%0 Journal Article %J International Journal of Hindu Studies %D 2009 %T "Starring" Madhuri as Durga: The Madhuri Dixit Temple and Performative Fan-Bhakti of Pappu Sardar %A Shalini Kakar %X

[Extract …]

“I have been worshipping Madhuri for the last several years. Everyday I do arati for images of my goddess. For me Madhuri is like Ma Durga, and I am her bhakta [devotee].”[fn]Interview with Pappu Sardar, September 2005, Tatanagar.[/fn]

Even in March 2008, the sweltering heat of Tatanagar was overwhelming. This was my second visit to the city after being here three years ago in 2005. My objective was to visit the Madhuri Dixit Temple dedicated to Bollywood film star, Madhuri Dixit, and to follow up on the second round of interviews with its owner cum “priest,” Pappu Sardar. As I stepped out of the cab, a beaming Pappu Sardar greeted me. I was still exchanging pleasantries, when out of nowhere a group of journalists armed with cameras started clicking my photographs with him. Seeing the bewilderment on my face, Pappu Sardar calmly said, “There are five news channels and ten newspaper journalists waiting to interview you.” Considering my humble academic background, I could not understand any reason why the press would be interested in interviewing me: except for the fact that I was conducting research on Pappu Sardar’s temple. In three years, his celebrity status and the Madhuri Dixit Temple have acquired national proportion. As I politely refused the news channels, an enthusiastic reporter from the Telegraph came and sat next to me and said, “It’s strange that you come all the way from US to do research on Pappu Sardar! To be frank, he is weird and does weird things in the name of Madhuri. In fact, he is only popular among the masses, the elite of the city think he is crazy.”

The next day’s Telegraph flashed the story, “Madhuri Mania Inspires US Researcher.”[fn]Nilanjana Ghosh Choudhury, “Madhuri Mania Inspires US Researcher,” The Telegraph, March 20, 2008. http://www.telegraphindia.com/1080320/jsp/jharkhand/ story_9040070.jsp (accessed December 1, 2008).[/fn] As I read the article, I was taken aback to find out how I had been (mis)quoted for speaking about Pappu Sardar’s activities as “absurd” and about his “persisting eccentricities.” I remembered the uneasiness of the journalist and her description of Pappu Sardar as “weird,” and yet by publishing the story, she was aiding his popularity. The media has played a significant role in sensationalizing Pappu Sardar’s public worshiping of a Bollywood star as a Hindu goddess.[fn]In 2007, before the release of Madhuri’s film, Aaja Nachle, Star News sponsored a meeting between Madhuri and Pappu Sardar and did a special story on his devotion for the film star. As a result of Pappu Sardar’s “encounter” with his “goddess,” later, Madhuri Dixit sent him a gold rakhi all the way from the US, where she currently lives. This news was reported in a story entitled, “Madhuri ke ai Sahab” (Madhuri’s Brother) in the news channel Aaj Tak, August 2008. http://www.youtube.com/watch?v=b2IYTsibB9c (accessed December 12, 2008). [/fn] The Madhuri Dixit Temple is actually an eatery or a chaat-shop[fn]An eating joint that primarily sells chaat, a spicy Indian snack with a tangy taste.[/fn] owned by Pappu Sardar, which also functions as a space to conduct his devotional activities for his cinematic goddess. Numerous large posters adorn the walls of Madhuri Dixit Temple, juxtaposed against images of Durga and Guru Nanak. In fact, the media has been instrumental in labeling his shop as a temple. For example, in 2007, while showing a live telecast of the worship of images of Madhuri by Pappu Sardar, Star News refers to his shop as the Madhuri mandir (Madhuri Temple).[fn]“Madhuri, Tera Pappu Deewana,” Star News, May 15, 2007. [/fn] In addition, the striking display of huge posters of Madhuri in the Madhuri Dixit Temple also alludes to exhibition practices of a museum. So, how does one reconcile the “absurdity” of Madhuri Dixit Temple that works as a snack shop and a temple, with a display of images of a film star, “sanctified” through the “eccentric” devotional activities of Pappu Sardar? The Madhuri Dixit Temple foregrounds two issues: first, the framework that allows Pappu Sardar’s shop to function as a temple, and second, the cultural logic that promotes it, which furthers the agenda of the media and that of Pappu Sardar himself. In this paper, I would like to address the following questions: What makes the Madhuri Dixit Temple an exceptional temple? What kind of a formal and conceptual re-orientation does it take to transform, and for us to understand, a shop that turns into a space of “devotional” exhibitionism embedded in popular Hindu ritual practices projected on the images of a Bollywood star? In other words, how does the Madhuri Dixit Temple become a site for the re-imagination of the Hindu temple that juxtaposes and overlays the diverse spaces of a shop, a temple, and museum-like exhibition and what are some of its cultural and political consequences?

To explore these questions, I will present my argument in three parts. The first part will address how the Hindu temple is being re-conceptualized in post-colonial modernity and how Madhuri Dixit Temple is borrowing from already existing practices of re-appropriation of Hindu rituals in popular culture. In this section, among other examples, I will focus on one such temple, the Bharat Mata Temple in Haridwar dedicated to Bharat Mata (or Mother India). The Bharat Mata Temple reconfigures not only Hindu ritual practices for a nationalist deity, but the structure and display of images in it resonates with that of a museum. The analytical category of a museum-temple in which the function and ideology of both the museum and the temple interpenetrate to produce new spaces and meanings, will allow us to understand how the Hindu temple is being re-contextualized both in its physical and conceptual space in the Bharat Mata Temple. In the second part, applying the same model of a museum-temple to the Madhuri Dixit Temple, I plan to draw a parallel between the Madhuri Dixit Temple and the Bharat Mata Temple suggesting that the premeditated display strategies in the Madhuri Dixit Temple function as a museum exhibit, in which images of Durga and Madhuri occupy the “ritualized” space of this temple. However, since the Madhuri Dixit Temple functions on multiple levels, eventually the notion of a museum-temple explains its character only partially. In the third part, I propose to unpack some of the multiple layered modalities of Madhuri Dixit Temple under the rubric of an exhibition-temple, a conceptual device, which allows us to understand Madhuri Dixit Temple as a polysemic site. This new temple space, which concretizes Pappu Sardar’s performative fan-bhakti located on the body of the devotee-fan, is pivotal in consolidating his political identity as part of an emergent popular culture. 

%B International Journal of Hindu Studies %I Springer %V 13 %P 391-416 %U http://link.springer.com/article/10.1007%2Fs11407-010-9079-y %N 3 %R 10.1007/s11407-010-9079-y