I accidentally stumbled across Madhur Jaffrey’s Flavour of India, which is being repeated on BBC iPlayer. I remember watching this when there were hardly any Indian chefs or Indian cooking on mainstream TV, so I decided to watch some of these again…it is a Sunday morning! As I sat through the episode on Punjab, near the end of the programme I was amazed to see her making lamb chops on the Wagah-Attari border. I have crossed this border numerous of times and I have also seen now much it has changed from a leafy road with colonial bungalows acting as the immigration/custom points to a harsh border with a daily dose of jingoism and national pride on full display. These few minutes have just reminded me how much India (and Pakistan) has changed since 1995. I wonder where the BSF walla tasting the lamb chop is today…
The Muslim League’s Resolution on Pakistan has called forth different reactions. There are some who look upon it as a case of political measles to which a people in the infancy of their conscious unity and power are very liable. Others have taken it as a permanent frame of the Muslim mind and not merely a passing phase and have in consequence been greatly perturbed.The question is undoubtedly controversial. The issue is vital and there is no argument which has not been used in the controversy by one side to silence the other. Some argue that this demand for partitioning India into two political entities under separate national states staggers their imagination; others are so choked with a sense of righteous indignation at this wanton attempt to break the unity of a country, which, it is claimed, has stood as one for centuries, that their rage prevents them from giving expression to their thoughts. Others think that it need not be taken seriously. They treat it as a trifle and try to destroy it by shooting into it similes and metaphors. “You don’t cut your head to cure your headache,” “you don’t cut a baby into two because two women are engaged in fighting out a claim as to who its mother is,” are some of the analogies which are used to prove the absurdity of Pakistan. In a controversy carried on the plane of pure sentiment, there is nothing surprising if a dispassionate student finds more stupefaction and less understanding, more heat and less light, more ridicule and less seriousness. My position in this behalf is definite, if not singular. I do not think the demand for Pakistan is the result of mere political distemper, which will pass away with the efflux of time. As I read the situation, it seems to me that it is a characteristic in the biological sense of the term, which the Muslim body politic has developed in the same manner as an organism develops a characteristic. Whether it will survive or not, in the process of natural selection, must depend upon the forces that may become operative in the struggle for existence between Hindus and Musalmans. I am not staggered by Pakistan; I am not indignant about it; nor do I believe that it can be smashed by shooting into it similes and metaphors. Those who believe in shooting it by similes should remember that nonsense does not cease to be nonsense because it is put in rhyme, and that a metaphor is no argument though it be sometimes the gunpowder to drive one home and imbed it in memory. I believe that it would be neither wise nor possible to reject summarily a scheme if it has behind it the sentiment, if not the passionate support, of 90 p.c. Muslims of India. I have no doubt that the only proper attitude to Pakistan is to study it in all its aspects, to understand its implications and to form an intelligent judgement about it.
The Annihilation of Caste was an undelivered speech written in 1936 and to be delivered at the Jat-Pat Todak Mandal (Society for the Abolition of Caste system). However, the organiser found elements within the speech objectionable and Ambedkar refused to censor his words.
Other contemporary abominations like apartheid, racism, sexism, economic imperialism and religious fundamentalism have been politically and intellectually challenged at international forums. How is it that the practice of caste in India – one of the most brutal modes of hierarchical social organisation that human society has known – has managed to escape similar scrutiny and censure? Perhaps because it has come to be so fused with Hinduism, and by extension with so much that is seen to be kind and good – mysticism, spiritualism, non-violence, tolerance, vegetarianism, Gandhi, yoga, backpackers, the Beatles – that, at least to outsider, it seems impossible to pry it loose and try to understand it.
Listen to The Doctor and The Saint: The Ambedkar—Gandhi debate: Race, Caste and Colonialism with Arundhati Roy (2014)
O’Boyle, Jane “The New York Times and the Times of London on India Independence Leaders Gandhi and Ambedkar, 1920–1948” American Journalism, Volume 35, 2018 – Issue 2, 214-235.
During the years before India’s independence, the Times of London published news stories that were derisive and skeptical of Mahatma Gandhi, reflecting a national policy to diminish his power in the process to “quit India.” The Times was respectful of the untouchables’ leader Bhimrao Ambedkar and his civil rights movement for untouchables, perhaps to further distract from Gandhi’s popularity. The New York Times lavished positive attention on Gandhi and largely ignored Ambedkar altogether. The American newspaper framed a hero of colonial independence and never his oppression of untouchables, adhering to news policy during the Jim Crow era of racial persecution.
While the caste system has been formally abolished under the Indian Constitution, according to official statistics, every eighteen minutes a crime is committed in India on a Dalit-untouchable. The Persistence of Caste uses the shocking case of Khairlanji, the brutal murder of four members of a Dalit family in 2006, to explode the myth that caste no longer matters. In this exposé, Anand Teltumbde locates the crime within the political economy of post-Independence India and across the global Indian diaspora. This book demonstrates how caste has shown amazing resilience – surviving feudalism, capitalist industrialization and a republican constitution – to still be alive and well today, despite all denial, under neoliberal globalization.
Teltumbde, Anand. “Deconstructing Ambedkar,” Economic and Political Weekly (May 2, 2015).
Electoral politics became competitive bringing to the fore vote blocks in the form of castes and communities, both skilfully preserved in the Constitution in the name of social justice and religious reforms, respectively. The competing Ambedkar icons offered by various political manufacturers in India’s electoral market have completely overshadowed the real Ambedkar and decimated the potential weaponry of Dalit emancipation. The rhetoric of aggressive development, modernity, open competition, free market, etc, necessitated the projection of a new icon which would assure people, particularly those of the lower strata whom it would hit most, of the possibility of a transition from rags to riches with the adoption of the free-market paradigm.
Many times browsing through archives, especially the digital kind, leads you from one place to another. I was scanning the British Newspaper Archive for material related to the North-West Frontier of British India and ended up finding a small snippet in the Public Notices section of TheCoventry Evening Telegraph on an Indian film, Padosi, hosted by the IWA at the Opera House in 1945.
The Coventry Evening Telegraph, Thursday, April 26, 1945
The Indian Workers Association (IWA) was founded in 1938 in Coventry to mobilise for Indian independence amongst the small working-class Indian community living in the UK. Many of its early members were from Sikh and Muslim Punjabi backgrounds. Some of these members were sympathetic to and inspired by the Ghadr Party (est. 1913 in California). The British government naturally kept an eye on their activities; not only for their nationalist motivations but also for their leftist leanings. The extract below is taken from a document on the IWA, dated 14 April 1942.
The Hindi (or Hindustani) Mazdur Sabha, now more usually referred to as the Indian Workers’ Association (or union), has come gradually into being as a result of war conditions. In the two years preceding the outbreak of war a number of disaffected Sikhs – some of them with Ghadr Party contacts – who had come to the United Kingdom to work as pedlars decided to start, if possible, an organisation of Indians which should give all possible aid to the movement for Indian independence. At first the only practical step towards carrying out this decision were the secret collections and remittances to India of sums of money for payment to the dependents of political prisoners. The fund in India which received these sums of money was created by the Ghadr Party in California and there can be little doubt that the Indians in the UK who were chiefly interested in these collections were actuated by motives and by a long-range policy which were identical with these of the Ghadr Party. Some of them were in receipt of the “Hindustan Ghadr” until the close watch of the postal censorship succeeded in imposing an effective check on the entry of the paper into the UK. From the very beginning Coventry was the headquarters of the movement, for it so happened that the Indians chiefly interested were pedlars who sold their goods in the Coventry area. (File no. L/PJ/12/645)
Read further about the IWA:
Gill, Talvinder. “The Indian Workers’ Association Coventry 1938–1990: Political and Social Action.” South Asian History and Culture 4, no. 4 (2013): 554-573. DOI: 10.1080/19472498.2013.824683
Virdee, Pippa. Coming to Coventry: Stories from the South Asian Pioneers. The Herbert, 2006.
Communities in Action: the Indian Workers’ Association – Our Migration Story
The film listed in the Public Notices snippet is “Parosi” (sic). This was a social drama directed by V. Shantaram and was set in the back drop of Hindu-Muslim unity. The Indian national movement was remarkably communalised in its last years, leading to unprecedented violence accompanying the end of British India. In 1941, it was unclear when and how this end would come. Alongside this rising tide of deteriorating inter-communal relations, there were progressive voices in the diversifying public sphere, now including cinema. One of these was the film’s legendary director, Shantaram, who pointedly got a Muslim actor to play a Hindu character and vice versa, to promote harmony between the communities. It is the type of film I imagine the IWA would want to show, as the organisation wished to emphasise class unity over communal politics in the battle against colonialism.
The Opera House in Coventry was opened in 1889. During World War II, the building was damaged by bombing but it was quickly repaired and transformed into a cinema when it re-opened in 1941. The Opera House closed in 1961 and, while there were plans to restore it to a live theatre venue, this never happened.
This song/poem written by Sahir Ludhianvi for the film Pyaasa, starring Guru Dutt, has as much relevance today as it did in 1957 at the height of the Nehruvian age. The lyrics and translation below are courtesy of Proud Indians, Are We? – Jinhe Naaz Hai Hind Par – Pyaasa By Deepa.
It is also worth reading the broader article, which is on Guru Dutt, “a man clearly ahead of his time.” Follow link for the song via YouTube. Make sure if you listen to any other versions that it has the last Antara of the song, which has been cut in some versions.
Ye kooche ye nilaam ghar dilkashi ke Ye lutate huye caravan zindagi ke Kahaan hain kahan hain muhafiz khudi ke Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
Look at these lanes, alluring houses which are up for sale/auction everyday. Look at these robbed caravans of life. Where are those protectors of self respect and pride? Where are those who say we are proud Indians? What are you exactly proud of?
Ye purpech galiyaan ye badnaam bazaar Ye gumnaam raahi ye sikkon ki jhankaar Ye ismat ke saude ye saudon pe taqraar Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
These complicated streets, these defamed, scandalized markets. The unknown pedestrians who walk in anytime with bagful of money. This trade of honour and chastity followed by the bargains of the same. Are we Indians proud for this? Where are those who say this?
Ye sadiyon se bekhauf sehmi si galiyaan Ye masli huyi adhkhili zard kaliyaan Ye bikti huyi khokhli rangraliyaan Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
These lanes which for years have been under pressure of fear, distress, angst. This place where the pale half blossomed buds are crushed (referring to young girls who fall prey to the flesh trade). The hollow festivities which are sold in this market. Show all this to those who say, they are proud of this country. Where are those people?
Wo ujle darichon mein paayal ki chhan chhan Thaki haari saanson pe table ki dhandhan Ye berooh kamron mein khaansi ki thanthan Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
The sound of the trinkets, anklets which come from the shimmering windows. Those tired, ill heartbeats which try to keep pace with the pace. This soul less room which filled with the unpleasant sound of coughing. For those who say they are proud Indians, please come and see this.
Ye phoolon ke gajre ye pikon ke chhinte Ye bebaak nazrein ye gustaakh fiqrein Ye dhalke badan aur ye bimar chehre Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
The flowers, the garlands, the stains of betel juice. The bold stares, the blunt, audacious comments. The deteriorating, decaying bodies and weak faces. Look at them, those who say, they are proud of their country.
Yahan piir bhi aa chuke hain jawaan bhi Tanaumand bete bhi abba miyaan bhi Ye biwi bhi hai aur behan bhi hai maa bhi Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
The ambassadors of religion, the young and the old, the sons and the fathers, all are regular visitors to this place. Here you will find someone’s wife, someone’s sister or mother too. Come and have a look at this place. Will this place make you proud?
Madad chaahti hai ye hawwa ki beti Yashoda ki hamjins Radha ki beti Payambar ki ummat Zulaykha ki beti Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
The girls, women here need help. They are no different from Eve, Yashoda, Radha, Zulaykha who are seen with regard and respect. Come and help them, they need you.
Zara mulk ke rahbaron ko bulaao Ye kooche ye galiyaan ye manzar dikhaao Jinhe naaz hai hind par unko laao Jinhe naaz hai hind par wo kahaan hain Kahaan hain kahaan hain kahaan hain
Someone please call the so called guides, leaders of the country. Show them these lanes, show them this miserable scene. Call them those who say they are proud of their country. Where are they?
A fragment of my personal history in celebration of International Women’s Day and in memory of my own mother, who played such an important part in shaping my ideas. Visit the Indian Memory Project to read the full piece which I wrote in 2013.
In 1995, 50 years after the end of the Second World War this sculpture by Josefina de Vasconcellos has been given by Richard Branson as a token of reconciliation. An identical sculpture has been placed on behalf of the people of Coventry in the Peace Garden, Hiroshima, Japan.
Both sculptures remind us that, in the face of destructive forces, human dignity and love will triumph over disaster and bring nations together in respect and peace.
Josefina de Vasconcellos said that, “The sculpture was originally conceived in the aftermath of the War. Europe was in shock, people were stunned. I read in a newspaper about a woman who crossed Europe on foot to find her husband, and I was so moved that I made the sculpture. Then I thought that it wasn’t only about the reunion of two people but hopefully a reunion of nations which had been fighting.”
In 1995 (to mark the 50th anniversary of the end of World War II) bronze casts of the sculpture Reconciliation were placed in the ruins of Coventry Cathedral and in the Hiroshima Peace Park in Japan.
Ambedkar, Bhimrao Ramji. 
BAGICHA 