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By:

Quaid Najmi

4 January 2025 at 3:26:24 pm

Bhagwat bats for culture over politics

Mohan Bhagwat, Sarsanghchalak, RSS during the lecture on the occasion of the centenary year of RSS at Nehru Centre Auditorium in Worli on Saturday. | Pic Bhushan Koyande Mumbai: On the centenary of the Rashtriya Swayamsevak Sangh its present (6 th ) Sarsanghchalak Dr. Mohan Madhukar Bhagwat termed the RSS as a civilizational movement dedicated to serving humanity, cultural unity and social organization rather than power, protest or politics. Addressing a centennial lecture series before a...

Bhagwat bats for culture over politics

Mohan Bhagwat, Sarsanghchalak, RSS during the lecture on the occasion of the centenary year of RSS at Nehru Centre Auditorium in Worli on Saturday. | Pic Bhushan Koyande Mumbai: On the centenary of the Rashtriya Swayamsevak Sangh its present (6 th ) Sarsanghchalak Dr. Mohan Madhukar Bhagwat termed the RSS as a civilizational movement dedicated to serving humanity, cultural unity and social organization rather than power, protest or politics. Addressing a centennial lecture series before a packed audience, the 75-year-old said that RSS runs more than 1.3 lakhs service activities all over the country encompassing education, healthcare, disaster relief and social welfare without accepting any kind of government funding. “We sustain these activities with the personal contributions of Swayamsevaks and the co-operation of society. The RSS had decided beforehand that apart from organizing the entire society, it has no other task. That work which facilitates the completion of all other good works and fulfils all noble goals, that work is the Sangh’s mission,” Dr. Bhagwat declared. This narrow but decisive role of the RSS from its inception in 1925, and the organisational works enable the fulfilment of every other national and social objective, and its self-driven social responsibility, he added. Rubbishing the notion that RSS was born as an ‘opposition to any group of ideology’, Dr. Bhagwat pointed out that the RSS did not emerge as a reaction, a protest platform, a publicity vehicle or to bid for power, but was formed for the long-term betterment of the ‘rashtra’ with emphasis on cultural unity. The RSS was not "against anyone" and did not work as a reaction to any incident, Bhagwat said, adding that its focus was supporting and strengthening positive efforts underway in the country. The Sangh was also not a paramilitary force even though it conducts route marches, and though its volunteers wield the lathi, it should not be seen as an "akhada" (wrestling club), Bhagwat said. Nor is the RSS involved in politics though some individuals with the Sangh background are active in political life, he added. He acknowledged India’s diversity in languages, food habits, religious practices, deities, rituals and regional differences, but said all these co-exist within a shared cultural framework. “There is one identity that unites us all and we call it a Hindu. It’s a broader cultural and civilisational term and not religious…, Bharat is not just a geographical entity, but represents a cultural attitude.” reiterated Dr. Bhagwat. The Sarsanghchalak also referred to the prevailing interpretation of ‘secularism’ (‘Dharma-nirpekshata’) and said it implies ‘indifference to religion’ which does not represent the country’s civilizational reality. Instead, Dr. Bhagwat suggested ‘Panth-nirpekshata’ or equal respect for all faiths as a more accurate expression in the Indian context, as “Bharat is a nation rooted in dharma representing ethical duty, social harmony and moral order rather than religious dogma”. The RSS chief emphasised how national strength flows from social cohesion and not coercion as real unity cannot be imposed by law or force, but must arise out of mutual respect, shared values and collective discipline, with service being the most effective tool bridging society and ideology. Referring to RSS founder Keshav Baliram Hedgewar, Bhagwat described the difficult circumstances of his childhood including the death of both his parents due to the plague at age 13 and the financial hardship he suffered subsequently. Hedgewar actively participated in various movements during the freedom struggle, including the Vande Mataram agitation in his school days, Bhagwat said. When he cleared the matriculation examination with a first class, some people in Nagpur raised funds to send him to Calcutta (Kolkata) for medical education, where he came in contact with revolutionary groups, Bhagwat said. Recalling an anecdote from that period, Bhagwat said Hedgewar operated under the code name "Koken", inspired by the name of a person called Kokenchandra. Once a police team which had arrived to arrest Kokenchandra instead detained Hedgewar, an incident documented in a book by Rash Behari Bose, he said. Bollywood bows for #RSS100 Bollywood mega-star Salman Khan, along with film-maker Subhash Ghai, writer-poet Prashoon Joshi, singer Adnan Sami and actress Ashwini Bhave were among the dignitaries who attended the centenary celebrations of Rashtriya Swayamsevak Sangh (RSS). They attentively listened to RSS Sarsanghchalak Dr. Mohan M. Bhagwat as he enlightened the organisation’s 100 year long journey, its ethos, mottos and service to the nation without hankering for political power, at the Nehru Centre. As Khan arrived, there was quite a flutter with many people whipping out their mobiles to click photos or videos, but he was quickly whisked in by the security personnel.

The Soul of Bharat on the Big Screen

Mumbai: April 4, 2025, my heart feels heavier than it ever has. The news hit me like a monsoon storm—Manoj Kumar, the towering legend of Bollywood, the man who painted patriotism across our screens, is no more. At 87, he slipped away at Mumbai’s Kokilaben Dhirubhai Ambani Hospital, leaving behind a reel of memories that flicker in my mind like a projector that won’t stop spinning. As a movie fan who grew up with his films, I’m not just mourning an actor—I’m grieving the loss of a piece of my soul, a piece of India itself. They called him "Bharat Kumar," and oh, how he earned that name.


I remember the first time I saw ‘Upkar’ (1967). I was a kid, sprawled on the living room floor, eyes glued to our old TV. Manoj ji played Bharat, the farmer who gave everything—his dreams, his love—for his country’s soil. That song, “Mere Desh Ki Dharti,” wasn’t just a tune; it was a heartbeat, pulsing with pride and sacrifice. I’d hum it walking to school, feeling like I, too, could be that noble, that selfless. He won a National Film Award for that one, and rightly so—it wasn’t acting; it was living.

Then there was ‘Shaheed’ (1965), where he brought Bhagat Singh back to life. I’d sit there, popcorn forgotten, as he roared defiance against the British, his eyes blazing with a fire that could’ve lit up the darkest colonial night. It wasn’t just a film—it was a revolution on celluloid, a call to remember the blood that bought our freedom. Manoj ji didn’t just play the martyr; he became him, and every time I watch it, I feel that lump in my throat, that sting in my eyes. It’s no wonder it snagged three National Awards—his passion was a gift to us all.


Oh, and ‘Purab Aur Paschim’ (1970)—how do I even begin? He directed and starred as Bharat again, this time wrestling with the clash of East and West, showing us the beauty of our roots while the world tried to pull us away. I’d laugh at Saira Banu’s antics, then choke up when Manoj ji stood tall, singing “Hai Preet Jahan Ki Reet Sada.” It was a blockbuster, sure, but it was more—it was a love letter to India, penned in his signature hand-over-face style. That move, mocked by some, was his shield, his quiet strength, and I adored it.

And who could forget ‘Roti Kapda Aur Makaan’ (1974)? He directed and starred as Bharat—again, because who else could?—tackling poverty, injustice, and the gut-wrenching struggle for the basics of life. I’d watch, fists clenched, as he fought for the everyman, his voice cracking with raw emotion. It wasn’t just a movie; it was a mirror to our society, a cry for change. Seven Filmfare Awards across his career, they say, but this one felt like it carried them all—his heart bled through every frame.


Then there’s ‘Kranti’ (1981), the epic that had me on the edge of my seat. Manoj ji as the freedom fighter, leading Dilip Kumar and Hema Malini through a storm of rebellion—it was grand, it was gritty, it was everything Bollywood could be. “Zindagi Ki Na Toote Ladi” still echoes in my ears, a reminder of the battles he fought on screen, battles that felt so real I’d dream of joining the fight. He didn’t just direct that film; he sculpted a monument to resilience, and I’d cheer like a fool every time he outsmarted the British.


As I sit here, flipping through these memories, I can’t help but feel cheated. Manoj Kumar wasn’t just an actor or director—he was family. Born Harikrishan Goswami in 1937, he carried the Partition’s scars from Abbottabad to Delhi, turning pain into purpose. He gave us over 50 films in a career spanning four decades, snagging the Padma Shri in 1992 and the Dadasaheb Phalke Award in 2015—honors that felt too small for a man who gave India its cinematic soul. His last role in ‘Jai Hind’ (1999) might’ve flopped, but it didn’t dim his light in my eyes.


I’d read how he met Bhagat Singh’s mother before ‘Shaheed’, seeking her blessing—can you imagine the weight of that? Or how PM Lal Bahadur Shastri urged him to make ‘Upkar’ after the 1965 war, handing him “Jai Jawan Jai Kisan” like a sacred torch? That’s who he was—a man who didn’t just entertain but carried a nation’s dreams.


Manoj ji, you weren’t just “Bharat Kumar” to me—you were the uncle who taught me pride, the friend who shared my anger, the poet who sang my hopes. Your films weren’t movies; they were my childhood, my rebellion, my tears. I’ll miss you like I miss the India you dreamed of—flawed, fierce, and forever ours. Rest in peace, sir. Om Shanti.

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