strategy etc. were easily developed. Seeing the poster of Arveet movie, going to the theater, along with happiness, I learned the inquisitiveness of vision.
The articles in these books are narratives of personal experiences. Bodhankar’s other contemporaries may have enjoyed it, but he is certainly proud that his tastes were enriched by the art heritage at home. The book has its own cover. The thought behind this cover is that we brought the seeds of rituals from the village into our heads.
Prof. Raghunath Shetkar
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