They spin round and round, going faster and faster, but never breaking the sacred circle, as they clap their hands rhythmically, dancing around the Garba or earthen pot. They smile as they twirl around for in these nine nights they are celebrating the Goddess that is enshrined in all of us.
This hugely empowering dance is called the Garba and it is the centerpiece of the celebration of the Hindu festival of Navratri or Nine Nights.
“I wanted to write a film about the India I grew up in. A world with goodness where people knew the meaning of trust. A world where magic still exists. A world through a child’s eyes. Out of this desire emerged the magical journey of Dhanak.”
Goddess Lakshmi sits resplendent on a lotus; Lord Shiva strides atop a vanquished demon; there is Ma Kali, fierce and blood-thirsty, garlanded with the skulls of evil-doers; and Ganesha, calm and peaceful with a bowl of ladoos in his hand.
These are familiar images of Gods and Goddesses that Hindus have worshiped since childhood, and have seen in sacred texts, in temples, in homes, in bazaars and in calendar art.
Now what if I was to tell you that these are not paintings at all but life-size photographs of living human beings in the guise of Gods and Goddesses? That the ferocious Ma Kali is really an artist in real life, Hanuman is a body builder who works in a gym, Ma Saraswati is a television anchor and Lord Brahma is an architect? That Goddess Lakshmi went on to compete in the semi-finals of Miss India 2014, winning the titles of Miss Beautiful Smile and Miss Beautiful Hair?
The fireworks still explode in the memory, and the taste of nuts and cream and sugar still linger on the tongue. For immigrants from India, the childhood memories of Diwali are strong, for it is a time when India transforms into one glittering celebration. Public buildings are illuminated with neon lights and every home, no matter how humble, is ablaze with earthen lamps. In fact, entire villages are turned into fairylands, dotted with millions of lamps, glowing in the dark of night.
Who has ever seen the face of the Almighty? Does He wear a peacock feather in His hair or perhaps a coiled snake around His neck? Is the Omnipresent a many-armed powerful Goddess with green eyes or a gentle, golden Madonna and Child?
East and west blend in the surreal works of Brazilian artist Roberto Custodio in which blue-eyed Gods and beauty queen goddesses preside, and the flora and fauna of many continents merge. He creates magic worlds from found materials and paper clippings, discarded consumer magazines which he recycles to create his own truths.