Kali is meat-eating, alcohol-accepting goddess: TMC's Mahua Moitra; views personal, says party
The BJP went hammer and tongs against Moitra and wondered if it was the official stand of West Bengal's ruling party to insult Hindu gods and goddesses
Trinamool Congress MP Mahua Moitra on Tuesday stirred a controversy by saying that she has every right as an individual to imagine Goddess Kali as a meat-eating and alcohol-accepting goddess, as every person has the right to worship God and goddess in his or her own way.
While the BJP went hammer and tongs against Moitra and wondered if it was the official stand of West Bengal’s ruling party to insult Hindu gods and goddesses, the TMC distanced itself from the comment and condemned it.
While taking part in India Today Conclave East held in Kolkata, the Krishnanagar MP said it is up to individuals how they view their gods.
“If you go to Bhutan or Sikkim, for example, when they do puja, they give whisky to their god. Now, if you go to Uttar Pradesh and say that you give whisky to your god as prasad, they will say that is blasphemous,” she said. Moitra said that people have the right to imagine their gods or goddess in the way they want.
“For me, Goddess Kali is a meat-eating and alcohol-accepting goddess. And if you go to Tarapith (a major Shakti peeth in West Bengal's Birbhum district), you will see sadhus smoking. That is the version of Kali people worship (there). I, within Hinduism, being a Kali worshipper, have the right to imagine Kali in that way; that is my freedom,” she said.
Moitra said this when asked about a film that had courted controversy after it had put up posters showing Goddess Kali smoking. Moitra said, “I have the freedom to do it (envision a meat-eating goddess) as much as you have the freedom to worship your god as vegetarian and white-clothed.” After her comments went viral, Moitra issued a clarification attacking the Sangh Parivar.
“To all you sanghis - lying will NOT make you better Hindus. I NEVER backed any film or poster or mentioned the word smoking. Suggest you visit my Maa Kali in Tarapith to see what food & drink is offered as bhog. Joy Ma Tara,” she tweeted. The BJP wondered whether insulting Hindu gods and goddess is the official stand of the TMC.
“TMC supremo and West Bengal Chief Minister Mamata Banerjee should clarify it. This is not the first time that such instances have been reported. Earlier too TMC leaders have done the same. We think this is the official stand of the ruling TMC to hurt the sentiment of Hindus to get votes,” BJP state vice-president Rathindra Bose said. The ruling TMC, however, distanced itself from the comments and condemned the remarks by Moitra.
“The comments made by @MahuaMoitra at the #IndiaTodayConclaveEast2022 and her views expressed on Goddess Kali have been made in her personal capacity and are NOT ENDORSED BY THE PARTY in ANY MANNER OR FORM. All India Trinamool Congress strongly condemns such comments,” the party said in a Twitter post.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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