Eastern India

Reliving the Partition in Eastern India: Memories of and Memoirs by Women across the Borders

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Sharmistha Chatterjee Sriwastav

Associate Professor, Department of English, Aliah University, City Campus, West Bengal, India. ORCID: 0000-0001-6771-0435. Email Id: dr.s.c.sriwastav@gmail.com

 Volume 12, Number 1, January-March, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n1.23

Abstract

Genocide in Bangladesh: 1971 (2015), edited by A.K.M Nasimul Kamal is a well- documented, organised and factual record of newspaper clippings from all over the world. A collective effort, it is an objective, yet horrific account of the brutal atrocities of West Pakistanis on the Bengalis in East Pakistan, carefully interspersed with the international politics behind it.  Compared to this unparalleled book and many others like this, memoirs by individual women recording the carnage during the Bangladesh Liberation Struggle are pale, unreliable and flickering comments on the events and the real politick behind the bloodbath. Yet as the paper argues, these memoirs and interviews by various women, from all walks of life, do create an alternative history- a history characterised and problematised by doubts, gaps, lapses, silences, turbulences and half realized truths.

Autobiographical accounts by Begum Mushtari Shafi (translated, 2006),cand Farida Huq (2008), former a social activist and latter an educationist coupled with interviews given by several ordinary, poor women across the borders ( recorded in 2009) demand closer attention to themselves by recreating the gruesome days. Falling back on their personal repertoire which oscillates between the home and the world, these largely anecdotal narratives fill in the void of homogeneous official records. These memoirs do retrieve how women acted or were acted upon in the devastation which changed their lives permanently.

Keywords: Partition, Women, Eastern India, Memories, Memoirs, alternative, history, lapses, void.

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Aestheticizing without Agenda: A Counter-Reading of the Western Approach to Chhau Dance

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Indranil Acharya, Indranil Acharya, Vidyasagar University, West Bengal, India

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The Argument

In an article titled “A Crisis of Culture” published in The Hindu (May 07, 2006), T. M. Krishna observes:

We are in a modern world, don’t we need to modernise everything? What’s modernisation? Have the arts not always moved with the times? Do we sing or dance the way it was done 200 years ago? Don’t we experiment with all our artistic traditions? Don’t we address contemporary issues through dance? Don’t we package our music differently today? (2)1

 The crux of this paper is to raise similar issues with regard to the popular folk dance form of Eastern India- Chhau. The Chhau of Odisha, West Bengal and Jharkhand has been included in the UNESCO list of Intangible Heritage. The western perception on this essentially folk art form has been quite problematic. There is a constant attempt by the western researchers to categorize Chhau as a classical dance form and the ostensible reason behind it has been the royal involvement in terms of performance and choreography particularly in Seraikella and Mayurbhanj. However, the purely folk origin of the Purulia Chhau of West Bengal is left out of the ambit of discussion. But it has not been taken into consideration that after the independence and the abolition of monarchy in various Indian states, this paradigm of nobility controlling the art form of Chhau has been done away with. Instead, various state governments and their agencies have undertaken a string of democratic measures to preserve and promote this rich indigenous art form. This paper attempts to confront and counter the traditional readings of the western scholars with regard to this folk dance form. The recalcitrant approach to search for a “pure” form as Chhau is incorrectly projected as a classical dance form. There is a sardonic reaction at any deviation from the so-called “purity” of form as sheer exhibitionism with regard to the western audience and a downright rejection of political patronage as an ignoble way of promoting tourism industry. Such misconceived criticisms are taken up for discussion in this paper. With first-hand knowledge of the ground reality and close interaction with the folk artistes, the paper aims to correct the western approach to standardize an essentially fluid and vibrant art form that imbibes the best of western influences and blends it impeccably with the indigenous tradition to produce an organic unity of impression. The paper begins with an outline of this dance form. Keep Reading

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