Guest Post by JHUMA SEN
Kashmir – the average Facebook trotting, Twitter wielding, middle-class Indian will assert – is an inalienable, inseparable part of Bharat Mata, the anthropomorphic representation of cartographic territorial sovereignty of India. Atoot Ang or inseparable organ. Yeh Fevicol ka majboot jod hai, tutega nahin.
The adhesive in this case is a deadly cocktail of an occupying power periodically using the spectacle of a ritualistic and performative violence to discipline and punish the colony, brutalizing every peaceful protest, responding to stone pelters with bullets, and prisoners with execution, to satiate some imagined collective conscience that sleeps like a baby when a three-year old is shot with his father, a ‘former terrorist’. But Kashmir belongs to India, in the same way Kiran belongs to Rahul in the famed Bollywood film of 1998, Darr: A Violent Love Story, the Wikipedia page of which describe it as a ‘romantic psychological thriller’. [i] The film traces the ‘romantic’ obsession of Rahul (Shah Rukh Khan) with Kiran (Juhi Chawla)—the serenading Rahul, the stalker Rahul, the fragile male ego Rahul, the violent Rahul, the abductor Rahul, the killer Rahul and a traumatized Kiran simply wanting to be left alone and desiring freedom from the wretchedness of Rahul’s ‘love’–Tu Haan Kar Ya Na Kar, Tu Hai Meri Kiran (Whether you agree to it or not, Kiran, you are mine’). The relationship between Rahul and Kiran (or for that matter any violent and delusional relationship) mirrors the relationship between the Indian State and Kashmir—the desire to control and the desire to be free. Continue reading Terms of Endearment – Kashmir and the Possessive Cartography of the Indian Nation-State: Jhuma Sen






