Today’s materialist world has imbibed deep craving for material possessions, comforts and conveniences amongst youth, which are figments of created need. As a result, material gain and an ever–growing wish–list of possessions has b ecome the driving force behind all activities and pursuits of the youth. They want to possess a better car, they want more pocket money, and they want the latest brands and gadgets. Greed for more guides their lives.
The museum resorts to this introductory theme to connect with the youth, and then, Gandhiji’s famous quote, ‘There is enough for everyone’s need but not for everyone’s greed’, flashes on the digital surface.
Entrance from the northern gate, flanked by four class rooms
Visitors checking out the touch screen
The section showing Gandhiji’s growing years
Gandhiji’s experiments with himself
‘Birth of Satyagraha’ mural
Champaran, where farmers were forced to grow the non–remunerative Indigo crop by the British
Chauri-Chura Police station was burned when the peaceful demonstrators were attacked by policemen
Gandhiji went into deep contemplation – realizing that people were not yet ready for non – violence
A sculpture depicting Indians burdened with a callous government’s taxes
Gandhiji’s experiments with himself
Advocating non–violence for liberation, a disturbed Gandhiji sits silently amidst the violence and unrest
Gandhiji’s struggle with the unjust authoritarian British rule in South Africa.
Jallianwala bagh comes alive with the bullet ridden walls and cries of the hapless victims
The Chauri Chora police station assault by a restive mob of resistors is the next turning point in the story. Many policemen die in the incident. Gandhiji is aggrieved and much pained by the violence. He gets utterly dejected. The Mahatma takes eight long years to come out of this gloomy hibernation. The sulking phase is visualised as a dark dejection tunnel in the museum. But he finally emerges as a resurgent force, leading the nation in its final phase of freedom struggle.
By this time, the freedom struggle was ignited fully in the country. Supplementary methods of non-violent struggle like non–cooperation and Swadesi movements were kindled throughout the nation. A big prop of a bonfire of imported clothes symbolises this spirit of steadfast and resilient struggling technique.
The death of Gandhiji and the immense feeling of pain and loss is treated with understated dignity, both as a metaphor of resigned acceptance of inevitability, as well as simplicity, as would befit the death of a man who lived a frugal life by choice.
A feature showing a bonfire of imported clothes and fabrics
Gram Swaraj and Sarvodaya.
Gandhiji in bodily form is not amidst us, but his spirit and prophecies continue to live on even today. In fact, Gandhiji’s life and teachings are one of the very few options left to us, if we want to restore order amidst wide–spread and multi–faceted chaos. This is a critical message; the moral lesson of the museum. It is personified and visualised as a rhetorical query, ‘Where are we today?’ It is about the contemporary situation of the world and how Gandhiji’s ideals and philosophies can get us out of the milieu of problems and challenges. The narration of this section is done through five documentary films of short duration, dealing with different contemporary issues and concerns.
Sound and light play a very critical role in the actualisation of the museum experience, and hence audio guides–hi–end headphones are provided to every visitor, which he has to wear throughout the detour.
The approximate duration of the experience is 75 to 90 minutes.