Inside the Guru's Gate: ritual uses of texts among the Sikhs in Varanasi

The images and representations of Sikhs in contemporary Mumbai cinema and popular culture, rife with portrayals of eccentricities that the audience loves to disregard eventually, point to a cultural turn that has become a power-laden strategy to regulate Sikh otherness and consequently, re-present it through a predominant, controlling gaze. In tracing such sense of carnivelesque otherness with which Sikhs have been portrayed in most Bollywood films, this paper aims to explore the configuration and re-configurations of Sikh subjectivity as an Other that remains marginalized by their difference and can only be acknowledged through a Hindu-centric lens of approval. Through depictions of what I call as Bolly Sikhs, a dubious space is created which is filled with contextual disjunctures and inconsistencies, a bricolage where Sikh identities and practices are jumbled up or deliberately misrepresented; sometimes the Sikh is presented only through subtractions and absences. The discursive limits of Sikh representation, presence and absence, when examined in context of cultural analyses offered by cultural critics as Edward Said, Stuart Hall, Frantz Fanon, Foucault and Homi Bhabha, among many others, enable us to understand the neo-Orientalist rhetoric whereby Sikhs can be seen as displaced or assimilated, if not betrayed in creative/visual representations. The Sikh thought/mind is nullified and/or absorbed within the hegemonic implications of Hindu thought and the Sikh body is at times, a fashionable icon of vibrant, colorful excess and at others, an object framed in terms of weaker ethos unable to achieve any accomplishment by itself.