PRAKRUTI - Forming Substance

PRAKRUTI

| Forming Substance |

Chapter 2: Within this chapter, we establish this dissertation’s theoretical and historical base work. The journey begins with exploring spiritual Indian architecture and follows through with the displacement of Indians to South Afrika

Vernacular definitions

The following definitions are understood from the online Britannica encyclopaedia (Encyclopædia Britannica, Inc., 2021 :online)

Gopura (n) / ˈɡəʊpʊrə / A gateway that borders the threshold to a microcosm. In India, these structures are prominent entrances to the sanctuary of a temple ground and are generally situated in alignment with the cardinal directions (north, south, east, and west). The tiers are decorated with statues and carvings that visually relate epics of the deity housed in the temple.

Murti (n)

A physical embodiment of the divine. On several occasions, people misunderstand the uses of these visual idols as the “God” itself. However, in Hinduism, it is a medium symbolic of the characteristic a devotee pursues. For example, Ganpati (the deity commonly depicted with an elephant head) is symbolic of triumphing over difficulties through sharpening one’s acumen through knowledge and understanding.

Shikara (n) / ʃɪˈkɑːrə /

A Sanskrit term that defines an element that resembles the mountain peak, curvilinear and conical in shape. This term describes the temple presence, which is most prominent in ancient Indian temple architecture.

▶ 1 - Journeying within Ancient India

◊ Art and detail in temple architecture

Architecture has evolved since the inception of humankind, from basic shelters to elaborate structures. Traditional Indian architecture appears to tap into the mysticism of universal laws that govern the cosmos and its complexities. Panday (2013, p. 20) notes that good spatial design employs several subtle cues that influence the total perceived experience of space.

Temples employ elements of dynamism and layering and use visual perception cleverly. They are successful in impacting people positively by allowing users to contemplate epics through sculptural elements. The manipulation of light amplifies the ‘dynamic state’ of sculptures throughout the day and the shadows cast evoke various visuals and animate spaces differently (Panday, 2013, pp. 26–28).

Architecture mediates people’s senses and physiology, including the emotional and associational elements stemming from familiarity and preconditioned exposures. These aspects speak to the spiritual awakening one can witness through the journey within temples, from ascending into space and viewing the increase in the volume of space to the constant visual connection to nature despite walking through a built form. Transitioning through space fortifies the journey from the corporeal through to the spiritual dimension(Panday, 2013, pp. 22–24).

Spatial definition and transitions become integral to the user’s experience and psyche. This understanding that we live in that we create and how it can affect us in every possible way can lead us to live more consciously.

Various temple entrances inner and outer domes have significant visuals of fractal geometry. Fractal geometry can be considered the equivalent of poetry as it is essentially self-similar as it replicates itself at various scales (Joye, 2007, p. 5).

Figure 4: Nataraja Temple in Chidambaram (Dandapani, 2011) expressing layering, fractality and dynamism of space within architecture.

Nikos Salingaros (2012, p. 13) conducted experiments that strengthened his statement, “[V]iewing spaces or objects containing fractal geometry properties positively affects people’s psyche”. Traditionally, geometrical art was applied through mediums such as art, clothing patterns, and architecture, and Salingaros (2012, p. 13) found that when gazed upon, these inclusions significantly reduced stress experienced. Thus, exposure to fractal geometry aids the process of rejuvenating and relaxing the viewer.

The modernist movement had environments sterilised and disregarded the attention to fractal detailing and art. Any form of enclosure or shelter evokes a subconscious response within the user. Salingaros (2012, pp. 20,21) explains that elevated stress levels result from enclosures stripped of fractal and geometric details.

Traditional mediums within the Hindu culture seemed to have ingrained such wisdom in their attire, arts, artisanship, and places of congregation. These subtle inclusions have always benefitted people subconsciously.

Placing people at the core of architecture alters the definition of spirituality and its engagement with surroundings. People are inherently inclined to understand the phenomena of transcendence better when creating enclosures that allow space to be meaningfully imbued. The truth remains that a human’s time is limited, and architecture outlasts us by far. Still, the energy that exists in a space after its being lived in is imperishable and lasts longer than the remnants of buildings.

Throughout time, people have used remnants of architecture to weave timelines of history and mythology, and were the foundations for reclaiming memories of the forgotten spirit and epochs. In Hinduism, the spirit is described as effervescent and indestructible energy (Swami Shivapadananda, 1988, C2: p23). This energy is sacred and pure, and one needs to be receptive to experience it.

Figure 5: The heavens above meet the earth below, and people are the passengers in the horizontal plane capable of experiencing both expressions. Sketch by author.

Figure 6: Authors expression of cosmic thinking relating to space making. Sketch by author.

In many ways, the hand that crafts the building leaves a bit of the creator’ spirit within its form. Similarly, crafting architecture reflects an impression on its surroundings and viewers who may look to it. Thus, architecture becomes the conduit for exploring the metaphysical and re-invoking the spiritual and sacred in all its applications. In addition one should treat architecture as sacrosanct so that it may be more meaningful in its craft.

If architecture is resilient, then civilisation is persistent. However, today’s focus shifts away from the sacred and spiritual in the drive for invention and materialism. To redefine what spirituality can introduce in architecture outside of religion, we must understand such historical spaces’ attempts and significance.

▶ 2 - Aligning to

Temples

Figure 7: Capturing the metaphysical experience and geometric expression of the Gopura in Marabastad, composed by author.

◊ Temples as sanctuaries and hubs

Temples are markers of great spiritual significance and function as reminders of the need for humility. Temples are a conduit for reaching the divine, that exists beyond us and our current frame of intelligence. Temples are the place where people are temporarily stripped of their accumulations (ego, persona, and thoughts) and become one unified collective.

“A religious symbol conveys its message even if it is no longer consciously understood in every part. For a symbol speaks to the whole human being and not only to the intelligence”

(Eliade and Trask (translater), 1987, p. 64).

Ancient India displayed dichotomies in temple variations in the northern and southern regions. These polarities are distinct due to the various influences of conquer-ship and translation of hierarchies and expressions of art.

The northern regions of India practised the Nagara style of architecture that places higher significance and emphasis on the abode of the divinity, where the murti (the embodiment of the divinity) resides (Temple Architecture, 2021).

The planning and detailing of the temple draw reflections in sacred geometry and symmetry. The shikaras (‘rising tower’ in temples) increase incrementally in size and exponentially in height. These shikaras are reminiscent of one’s journey through spirituality and serve as a reminder to the devotees of their path to attain moksha (liberation) by transcending their own imposed limitations, which is also achieved by ascending into the sacred space.

Southern India had explored an architectural style known as Dravidian architecture. Various iterations exist, the most famous being the Nataraja Temple in Chidambaram and the Rājarājeśvara Temple in Tanjavur (Branfoot, 2015). The gopuras (the entrance gates) can be understood as architecture’s expression of form relating to expanding energy and unfolding nature within the space of the

Figure 8: Dravida Style architecture (Temple Architecture, 2021)

Figure 9: Nagara Style architecture (Temple Architecture, 2021)

Figure 10: Shikara’s are the expression of fractal art in temples. (Nangia, 2021)

Figure 11: A temple in relation to a person’s subtle body, chakras and passage of life (Sreenivasarao, 2012)

Figure 12: Plan of Tirumala Tripupati Temple and the deity is located at the epicentre. (Sreenivasarao, 2012) divine, at the epicentre of the temple. Through the evolution of architecture, predating the| eleventh century, the gopuras became iconic to southern Indian temple construction (Branfoot, 2015). Their placement (based on the cardinal directions) is symbolic of the divine’s gradual revelation of the devotees’ journey. Its tiers are embellished with colour, sculptures, and artistic expressions respectful and cognisant of its deity’s mythos. The gopuras themselves range from eight to sixty metres in height (Branfoot, 2015).

The commonality in all temples lies in the function, planning, and placement of the divinity on a central axis at its epicentre. Historically, temples were earmarked as a place for celebration, education, and divination.

Moreover, the temples were the location for unification – between devotee and deity, and spirituality and intellectualism. Temples are symbolic of the marriage of the imagined heavens and rooted earth. The temples extend to the unification of people in matrimony and also functions as a place of solace.

Temples were encapsulated with activities that supported functions and celebrations within their spaces. Temples were central to the idea of spirituality and featured as markers for its neighbourhood. The gopuras stand visually tall, overlooking the city, making them difficult to miss and allowing people to orient themselves geographically with their surroundings.

Fractal geometry self-replicates a geometrical shape at various scales (Joye, 2007, p. 5). The use of this fractality is visible on a plan view. The borders of these temples replicate and create spaces within spaces and courtyards within courtyards. This concept extends vertically as well. The gopuras themselves have dimensions of fractality where each tier gradually decreases in size as it ascends and carries the vertical and horizontal elements of the tiers below.

◊ Architecture within a spiritual realm

It is a fundamental desire for any person to be more than what they are, for each person possesses an insatiable longing within their soul to learn and be eternal in whichever way they may be. Such seeking can be classified as a search for spirituality. If this term is stripped bare, it would be equated with awareness through possessing an understanding of oneself and one’s surroundings (Gunjal, 2018, pp. 8–10).

Movement within and throughout people (through activities such as yoga) is often enacted through the individual’s will. In the same way, movement may have a similar outcome when this logic is embodied in an intervention.

Several factors influence a user’s awareness, including light, temperature, material, space, and even colour, otherwise associated with the ambience (Gunjal, 2018, pp. 23–25). Architecture functions as the conduit to replenish, shelter, and realise the physical capacity of creating identity and establishing belonging.

The built form facilitates a user’s needs that extend beyond secularism and religion. Our current era has dissolved and limited architecture to footprints, budgets and capital gain. However, profound needs within the soul cannot be addressed through such limitations (Bermudez and Ott, 2015, pp. xii–xv).

Spiritual transcendence cannot be defined in architecture because the concept of ‘transcending’ pushes the known

boundaries to that of the unknown.

Furthermore, the experience of transcendence is not limited to a single aspect as it covers ground in multiple facets of life. Spiritual awakenings can be experienced through journeys undertaken, activities immersed in or carried out, and perhaps visual engagement in built environments (Bermudez et al., 2015, p. 8,9). The journey through architecture that has applied understandings in light, texture, and shade can dramatically enhance people’s well-being.

Ott (2015, p. xiv) states that “pleasing our eyes is not the same as pleasing the soul”. He elaborates by saying, “architecture that has removed the ‘opacity’ hiding life’s meanings so that we can catch a momentous and revelatory glimpse” implies transcendence. Transcendence allows people to experience elevated levels of joy (2015, p. 22).

This definition of spiritual transcendence seeks to move beyond modernisation and is utilised as a process to facilitate ‘healing’ from the disruption that is a consequence of human conditions.

Spiritual transcendence explores topics of displacement and genuinely dives into space as a spiritual space regardless of ethnicity, tradition, and religion.Spiritual transcendence itself may not need to be inclined towards a religious approach but rather towards servicing humanity and elevating them beyond their individual selves.

▶ 3 - A passage to

Afrika

Figure 13: Nolly map of Pretoria with Marabastad highlighted in relation to the known landmarks, overlayed with the composed geometric tapestry by author.

◊ Acclimatisation of cultural identity

Figure 14: Indentured labourers arriving in Port Natal (SAHO, 2019 b)

Figure 15: Art titled Indian Trader (Art: Nanackchand, 2021) Migrating to South Afrika was a struggle for many of the indentured labourers and traders originating from India. Life was harsh, and conditions were decrepit. Yet, in many ways, being displaced from home transformed the South Afrikan “Indianism” classification and many of the practices (Vahed, 2010, p. 619).

Caste classifications are succinct in India as they had played a considerable part in how societies function. The caste system within Indian communities in South Afrika partially fell away as they had to adapt to colonialists’ distinctions. In order to defy the repressive power of apartheid, these distinctions had to be buried to stand firm in unity (Vahed, 2010, pp. 616–618).

Indian South African Communist Party members aligned themselves with the ANC (SAHO, 2021) and many other unions formed for the people of “blackness” in the uprising for liberation. This liberation movement’s aim was realised in 1994 with the first democratic election.

Identity and practices in religion are malleable and can acclimatise themselves in various environments. Indians in India are different from those in Afrika; the origin and the evolved practices are rooted in India but have adapted and acclimatised differently in new territory.

Lifestyles (in the form of foods, dances, and various traditions) and spiritual and religious practices altered dramatically under the oppressive and dogmatic system. This system inherently eradicated a significant factor

that constituted most practices, and the remainder had become the maintained essence.

Nations that have triumphed over oppression still carry traumas and a sense of alienation. There is a chase to provide for people’s shortcomings, but that does not address the conflict that resulted from oppression (TEDx: Degan, O., 2019, p. 00:07:35). Life moves forward, but it still bleeds. Healing can only occur once these matters are addressed and openly shared.

There is a disconnect between the past and the present that hinders growth and change. Tapping into this disconnect to form connections creates conscious architecture and brings about a sense of ownership.

Establishing identity and reconnecting communities to their roots develops a sense of belonging in space(TEDx: Degan, O., 2019, p. 00:13:00).

Degan (2019, 00:13:00) states that cultural identity is essential to establishing forms of belonging. However, South Afrika has a disconnect between the Indians and their belonging; often, the associations are kept with India despite Indians being born and living in South Afrika (Buccus, 2020).

Cohesion within communities and societies is mediated by architecture providing ground for all discussions. In sharing experiences and livelihoods, a cultural hybrid of Indi-Afrikans can be moulded into the fabric of “IndiAfrikanism”. It is through bridging alienation and identity that the collective can genuinely be unified.

Figure 16: CODESA, a patriotic front formed by 92 organisations, in 1991, to oppose apartheid Constitution Hill Trust, 2017).

Figure 17: First democratic elections in 1994 (Telkom SA, 2003)

This study is predicated on historical unfolding and current constructs that prevail in South Afrika. The most appropriate approach for this study is through the lens of the constructivist worldview. Constructivism leads to the composition and generation of complexities within the understanding and theorising of existing structures (Creswell, 2008, p. 5).

Constructivism is suitable for this topic as it is flexible and comprehensive of the ‘changing ways of life’. For the best possible outcome, this research needs to be subdivided into four categories. These categories are the historical and urban context study (covered in Chapter 2 of the book), the cultural study (covered in Chapter 3 of the book), and the programmatic study and architectural study (covered in Chapter 4 of the book).

Site City

History

Program Proposed Precinct Context study

Architecture

Precedents Site

◊ Site selection criteria

◊ Near a marker of Indian inclined significance.

◊ A level of spiritual significance.

◊ Must have a historical background that can be reclaimed.

This pointer is integral to position the discussion around the reaffirmation of Indi-Afrikans. It alludes to the vicinity of residing, whether it be prior or current. Therefore, this marker strengthens the belonging of Indi-Afrikans in terms of space-making.

Spirituality is a significant factor in this dissertation’s undertaking, especially since spirituality alludes to conscious living in many ways. The chosen marker should encourage Indi-Afrikans to voice and reclaim their history.

In many ways, the history of Indians in South Afrika is stripped and side-lined due to being part of a minority race. Memories are shared within families and that is where the memories stay, resulting in the larger South Afrikan population knowing very little about the memories. This intervention should become the place to enlighten others of the gruelling past faced by the Indi-Afrikans.

THE SPECTRE

Entering the remnants of Marabastad The air itself crisp with a bite Curious onlookers stare unapologetically For what I might transgress Upon their sacred grail strained with strife

The taxi’s screaming in their idioms Beep be-beep beeps’ Often in frustration of the lull Barring roads in proclaimed ownership

How else might they survive in the system That downplays their servitude Begone ! You do not belong !

Hurtling forward, to tuck away from the rush My eyes are drawn to the Gopuram It’s poignant Magnificence

The struggle now a minor scratch For the destination of pilgrimage revealed

KIRTI KANAK MISTRY | 21-06-04

Marked in red is all the events that influenced Marabastad as well as the Indians residing there-in.

Figure 18: Photograph of Marabastad taken in 1905 (Tayob et al., 2002, p. 33).

Figure 19: A British camp outpost bordering Marabastad (Naidoo, 2007, p. 84).

Figure 20: Natives areas are demarcated (Naidoo, 2007, p. 14) Figure 21: Spatial and racial planning within Marabastad (Tayob et al., 2002, p. 42).

Figure 22: Spatial and racial planning within Marabastad (Tayob et al., 2002, p. 42).

Figure 23: Passive resisters from the Asiatic Bazaar (Naidoo, 2007, p. 84).

Figure 24: Empire Bioscopes advertisement (Naidoo, 2007, p. 159).

Figure 25: Freeway proposal over Marabastad (Tayob et al., 2002, p. 52)

1934 1965

Figure 26: Density degradation after enactments of policies (Tayob et al., 2002, p. 50)

1998 2021

Figure 27: Spatial degradation after enactments of policies (Tayob et al., 2002, p. 50)

▶ 4 - The Pretorian outpost

Following mineral discovery and the termination of contracts for indentured labourers, various marginalised groups (Indians, Muslims, Coloureds, and Asians) began migrating inland for better opportunities. Some settled in Mpumalanga, and others moved to locations within Johannesburg and Pretoria.

In Pretoria (now reclaimed as Tshwane), Marabastad was the first multi-racial township to have existed and flourished within the fabric. Marabastad was the root of the evolution of jazz culture and illegal beer breweries and was home to renowned writer Es’ kia (Ezekiel) Mphahlele.

The town was awash with the influence of Indians in their making and selling of achaar and spices, to the screening of spectrums of movies in the Orient, Royal and Empire theatres. Marabastad houses the Mariamman Temple and the Aga Khan Mosque in Mogul Street, which is still used today.

Due to limited resources, poor physical living conditions, a lack of adequate infrastructure, neglect, and imposed restrictions, Marabastad was consequently painted as a slum of Pretoria (Tayob et al., 2002, p. 16).

Rapid informal urbanisation triggered the expansion of boundaries to house natives and people of “otherness”. However, their presence sparked further impositions of regulations and policies restricting Afrikans and Indians, with little to no care for living conditions and infrastructural development(Tayob and Pienaar, 2002, pp. 32–36).

The autocrats allocated additional land to the south of Marabastad for trading and skills provision, and the location was subsequently labelled the Asiatic Bazaar

Figure 28: Boom Street in 1973 (Clarke et al., 2008, p. 53).

Figure 29: Looking West on Grand Street (Clarke et al., 2008, p. 24).

Figure 30: Grand Street in 1973 (Clarke et al., 2008, p. 53). in 1890 (Tayob and Pienaar, 2002, pp. 43–44). The settlers, including the natives, were denied citizenship and ownership.

The fall of this multi-racial hub was the consequence of the enactment of the Group Areas Act of 1950. Forced removals and reallocations ruptured the built fabric and life within Marabastad. As a result, very few physical remnants serve as a reminder of the historical presence infrastructure along Boom Street being the most preserved, although in a dilapidated state.

Currently, Marabastad is a commuters thoroughfare to the CBD, and thousands of feet traverse it to get to and from their work. The shops and informal traders along those streets rely on that volume to earn their daily bread.

Figure 31: East on Grand Street (Clarke et al., 2008, p. 30). Figure 32: Remaining fabric in Marabastad by author.

Marabastad had an array of ethnicities, Afrikans, Indians, Muslims, Chinese, and Cape Coloureds. They were segregated in various locations within Marabastad, yet there was a cross-pollination to acquire necessities.

“There always lingered in the shop a delightful spicy

smell” (Mphahlele, 1959, p. 33).

Marabastad relied heavily on the sales of those of Asian descent as their prices were more affordable than those within the city centre. The sales of spices and Indian savouries - achaar included - sparked creations and adaptations of foods such as curries, bunny chow, kota and sphatlo (Mmakgomo, 2017). In many ways, colours and vibrancy flooded the streets and fabric of Marabastad.

Due to rapid urbanisation, more amenities were allowed to be constructed; this included the bioscopes (the Royal, Orient, and Empire bioscopes), the Columbia Hall, and a sports field. In addition, the exposure to silent cinematography gave rise to audio expressions, predominantly the use of pianos.

Thus, the jazz era began. Several evenings a week would be an endless amount of immersion in freestyle jazz culture. It inspired the rise of nowfamous artists such as Mariam Makeba, Hugh Masekela, Abdulla Ibrahim and many other noteworthy composers.

To preserve the remnants of history, the South Afrikan government chose townships housing people of colour to be ‘frozen’ (Patrick, 2016, p. 18) under the Community Developments Act 30 of 1967.

In reconciliation, erfs were re-allocated and reinstated to families who had entered the tenure contract and had occupied land previously.

Figure 33: Desecrated homesteads in relation to landmarks adapted from google earth by author.

Figure 34: a. Stands owned by the SPHSS group (SPHSS, 2021)

Figure 35: b. Low income housing development progress. Image taken by author.

Figure 37: The Gopura of the Mariamman Temple (Clarke et al., 2008, p. 24)

a

b

Figure 36: Current and future development locations indication by author, 2021.

“There was an ironic stability in the temporariness of the workers as they went out the same way as they

would come back.” (Mphahlele, 1959, p. 70).

Considering the 1934 Slums Act of the apartheid regime and sequentially the Group Areas Act of 1950 (Naidoo, 2008a), the survival of the temple in Marabastad is symbolic of the triumph following the abolishment of apartheid.

This temple is a voice for the Indi-Afrikans. In many ways, its presence reinforces the Indi-Afrikans belonging and presence in adventitious surroundings. It is symbolic of strength displayed by the many in the struggle against enactors of oppressive circumstances.

Stands have also been reinstated to the local Indian community board known as the Shree Pretoria Hindu Seva Samaj (SPHSS, 2021, 47:00-52:30). They intend to develop a business model to promote locals operating in the area and generate some income that will aid in hosting celebrations and festivities for the Indian locals residing in Tshwane.

I AM NOT I

Glacial gridirons charted on a virginal geographic space Hostile lines mutilating guiltless suburbs on venal grids Perverse and phony simulations splitting a city with heartless quantities of condescension Colour codes like punishing fractions, dividing spaces to preserve matrixes of unfair priviledge Cities like a pie charts cut on hegemonic vertices and tabled on oppressive ‘other’-hood Horizontal breaks Concentric hierachies White, Black, Coloured, and IndianSegregated quarters like licentious ciphers for ethnic aversion A spatial despoliation lining pockets of land-like pillories To renounce the fake foulness Of Our Foreign cultures And The Fictitious Fear Of Our Infectious Blackness

ZAYNAB JAYNIE DAWOOD (Dawood et al., 2017, p. 100)

AS IT WAS BEFORE

Marabastad People once lived there Now memories like ghosts wander through the ruins of a derelict bazaar Crushing,senseless echoes of a ceaseless pining for a homecoming Of a tumbled-down, dusted checkbox boondocks Long-turned; a shell stamped on with sappy sentimentalities Shredded and swung by a bleached, scorn-to-style, snow-white town A ghetto filled side by side with Africans, Indians, Coloureds and Chinese Stiffened and sequined by squeezes of solidarity Swarming with rainbow faces and swarmed with loathing flies Scintillated with flavours and scintillating with shrilled sounds Splattered with hues and splattering with stirred snifters Smouldered with fumes and smouldering with smut Scarred with snubs and scarring with sneers Swelled with spite and swelling with joy Seethed with castaways but seething with slaked splendour Marabastad A squalid, spangled, sacred place A sanctuary for a downtrodden and discarded people A Haven No More a sanctuary for the divine Heaven

ZAYNAB JAYNIE DAWOOD (Dawood et al., 2017, p. 101)

Figure 38: The energy of the “collective” in Marabastad, collage by author.

▶ 5 - Proposed site

Figure 39: Proposed sites for the intervention marked in red. White square indicative of the temple. Image adapted from google earth by author.

Figure 40: Sketch of the proposed site behind the temple by author.

Figure 41: Formal and informal trade occurring around the site by author.

The most suitable site for this intervention is situated in Marabastad, sandwiched between two well-known arteries – Bloed and Boom Streets. The site itself lies to the exterior of the Mariamman temple, making it ideal as a conduit for channelling the intention of establishing a precinct.

Officially launched in 2010 to the south of the proposed site is Jazz Park, a project undertaken by the Tshwane Metro Council to revive Marabastad’s lost culture and vibrancy. For many city-goers, Jazz Park facilitated the formation of a community and provided commuters with a place for resting and connecting.

Grand Street is alive with activity and passengers; traders set up temporary tents and lunch spaces along these busy edges to accommodate the customers. Behind the temple, the ground lies awash with rubble and ash. It is an area wholly disregarded that reflects the erasure Marabastad faced. This portion of the site is used to traverse from Grand Street to Bloed Street and is mainly occupied by taxis that await their travel times.

A DAY IN THE MARKET PLACE

On the busiest corner, the cream Orient Reflects the streets engulfed with worn faces

A few watchful eyes hang about Taking cover at the entrance of a newly painted spice shop

‘Hallo! How much is this?’ A customer enquires boisterously before shortly returning to the steady hum of shoppers Filling the isles in push and banter

Steam fills the pavement and feet pulse The steady ‘thumm’ of the engines Reverberate in caution to the winds that sail With the occasional ‘ding’ of the cash register

Ah! Perhaps this… This is the spirit Echoing in the observers unaware

KIRTI KANAK MISTRY | 21-06-04