Guest post by SIDDHARTH PETER DE SOUZA and SABA SHARMA
In a world where breaking news cycles drive our imagination and interaction with events and incidents around us, it often becomes difficult to not to have a fragmented idea of trends because they evolve and develop so rapidly. Does this volume of information necessarily imply that we become unable to view similar types of stories because they are portrayed as isolated, anomalous and disconnected? Is this also because it is much more comfortable to forget, rather than remember and reflect on an accumulation of incidents that maybe unpleasant, inglorious and inconvenient. Amartya Sen recently stated that “The problem is not that Indians have turned intolerant. In fact to the contrary we have been much too tolerant of intolerance”. Is our numbness because we are overwhelmed by these incidents or because we perceive them to be isolated without an underlying systemic pattern?
Intolerance Tracker is a visual story telling and crowd-mapping platform that seeks to engage with some of these issues. The idea of using a map is because it provides a compelling medium through which information can be consolidated, and presented across temporal and spatial boundaries.
It aims to utilize the power of the community to identify, report and map instances of intolerance across South Asia, and organically create and curate a visual storytelling database. This initiative is primarily led by students at the University of Cambridge, and has been set up on an entirely voluntary basis by people who are passionate and committed to the cause of documenting intolerance across the region. Continue reading Intolerance Tracker – A Community Curated Visual Storytelling Platform: Siddharth Peter de Souza and Saba Sharma
Guest Post by SASANKA PERERA
[ This post by Sasanka Perera is a review of Terror and Performance by Rustom Bharucha (2014). Tulika Books, New Delhi. Kafila does not ordinarily post book reviews. An exception is being made for this post because we feel that the subject of terrorism, which has interested Kafila readers in the past, is an important one, and needs to be thought through with seriousness. We hope that this post initiates a debate on Kafila regarding terror, the state, performance, and the performances – serious, or otherwise – that typically attend to the discussions of terror, whether undertaken by the agents of the state or by non-state actors, commentators in the media, or by intellectual interlocutors. ]
When I started reading Rustom Bharucha’s latest book, Terror and Performance, it immediately became an intensely personal and gripping engagement. It was difficult to read in a single attempt as the mind kept wandering from one unpleasant moment in our recent annals of terror to another in some of which I had also become an unwitting part – mostly as a spectator. From the beginning, my reading was a conversation with Bharucha’s text through detours of my own experiences and an interrogation to a lesser extent. In 1986, as a young man when I went to the Colombo International Airport to pick up my father who was returning from the Middle East, I was shaken by a tremendously loud sound for which I had no immediate references. I had not heard such a sound before. People started running towards the sound. It was a bomb that had blown up an Air Lanka flight which had come from Gatwick. The Central Telegraph Office in Colombo was bombed in the same year. We learnt that everyone was running towards the sound and not away from it. Dry local political humor very soon informed us that people were trying to get inside the bombed out telegraph office hoping that they could get free phone calls to their relatives in the Middle East as they had heard phones were dangling from the walls with no operators in sight. That was long before mobile phones and call boxes. We were still young in terms of our experiences with terror. However, we soon had very viable references to what all this meant as the political narrative of Lanka unfolded with devastating consequences. But in 1986, when the kind of terror that was to follow in all its fury was still relatively new and quite unknown, we were acutely unaware of the dynamics of the actual act of terror and the structure of feeling it could unleash. This is why many of us in these initial years were naively attracted towards the epicenter of the act rather than being mindful to run away from it. But as the society grew in experience, people soon learned their lessons. Though an academic text in every conceivable way, I was reminded one could always find a few rare books of this kind which might personally and emotionally touch a reader in addition to whatever intellectual stimulation it might also usher in. Terror and Performance is clearly one such book. From the perspective of the writer, Bharucha himself recognizes this personal emotional engagement and investment early in the book. For him, “this writing demands stamina as it faces an onslaught of uncertainties and cruelties at the global level that challenges the basic assumptions of what it means to be human” (xi). It is the same kind of stamina that one also needs to read it as most of us in South Asia would be reading it squarely sitting in the midst of our own worlds of unfolding terror. This is why all those thoughts came gushing into my mind throughout the reading. I was not only reading Bharucha; I was also reading my own past.
Continue reading Terror, Performance and Anxieties of Our Times – Reading Rustom Bharucha and Reliving Terror: Sasanka Perera
On Minority Rights and State Violence
Each one has his reasons: for one, art is a flight; for another, a means of conquering. But one can flee into a hermitage, into madness, into death. One can conquer by arms. Why does it have to be writing, why does one have to manage his escapes and conquests by writing? Because, behind the various aims of authors, there is a deeper and more immediate choice which is common to all of us.
What is Literature? Jean Paul Sartre
It is difficult to start when you are among an august gathering of masters and students of a subject you are not much aware of and are asked to say something to them. Today I find myself in that unenviable situation.
Let me admit here that when I received the information of the seminar I was really very excited to learn that scholars of literature would be focusing themselves on human rights, an issue which demands urgent attention from every thinking and concerned human being. But when the question of joining the debate arose, I was really in two minds. In fact, I was bit reluctant to come here for two simple reasons.
Firstly, being a left activist for larger part of my social life, I have been more accustomed to address public meetings on specific issues or share my ideas on a particular theme among activist circles. There have not been very many occasions when I had the opportunity to come to such gatherings. Continue reading Where Are The Emile Zolas of Our Times !
Guest post by YUSRA ASKARI
Karachi: The MV Albedo and its crew; 7 Pakistanis, 7 Bangladeshis, 6 Sri Lankans, 2 Indians and 1 Iranian national have been held hostage by pirates off the coast of Somalia, for over 17 months now. With the final deadline fast approaching, last ditch efforts are underway in Pakistan to ensure the safe return of all 22 sailors. Continue reading Bring home the crew of MV Albedo: Yusra Askari
Himal Southasian editor Kanak Mani Dixit and his wife Shanta Dixit, an educator, are driving from Kathmandu to Peshawar, via Lucknow, Delhi and Lahore, to raise money for Nepal’s only Spinal Injury Rehabiliation Centre, which he started after Kanak’s own miraculous recovery from a spinal injury. The journey was flagged off yesterday by Nepal President Ram Baran Yadav. Do join them!