Sangita Iyer’s Gods In Shackles , is a powerful feature length documentary that brings viewers face to face with several uncomfortable truths about how as a society we perceive animals and treat them. The 92-minute film explores the use of Asian elephants in India’s cultural festivals and temples by following the lives of festival and temple elephants highlighting how unsuitable they are for such activities.
Producer, director, co-writer and narrator Iyerwas deeply disturbed by what she saw while visiting temples in Kerala in 2013. “I was shocked and devastated to find many of the temple elephants, being paraded in the scorching heat and confined places were blind, bleeding from their raw wounds and having massive tumours.” The body wounds inflicted especially on the feet in the name of disciplining are heart wrenching as are the tightly wound sharp and heavy chains around the feet. The vividly described tools used for taming like metal capped long poles, sticks with spikes and ankush , the bulled hook –– the reason for the ripped ears –– sends a shiver down the spine. Confined living quarters, lack of hygienic conditions, inadequate food and rest periods and absence of medical facilities aggravate their pathetic condition. The worst is the high decibel fireworks they suffer during the parades.
Disturbed by the images, Iyer wondered as “to how an animal which embodies Lord Ganesha and is part of Indian heritage be treated with utter disrespect.” Inspired to take action, it was her interaction with Lakshmi, the only female temple elephant which spurred the film. “We made an instant and special connect. Watching such a majestic creature with immense strength subdued reminded me of Indian women who had been subjugated in the patriarchal system.” Iyer’s deep bond comes across vividly as she is seen feeding water and bathing Lakshmi.
The film debunks the view that the use of elephants for temple festivals is part of religion. Iyer says not a single Hindu scripture mentions using of elephants for carrying idols, waving of umbrellas and carrying men as done in the processions. “I have studied the religious texts and nowhere there is reference to such practices. In fact, Isha Upanishads states that humans are not above animals thereby emphasising that we must take care of them,” Iyer points out. She adds King Sakthan Thamburan had introduced elephants to carry the deities. “With many barred from entering temples, he saw it as a means to allow them glimpse of the idols,” she reasons.
Lending weight to the thought are observations and comments by several notable personalities like Kerala’s poet, Sugathakumari, Suparna Ganguly, co-founder of Wildlife Rescue and Rehabilitation Centre, Dr. Raman Sukumar of Indian Institute of Science, Bangalore and Vinod Kumar of Animal Welfare Board of India besides others. Condoning the practice, the poet says it is completely wrong to call elephant savage when it attacks people since the tortured being looks to give vent to its pain and rage.
The film reiterates that practising faith is possible without indulging in such activities. It shows a temple in Malabar paying tribute to snakes by depicting them on the floor using grain, powder and spices with men dancing rather than bringing live reptiles in their midst. Similarly to dispel that elephant parades entertain, the film points out that Kathakali blending acting, dancing and every possible body movement provides joy without using animals.
It is heartening when a Hindu priest, Akkeramon Kalidasan Battathirippad states that using elephants to carry offerings and deity is a means to make money and that he has discontinued the practice in his temple. “The devotees now do it with the animal simply following them.” He stresses that one can attain peace and happiness by not harming the other. The animal now spends its time eating and resting in the temple grounds.
Making a strong case for how the use of pachyderms in religious parades defies reason, the film beautifully weaves in interesting scientific facts. For example, elephants cannot stand stationary for long as they need to move around like they do in the wild to balance their body. Similarly, chaining makes them fractious as they need to be physically and mentally active just as in the jungles. With no sweat glands, they need water and wind to cool them and soil to sprinkle over their bodies to fight bacteria.
Iyer’s long film manages to retain the audience attention through stunning visuals. Making the film edgy and fast-paced is a number of undercover video clippings depicting cruelty to animals. Sanskrit shlokas eulogising Lord Ganesha emphasise the irony of human action versus their rituals. The annual memorial function held in honour of Chandrashekharan an elephant killed by another, highlights life’s paradox. “Several tortured elephants are brought to pay respects to the animal who was treated cruelly when alive creates a bizarre scene,” remarks Iyer.
Buoyed by the screening of the film in the Kerala Legislative Assembly, the director is hopeful that it will educate and create awareness among people and policy makers making them take a positive step in eradicating this practice. “As a society we need to take a collective step to ensure that our record of animal welfare is not blotched.” But Iyer knows it will be a long haul as the State is reluctant to interfere where religious sentiments of the people are involved.
(“God in Shackles” will be screened this Saturday at PVR Rivoli at 4 p.m.)
