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SI 5 - Inaugural session - Keynote address by Rajiv Malhotra
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Swadeshi Indology conference-5 titled ‘Karnataka Shastriya Sangita - its past, present and future’ held at Bharatiya Vidya Bhavan, Bangalore on 30th March 2019.
The keynote address by Rajiv Malhotra outlines the nature of Swadeshi Indology conferences, how it is different from other conferences and lit-fests, and why it is of a business-to-business (experts-to-experts) model as opposed to a business-to-consumer model. Malhotra brilliantly takes us through the problem of colonisation and how colonisers first use their own lens to map their colony with the ultimate object of controlling, looting and manipulating it and then how this ‘colonised view’ is imposed back on the colony with the help of native ‘sepoys’. Though political freedom is achieved, a more dangerous intellectual colonisation of our Bhakti performing arts, spiritual tradition,etc., has continued since then, thanks to the leftists who are actually the successors of the colonisers. Performing arts based on interactive bhakti and embodied divinity is unique only to the Hindu tradition and attempts to separate them from religious and sacred elements, secularise and modernise them indirectly amounts to breaking the grand Indian narrative bit by bit and supporting the breaking India forces. He then talks about post-moderism and subaltern theories and its sinister motives. He expresses his strong concern that Carnatic music which is now being stripped off its devotional elements may end up like the archaeological sites and museums that represent ‘dead civilisations’.
The keynote address by Rajiv Malhotra outlines the nature of Swadeshi Indology conferences, how it is different from other conferences and lit-fests, and why it is of a business-to-business (experts-to-experts) model as opposed to a business-to-consumer model. Malhotra brilliantly takes us through the problem of colonisation and how colonisers first use their own lens to map their colony with the ultimate object of controlling, looting and manipulating it and then how this ‘colonised view’ is imposed back on the colony with the help of native ‘sepoys’. Though political freedom is achieved, a more dangerous intellectual colonisation of our Bhakti performing arts, spiritual tradition,etc., has continued since then, thanks to the leftists who are actually the successors of the colonisers. Performing arts based on interactive bhakti and embodied divinity is unique only to the Hindu tradition and attempts to separate them from religious and sacred elements, secularise and modernise them indirectly amounts to breaking the grand Indian narrative bit by bit and supporting the breaking India forces. He then talks about post-moderism and subaltern theories and its sinister motives. He expresses his strong concern that Carnatic music which is now being stripped off its devotional elements may end up like the archaeological sites and museums that represent ‘dead civilisations’.
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