![]() ![]() Rakshasas were shown as primitive creatures hostile to such experiments, and using weapons of magic against the more scientific weaponry of the rishis. ![]() Ramanand Sagar’s version of the Ramayana showed ancient India as a society where the rishis and munis not only worshipped, but also what his script described as “scientific experiments”, that had military and national security implications. Thus, such a view did not seek to distinguish between the defensive tactics of an anxious minority and free participation in a pluralist society. The atmosphere following the Shah Bano judgement and the Babri Masjid Andolan was hardly peaceful however. It was often said, Muslims watched it too, as to prove the telecast’s non-partisan nature. The fact that people across the country set aside their other duties and watched the show at the same time seemed like a celebration of their common heritage. Although it was established to promote national developmental goals, state television quickly became focused on maximising revenue, and during this time, Hindu mythologicals attracted more viewers than most other programmes. And it earned Rs 40 lakh a week for Doordarshan. The Ramayan’s overwhelming popularity helped to allay criticism that the serial was stoking majoritarian sentiment. Arun Govil as Ram (C) and Sunil Lahri as Laxman (extreme right) in TV serial Ramayan.Īfter the Ramayan serial, Hindu myths and rituals embedded in tele-serials became a standard part of the government media fare and thus a legitimate aspect of public culture. Meanwhile, another serial designed as historical, Tipu Sultan, was labelled as “fictional” following protests by Hindu organisations. Thus the Ramayan was called dharam granth and itihaas too, both a religious text and history. The “Hindu mythological” had carved out a slot for itself on Indian television.Īlthough the genre was called “mythological,” it also fashioned itself as a true account of the past, and viewers frequently described it as such. After the Ramayan came the Uttar Ramayan, then BR Chopra’s Mahabharat, followed by another serial by Ramanand Sagar, Shri Krishna, which was followed by several others, each lasting several months. Last but not the least, a government medium, which until that time had avoided primetime devotional programming for a general audience, took the plunge into catering to the majority religious community. Thirdly, the Hindu mythological, which many people assumed was outdated, was shown to eclipse all other kinds of programming. More importantly, people who regarded television as a source of naach-gaana, and as morally dubious, came to regard it as acceptable and even auspicious. Ramayan won record audiences across Hindi and non-Hindi regions, and turned Sunday morning, which had been a “soft spot”, into primetime. City streets and marketplaces were empty at the time of the broadcast it was not wise to schedule a public event during that time, as BJP leaders themselves found out when no one turned up for a party conclave held on a Sunday morning at the time of the show.įor Doordarshan, the serial was a breakthrough. Audience estimates grew from four crores to eight crores in a few months. The weekly Ramayan tele-epic produced and directed by Ramanand Sagar was what established Doordarshan as a medium across north and south India, despite its reliance on the Hindi language. ![]()
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