Land Guns Caste Woman The Memoir of a Lapsed RevolutionaryBy Gita RamaswamyPublished by NavayanaPp 428 May 25 marked the anniversary of Naxalbari. Fifty five years…
The first time I took a cab to Hitkari House in Mumbai’s Fort area, it was a cloudy July evening, with the promise of rain. Already the city was thinning out, as people left their workplaces, in the city’s south, for home. My first impressions weren’t very promising.
Kane ka jingthoh kam dei ka jingai sakhi lymne ka jingphla, hynrei ka dei tang ka jingїathuh ia kiei kiba shat phalang san snem mynshuwa.
Ka jingpang bam pong ne cancer ka dei ka jingpang kaba pynsuhjer. Hoid, wat la ka jingkynthah dak (stigma) halor kane ka jingpang ka la kham duna ha kane ka juk, pynban ka dang sah hi kum ka jingpang kaba shyrkhei bad kaba lynshop tyngeh ia ka jingim, ka їing ka sem bad ka jingdon jingem.
A totalitarian control over histories and a calculated manipulation of meanings have been instrumental in India’s narrative warfare. Its armed and administrative forces have actively pursued the destruction of historiographic and material evidence of the Kashmiri past.
However, there exist ‘witnesses’ that reject the Indian imagination, refuse to grant it any legitimacy, and rule out any possibility of submission to its apparatus of regulation. These ‘witnesses’ attest to the multiple struggles of Kashmir’s pasts and preserve the evidence of its demands from the future. They undermine the colonial design by engaging in a negotiation of power where they reimagine the Kashmiri body, Kashmiri history, and the Kashmiri everyday. Subverting the threat of erasure and elimination, the ‘witnesses’ promise life in their sense of continuity, renewal, and resilience.”
It has been eight years since my father departed from this world on 3rd May 2012. Gurucharan Murmu, who entered the hallowed IPS (Indian Police Service) in 1972, is the first ever Santal to serve the Union Civil Services. Being his daughter and having to see him suffer all his life for his integrity and for upholding an incorruptible moral universe has been an agonizing experience. While it was personal pain earlier, it is more of anger towards gross violation of social justice that triggers me these days. The persistence of the skilfully devised myth that the thirty four years of left front rule in West Bengal has somehow abolished caste based discrimination is due to the pervasive dominance of the forward caste Bengali bhadralok over political, social, economic and cultural domains and academic discourses. Dismissal, oppression, deprivation, injustice, contempt and most importantly stigma and trauma of humiliation and harassment, violation of dignity and human rights on account of caste disparity remain brutal everyday realities for adivasis in this state.
Today (8th June 2020) is the second death anniversary of Sukracharjya Rabha (1977-2018), whom I lovingly called Sukra Da. He was my senior, my big brother. We both learned theatre from our Oja Kanhailal and Ima Sabitri. He was the founder-director of the theatre group Badungduppa Kalakendra, Rampur, an extended family of Kalakshetra Manipur. Under the guidance of late Heisnam Kanhailal, Sukracharjya Rabha started the theatre festival Under the Sal Tree in 2008 at his village Rampur. The first festival was jointly organized by Badungduppa Kalakendra and Kalakshetra Manipur, the theatre group founded by late Heisnam Kanhailal and Heisnam Sabitri.
Since the past couple of months I have been thinking a lot about home and ways in which it archives the passage of time. In one such afternoon of sluggish enquiry, I learnt about my great-aunt for the first time some forty years after her death when I discovered an old trunk in my house. The trunk was brought by her when she migrated from Sylhet to India (Assam) because of the partition of 1947. Coincidentally, the day I discovered this relic of the inglorious history turned out to be the anniversary of the country’s independence. It was on the 15th August 2018.
My familiarity with the Shillong hills is not new. Probably Shillong will remind you of Amit and Labanya of ‘Sesher Kobita’ (the last poem). But however great a poet Rabindranath may be, there is no fitting image of Shillong in ‘Sesher Kobita’. The reason for this is that he never developed a kinship with Shillong. However, Rabindranath being an intelligent person, by naming it ‘Sesher Kobita’ he meant it to be a poem rather than a novel. If someone wants to write a novel, one cannot do it by excluding the inhabitants of Shillong, especially hill tribes like the Khasis. In his description and in the treatment, there is absolutely no flavour of Shillong.
Hartman de Souza on memoirs of an old time Naxal
We speak Mnar in Jirang, a language so different, mutually unintelligible from Khasi. My training in linguistics tells me this is a different variety of the Khasian languages. There are several of them. While we share so many of the ways in which we talk about the world, about our experiences of it, languages are also different. To call a language a language and to mark variances as dialects, is a political process and very often do not do justice to the variants. If we look at Norwegian and Swedish, they share many more similarities than Standard Khasi and Mnar, and yet they are languages, because they are spoken in different countries. So for historical reasons and political reasons, Standard Khasi has become “the Language”, and all the others, dialects.
I must have been a ten year old when I first heard of Cassius Clay, the American black boxer, the olympic and world heavyweight champion, and that he had become a Muslim and taken the name of Muhammad Ali.
Before she made her millions of paisas, my mother was a hawker. Determined to make a better life for me, she took a huge leap of faith and moved from Aizawl to Shillong.