Cross-Cultural Connections Across South Asia

In this edition of Sambandh Scholars Speak, Anindita Sinh interviews Lopamudra Maitra Bajpai, on her book, India, Sri Lanka and the SAARC Region: History, Popular Culture and Heritage, published by Routledge in 2021.

In recent years, India’s foreign policy has prioritised establishing religious and cultural connections beyond its borders. Referring to the importance of cultural diplomacy initiatives, India’s External Affairs Minister, S. Jaishankar, emphasised the importance of soft power as being “beyond economics, beyond politics, and beyond [the] orthodox conventional parameters of strength and influence…We have seen in history, that very powerful countries, who have failed [on] the soft power front, and [have], therefore, met political reverses.”

In the book, Bajpai adopts an unorthodox approach to interpreting culture and connectivity in South Asia. Her 25 essays include accounts of historical ties kept alive through ‘soft’ connections such as oral traditions of storytelling, rituals, and symbols of popular culture, as well as ‘hard’ infrastructure connections such as railways, electricity poles, and architectural influences.

Bajpai provides multiple examples, such as the cowrie shells harvested in the Maldives, which became an essential cultural symbol and an “important part of economic history” (p. 19) in the region. They served as a major currency in West Africa, Bengal, Odisha, and later, Ceylon (present-day Sri Lanka). Narrative scroll paintings are another such example, having long served as a “medium of communication” (p. 94), connecting not only parts of India but also the larger regions of South and Southeast Asia. Such strands of historical connection depict not only the interdependence of the South Asian region but are also evidence of a common cultural and aesthetic space. Awareness about civilisational linkages, such as the ones highlighted in this book, help create cultural kinship and, in turn, serve as potential avenues for the promotion of cultural diplomacy to further political and strategic interests.

This book is based on the author’s experiences and ethnographic research during her deputation as Cultural Specialist (Research) at the South Asian Association for Regional Cooperation (SAARC) Cultural Centre in Colombo, Sri Lanka. Relying on a visual anthropological account of non-traditional approaches, this book is a unique contribution to the literature on connectivity in South Asia. While primarily focusing on cultural flows between India and Sri Lanka, it also extends its scope to the region at large. It articulates and encapsulates aspects of “intangible cultural heritage” (p. 31) that have dominated this historically and socially complex region.

Anindita Sinh: You have discussed the importance of traditions such as kantha embroidery, woven dry grass mats, and masked dances across the South Asian region. How do you think awareness of these strands of connection can bring the region closer in present times and overcome the security-focused approaches that have come to dominate mainstream discussions on the region? 

Lopamudra Maitra Bajpai: I think, along with security, there has also been a considerable increase in activities and discussions centred around various aspects of popular as well as folk culture over the past few years in the region. There are books, films, music shows, dance programmes, and other such myriad representations, which also speak about the socio-cultural ethos of the region. These have also witnessed a growing participation among people from various parts of the region. Academic conferences, seminars, discussions, and talks also often contribute towards this as well.

An important conduit, in recent years, has been popular culture and, of course, social media. Let me remind you of a few examples from the very recent past, e.g., the Sri Lankan song, ‘Manike Mage Hithe’ (by Yohani, Chamath Sangeeth, and Satheeshan in 2020) became such an instant hit across the entire Indian subcontinent that everyone, starting from film stars to college students, was not only grooving to the tune, but they were also creating their own dance steps. The song was re-sung by various artists across many regions in India and in different local languages, including Hindi, Bengali, and others. In 2022, the song was also featured in a Hindi film. Let me also mention a recent Hindi song, ‘Mera Dil Yeh Pukare Aaja’, from the 1954 film, Nagin. The song has become quite a rage in recent times, especially over social media. An interesting story traces the beginning of this popularity. A remixed version of the song was played sometime in December 2022 at a wedding in Pakistan. Someone at the wedding recorded the performance and uploaded it on social media. Subsequently, both the song and the dance steps became a rage among various age groups across South Asia.

Let me mention another example from popular culture—the film, Lunana: A Yak in the Classroom from Bhutan, was nominated for an Oscar in the Best International Feature category in 2022. The film traces the year-long transformative journey of a young Bhutanese teacher, Ugyen Dorji, who is played by the actor, Sherab Dorji. The film featured for months together in the ‘most watched’ list on popular OTT platforms and received accolades from many critics across both South Asia and other parts of the world. And last but not the least, there’s the Sri Lankan book, The Seven Moons of Maali Almeida by Shehan Karunatilakes, which won The Booker recently (2022). This has seen Karunarilakes being invited to literature festivals in India, Nepal, and Bangladesh, amongst others (throughout January–February 2023), speaking about the voice of Asian literature to a global audience.

These examples, along with many others like them, prove time and again that culture connects, in spite of political differences. What is also interesting to note is how deeply embedded each of these cultural channels are in the region from where they emerge. It is through these cultural bodies that the intangible cultural heritage of a region gets represented and gets, very sublimely, accepted in a very different cultural surrounding. Thus, these symbolisms are also part of an acculturation process. So, we have Bangladeshi kantha or sital pati mats being popular across the entire region of South Asia, while everyone knows and adores Sri Lankan sarees. Similarly, many things can be pointed out, including the onyx marble products and the leather and silver jewellery from Pakistan; the sarees, folk art productions, and various items made from seashells, beads, and different types of jewelleries, amidst the many other items from across India; the thangka paintings from Nepal and Bhutan; and many more. The list is almost unending. I believe, these are the connecting dots, which, through time, have been and will continue to further dialogue across the region, much beyond security-related queries and activities. This is an ongoing process and the basic significance of soft power. Its growing popularity and recognition in political discussions and approaches in the region also points to the same.

These are the connecting dots, which, through time, have been and will continue to further dialogue across the region, much beyond security-related queries and activities.

AS: Multinational submissions to UNESCO’s list of Intangible Cultural Heritage (ICH) are often given priority as they help promote awareness, pluralism, and cultural sensitivity. Miniature art shared between Azerbaijan, Iran, Turkey, and Uzbekistan is one such example. Given historical connections and cultural flows, do you see possible avenues for the same occurring between countries in South Asia? Would this promote institutional engagement as well as people-to-people contact in the region? 

LMB: There already is. Let me elaborate. In the list of ICH elements on the UNESCO list from India, there are already examples, which are shared with not only the greater region of South and Southeast Asia, but also, if we take diasporas into consideration, the world. The list of UNESCO’s ICH elements from India includes Buddhist and Vedic chanting; the Kalbelia, Chhau, and Koodiyattam dance forms; and festivals such as the Kumbh Mela, Ramman, Durga Puja, and Nowruz. Folk theatre and dance rituals such as Mudiyett, Ramlila, and Sankirtana are also part of UNESCO’s ICH as is the tradition of Yoga and the craft of brass and copper utensil-making. Amongst these, India shares the Nowroz festival with the exact same region as you mention in your question.

An important example is also Yoga, which is not limited by socio-cultural boundaries—the entire world participates not only on the International Day of Yoga, but otherwise as well. This has also led to the establishment of Yoga centres in all countries. There is growing awareness of the importance of maintaining a healthy body and mind, and this has immensely contributed to the popularity of Yoga.

There are many other elements of ICH in the official list from India, which are not merely shared by India alone, but also by the larger communities across diasporas. Durga Puja, which is not only a part of West Bengal in India, but is also greatly observed across Bangladesh, Sri Lanka, Nepal, and other places across South and Southeast Asia. The Ramlila, Vedic and Buddhist chanting also share a similar ethos across many regions in South and Southeast Asia. Finally, I should add that they not only promote people-to-people contact, but institutional engagement as well, which can be seen in the various activities organised by governmental and non-governmental initiatives across the region. These engagements are vital for creating an understanding through official desks as they receive an important platform of expression.

AS: India’s soft power strategy has been linked with China’s growing presence in the region, including its cultural outreach. For example, China Radio International airs programmes in multiple regional languages such as Sinhala, Nepali, and Bengali. China also promotes cultural affinity through education and Buddhist linkages. Given this context, how do you think India can balance the cultural sensitivities of its neighbouring countries while simultaneously leveraging its soft power and historical linkages to improve relations in its neighbourhood? 

LMB: I think that India has already been doing this through the ages, and in fact, it is so prominent over the course of history that there is no need to assess it through any other lens — at least I believe this. Historically, India has been sharing various socio-cultural and religious aspects with not only South and Southeast Asia but across the regions of Asia, Europe, and Africa, especially through trading routes.

Historically, India has been sharing various socio-cultural and religious aspects with not only South and Southeast Asia but across the regions of Asia, Europe, and Africa, especially through trading routes.

These connections are well-known, as many of these continue to the present day. There have been many connections established over the course of history that still reverberate throughout the region. These include the sharing of Rabindranath Tagore’s music across the region, connections forged through the religious trails of Buddhism, or areas that are marked as the worshipping centres of Devi Shakti, among others. Various culinary delights, food items, spices, clothing, and other handloom products have traditionally connected the region. Similarly, one can never forget the formidable tagline— ‘Awaaz ke duniya ke doston’—by the very popular Ameen Sayani of Radio Ceylon and Cibaca (formerly Binaca) Geetmala, which was broadcast since 1952, mainly over Radio Ceylon and later over Vividh Bharti (AIR) for a total of 42 years. Similarly, there are numerous interesting examples. A lot of activities often take place, at present, as part of initiatives by governmental and non-governmental organisations centred around these elements. I think these all help in connecting the dots and keeping an ethos alive one that is not merely limited to any geographical area but spans the whole region.

AS: How was your experience in Colombo as a SAARC Cultural Specialist?

LMB: The experience at the SAARC Cultural Centre was educational as I got to interact with ambassadors, authors, academics, lawyers, poets, painters, dancers, and many other professionals from across all the eight SAARC member states. All the interactions were educational at various levels, and some of them also helped to foster friendships that continue till today. Many remain good friends and colleagues, and this has also helped me in my writing and research work over the last several years. There is something to learn from this, as I feel that education, arts, and seminars and discussions, among others, are good platforms to inculcate a sense of cooperation and understanding and also help to bring along a much-desired sense of friendship.

Education, arts, and seminars and discussions, among others, are good platforms to inculcate a sense of cooperation and understanding and also help to bring along a much-desired sense of friendshipkan. 

AS: What prompted you to write this collection of essays?

LMB: I have been working as an anthropologist even before I got deputed to the SAARC office, and one of my areas of focus is various narratives of heritage and popular culture. Apart from my work as an academic, I have also been a journalist at The Indian Express, and I still continue to write columns for international news websites like Newsin.Asia (which is based out of Colombo, Sri Lanka) and South Asia Monitor (which is based out of Delhi, India). I have always felt that the work of an academic is always very limited, as most function within the narrow confines of their disciplines. I had always wanted to share some of the vital knowledge from academia with the masses, and, thus, I have always strived to write on history, heritage, intangible cultural heritage (ICH), anthropology, and archaeology in various dailies and weeklies.

At present, my columns also follow the same pattern, and I explore these topics in the context of South Asia. Thus, while working at SAARC and receiving a research grant fellowship from the Indian High Commission in Sri Lanka, I felt that some of the areas of my work should be shared with a wider audience. I began to write about the history and heritage of Sri Lanka, especially in various Sri Lankan newspapers since 2017. Gradually, the areas of research expanded to include the larger area of South Asia. Thus, my section of columns grew in number, and over the years, I also began receiving notes and letters from various readers from across the world. Over time, these articles and the rising demand from my readers encouraged me to put all my work into a book and thus, this book was conceptualised. All the chapters are based on ethnographic and archaeological work and are supported by very valuable library work across many countries. This has all been a wonderful learning experience.

About the author:

Lopamudra Maitra Bajpai is an anthropologist, author, and international columnist. Her interests include history, popular culture and communication, and the intangible cultural heritage (ICH) of India and South Asia (especially oral traditions and narratives). She is a Senior Researcher at the Centre for Studies in Legal History at the National University of Juridical Sciences (NUJS) in Kolkata, West Bengal.

She has authored four books, and two more are expected to be released soon. These include Complete Translated Works of Upendrakishore Roy Chowdhury’s Tuntunir Boi and Golpomala (2024, Aleph Book Company [Rupa Publications Ltd]); Retelling of Indian Mythologies (2023, Aleph Book Company [Rupa Publications Ltd]); Folk Festivals and Beliefs of Radh Bengal: Understanding Through Ethnoarchaeology (2022, Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) and Kaveri Books); India, Sri Lanka and the SAARC Region: History, Popular Culture and Heritage (2021, Routledge); The Owl Delivered the Good News All Night Long: Folktales, Legends and Modern Lore of India (2021, Aleph Book Company [Rupa Publications Ltd [ed.]]); and Stories of the Colonial Architecture: Kolkata–Colombo (2019, Doshor Publications).