“Where is the time?” is the most common worry nowadays. One does not get a sense of how and where time is flying. It is more common in urban cities and towns where people are devoid of choices in terms of space and time. Public parks, as a space for relaxation and inclusivity, play a crucial role in urban stress-coping mechanisms. They fill the void in newer urban developments, providing refuge for residents seeking a respite from the hustle and bustle of city life.
Many public parks have fascinating histories deeply rooted in our culture. For instance, Lal Bagh in Bengaluru, which evolved from a botanical garden into a public park, has been a haven for residents, providing a green space for relaxation and a venue for community events. Similarly, Kolkata parks are renowned for their landscape and for fostering psychosocial well-being within the community through adda, informal group discussions, or chats. This unique cultural practice, often held in the shade of trees or on park benches, encourages social interaction, intellectual stimulation, and emotional support. Some parks, like the Pune-Okayama Friendship Garden or Pu La Deshpande Udyan, signify international cooperation and friendship between nations. It is based on the concept of Zen Gardens, rooted in Buddhist philosophy, that has found home in various public parks around the world. The word “Zen” is derived from Chan, which, in turn, is derived from Dhyan in Sanskrit. These serene spaces, meant for meditation, lowering the ego, and flourishing through a connection with nature, have inspired local communities and influenced the design of European gardens. Lynn White Junior traced its roots to ecological consciousness, making them a source of inspiration for civilizations worldwide on how to coexist harmoniously with nature. Thus, beyond their aesthetic appeal, these parks play a crucial role in maintaining greenery in urban environments, acting as lungs for the city by purifying the air and mitigating pollution.
However, the stark contrast between ‘doom scrolling’ and park visits is striking. ‘Doom scrolling’ is a digital phenomenon where individuals spend excessive time scrolling through negative news or social media feeds, often leading to feelings of anxiety or depression. The continuous, ever-changing content on social media provides a constant stream of stimuli that captures our attention. This digital overload can make us feel like time is slipping unnoticed amid fragmented information and distraction. In contrast, the serene environment of a park necessitates a deliberate shift that embraces tranquility. The convenience of ‘doom scrolling,’ accessible at any moment, competes with the effort and time necessary for a park visit. This stark contrast underscores the need for a digital detox and the rejuvenating power of public parks.
Exploring this temporal aspect, we confront how we remember and track time spent in parks compared to the mindless scrolling that consumes us on the internet. Byung-Chul Han provides valuable insights into the different dimensions of time—mythical, historical, and atomized. ‘Atomized time’ characterizes our digital experiences, referring to the fragmented, disjointed nature of our online interactions that often leave us feeling directionless amidst a barrage of immediate online gratification and information overload.
Public parks, with their tangible connection to nature and the shared experiences they foster, offer a powerful antidote to the disorienting effects of atomized time. In a world increasingly dominated by screens and digital noise, the timeless allure of public parks serves as a vivid reminder of the importance of creating spaces that ground us in the present moment, nurture genuine connections, and cultivate a shared sense of history. With their rich cultural and historical significance, these parks provide a space for relaxation and serve as a community meeting point, fostering a sense of belonging and shared history. They are not just green spaces but also social and cultural hubs that play a crucial role in maintaining the well-being of urban communities, a role that cannot be overstated.
Indian films have long cherished such gardens, especially as the filming locations for songs. Madhulika Liddle lists several prominent gardens in India and elsewhere that act as romantic spaces for the protagonists. One of the earliest songs that come to mind is Kashmir ki Kali from the movie Junglee (1961) which was shot in the famous Shalimar Bagh in Srinagar. The Mughal Garden was built on Emperor Jahangir’s orders and extended during the reign of Shah Jahan (Liddle, 2017). The manicured gardens consist of open spaces with grass mats, segregated by raised flower beds, which have been captured through such songs. The film Bahaarein Phir Bhi Aayengi (1966) featured the song Dil toh pehle hi se madhosh hai, picturized in the Botanical Gardens, Kolkata. The official name of this garden is Acharya Jagadish Chandra Bose National Botanical Garden. The garden boasts an extensive collection of plant species. However, like other botanical gardens, this was a colonial project rather than a scientific one. Built as a “solution” to offset the effects of famines, the Botanical Garden ensured a steady revenue stream for the colonial rulers. It was executed by transplanting the spice-producing plants and cash crops over here.
Filming songs outside India introduced a novel factor to romantic songs. These songs transport the film audiences to an imaginary world they might never have visited. Examples of such songs are Sayonara Sayonara from the superhit film Love in Tokyo (1966), filmed in Hibiya Park, Tokyo.
Gardens and other leisure spaces are valuable gathering spots for city residents, offering opportunities for meaningful interactions in diverse social settings. These encounters can be enriching experiences as they allow people to connect without any specific purpose. The shared experience of enjoying an everyday activity like walking, relaxing, or taking a break from the stress of daily life and even ‘doom scrolling’ helps bring strangers together in an organic manner.
The article has been written by Sanchari Basu Chaudhuri, Fellow, The India Centre, FLAME University & Prof. Pankaj Jain, Director, The India Centre, Professor & HOD, Humanities and Languages, FLAME University
