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By:

Dr. Kailash Atkare

24 June 2025 at 1:30:23 pm

Fakira in Translation: Preserving a Revolutionary Legacy

The sublime ideology of translation is aptly expressed by R. Parthasarathy, who describes translation as the oxygen of language, and by Walter Benjamin, who states that translation is not merely a matter of words but of making culture intelligible. This philosophy is exemplified by the eminent translator, distinguished academician, administrator, and humanist Prof. Dr. Baliram Gaikwad through his artistic English translation of Fakira, the groundbreaking Marathi novel by Sahitya Ratna...

Fakira in Translation: Preserving a Revolutionary Legacy

The sublime ideology of translation is aptly expressed by R. Parthasarathy, who describes translation as the oxygen of language, and by Walter Benjamin, who states that translation is not merely a matter of words but of making culture intelligible. This philosophy is exemplified by the eminent translator, distinguished academician, administrator, and humanist Prof. Dr. Baliram Gaikwad through his artistic English translation of Fakira, the groundbreaking Marathi novel by Sahitya Ratna Lokshahir Annabhau Sathe. India has a rich tradition of translation, deeply rooted in its multilingual and multicultural fabric. Mulk Raj Anand explored this tradition in his essay The Importance of English, presenting a perspective free from colonialism. This view aptly justifies the translation of Fakira. Annabhau Sathe was a great social revolutionary, writer, reformer, and people's activist, educated in the school of experience. Fakira, his magnum opus, portrays both an individual and a symbol of resistance against systemic oppression. The narrative traces Fakira's transformation from a victim of caste-based exploitation into a rebel challenging the feudal and colonial order, echoing the spirit of social justice movements inspired by Dr. Babasaheb Ambedkar. Deeply rooted in the lived realities of marginalised communities, particularly the Dalit experience in colonial India, Fakira stands as a groundbreaking work. It narrates the class and caste struggle of a hero committed to the welfare of ordinary people while unfolding a saga of social, political, economic, and spiritual awakening through a humanitarian approach. The novel reflects Dr. Ambedkar's philosophy, his struggle against slavery and untouchability, and the spirit of rebellion. Through Fakira, Sathe upholds moral integrity, a strong code of ethics, respect for women, social values, justice, courageous leadership, and the pursuit of freedom. One memorable episode illustrates these ideals. During a raid to seize hoarded wealth, a frightened woman pleads, "Take whatever wealth you want, but please do not dishonour my daughter." Fakira replies, "I am not that kind of man. We are not here to touch anyone's honour. We only take what is unjustly hoarded. Your daughter is like our own sister." Translation is a challenging undertaking, and Dr. Baliram Gaikwad has done full justice to Fakira. By crossing linguistic and regional boundaries, he has made this remarkable work accessible to readers worldwide without diluting its cultural specificity. Translating a work so deeply rooted in regional idiom, folklore, and socio-political context is no easy task. The translator successfully retains the earthy texture of Sathe's prose. Artistic creation, translational finesse, and aesthetic values—the pillars of translation—are reflected throughout his work, enabling readers to experience the emotional intensity and narrative vigour of the original. The rustic dialogues are translated with sensitivity, preserving both authenticity and clarity. The novel stands as a counter-narrative to mainstream literary traditions that have historically marginalised voices from the lower strata of society. Fakira is not merely a character but a collective consciousness representing the aspirations and struggles of an oppressed community. By exposing caste discrimination, poverty, and injustice, the novel challenges romanticised notions of rural life and may be regarded as a precursor to the assertive voice of Dalit literature in modern Indian writing. Although certain nuances of Marathi—its rhythm, cultural connotations, and oral storytelling tradition—are inevitably difficult to reproduce, Dr. Gaikwad addresses these challenges through careful lexical choices and contextual framing. Fakira explores resistance, dignity, and identity, moving far beyond the Robin Hood archetype. The protagonist wages a multilayered struggle against British rule, feudalism, caste oppression, and poverty. Despite enduring caste discrimination, economic exploitation, and humiliation, Fakira and his community fight with dignity, courage, and exceptional nationalist fervour. This layered portrayal elevates the novel from a socio-political document to a profound literary work, while its straightforward narrative effectively sustains dramatic tension and emotional engagement. Dr Gaikwad's balanced use of language, rustic idioms, folk expressions, and region-specific dialect creates a simple, lucid, and accessible English style, making the translation ofFakira a successful bridge between regional literature and global readership. As Gayatri Chakravorty Spivak observed, a translator must surrender to the text. Dr. Gaikwad has fulfilled this responsibility with sincerity, making a valuable contribution to Indian literature in translation. Fakira is a manifestation of India's rural revolution. The protagonist joins the freedom movement and contributes to the larger struggle for social change.
(The writer is an assistant professor of English literature. Views personal.)

‘Zakir Bhai was a bridge who connected generations, genres

Updated: Feb 14, 2025

Pancham Nishad

There’s a treat awaiting music lovers on February 16 as 3 Sur 3 Taal – Sangeetmay Tihai will offer a day-long musical fiesta. Organised by Pancham Nishad and the Yashwantrao Chavan Centre, it’s a celebration of Indian classical music and a tribute to the legendary Ustad Zakir Hussain. In an interview with ‘The Perfect Voice’, Shashi Vyas, founder of Pancham Nishad, which organises music events across the city, talks about the event and whether classical music continues to enjoy popularity among the young audiences.


What is the concept of 3 Sur 3 Taal?

Teen Sur Teen Taal is a simple yet profound celebration of the essence of Indian classical music. The idea is to bring together three fundamental aspects—Kanthswars (vocal music), Swarvadyas (melodic instruments), and Taalvadyas (percussion)—and present them in a way that resonates with both seasoned listeners and new audiences.


Indian music has always been a confluence of melody, rhythm, and voice—each playing an integral role in shaping its beauty. This event is a heartfelt pranaam to Zakir Bhai, a musician who embodied the very soul of rhythm, yet always saw music as a seamless unity of all its elements. Through this, we wish to carry forward his vision—where the tradition remains strong, yet young talent is given the wings to take it forward.


It is believed that this idea was conceptualised by Zakir Husain and you.

The seed for 3 Sur 3 Taal was planted many years ago in one of my conversations with Zakir Bhai. We would often discuss the need for a space where emerging musicians could blossom while staying deeply connected to the roots of tradition. It was an idea we both cherished, but as life would have it, our schedules never allowed us to bring it to life together. Last year, when we lost Zakir Bhai, it left a void that can never truly be filled. But his music, his philosophy, his warmth—those remain. And so, I felt that this was the time to bring 3 Sur 3 Taal to fruition, not just remembering him, but as a continuation of his belief that young musicians are the future, and they must be nurtured with love and respect.


Who are the key artists performing in this day-long programme?

This event is a celebration of young musical brilliance, and we are blessed to have some of the most promising artists performing. Among the tabla soloists, we have Vivek Pandya, Ishaan Ghosh, and Yashwant Vaishnav—each one carrying forward the rich legacy of rhythm with incredible dedication. On the melodic side, we have the mesmerizing sitar of Mehtab Ali Niazi, the soulful flute of S. Akash, and the deeply evocative sarangi of Momin Khan, and in the vocal segment, we will be enchanted by the voices of Aniruddha Aithal, Armaan Khan, and Gandhar Deshpande, who are each bringing their own interpretation of our musical heritage. Guiding the spirit of this event, Yogesh Samsi will share his reflections on Zakir Bhai’s contributions, giving us all a deeper insight into not just the music, but the man behind it."


What was Ustad Zakir Hussain’s biggest contribution to Indian music?

Zakir Bhai was not just a tabla player—he was a bridge. He connected generations, genres, and geographies. He brought the tabla to the world stage, not by changing its essence, but by revealing its universality. His biggest contribution was his ability to make rhythm feel like a conversation—whether it was a complex tihai in a classical concert, a dynamic exchange with jazz legends, or a simple kaida that he would play with such joy that even a child would be drawn to it. But beyond the music, it was Zakir Bhai’s humility, his warmth, and his ability to make every artist—young or old—feel valued. That is his true legacy. He showed us that mastery is not about being the best, but about giving your best, with love and sincerity."*


How can we draw more young people to classical music?

The beauty of classical music is that it is timeless. The challenge is not in making it relevant, but in making it accessible. Zakir Bhai always believed that young minds must experience music, not just listen to it. If we create spaces where they can feel the energy of a live performance, interact with artists, and immerse themselves in the joy of sur and taal, they will naturally be drawn to it. We must also celebrate young talent, encourage new voices, and most importantly, present music in a way that speaks to today’s generation without compromising its depth. That is precisely what '3 Sur 3 Taal' – Sangeetmay Tihai aims to do—build a bridge where tradition and youth walk together, just as Zakir Bhai always envisioned.


The show starts at 9 AM on February 16 at the Yashwatrao Chavan Centre, Nariman Point and is free for all to attend.

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