4, 5, 6 August 2022
What is so powerful about the idea of democracy, why does it resonate so strongly with people’s struggles across time and space.
Historically, every few decades the world has also witnessed the rise of authoritarian rule and the backsliding of Democracy. This is one such time, when increasingly we are witnessing more countries moving towards authoritarianism than at any other point in the recent past. The optimism and the triumph of Democracy that the world witnessed at the dawn of the twenty first century has rapidly diminished.
What are the patterns and conditions of democratic backsliding? How does civil society resist the encroachment of this rapidly shrinking civic space? What is the role of print/electronic media and social media in the rise of populism? What is the role of the judiciary in upholding the rule of law? How has the ‘new normal’ of Covid 19 impacted the state of democracy worldwide? Above all, what can education institutes do to instil democratic values in young minds? What can educators do to inspire active citizenship?
Everything is dependent on political power in the country today—the good, the bad and the indifferent. So, do we just say: We have no access to this power and therefore we give up? Or do we say: We cannot change the political power but, within our little circle of activity, we can do what is possible? And I would say that is the way in which many of us have functioned all our lives. We have not attempted to change the political power. If you are not in a position to fight the political power, then please use your little energy and activity to make half a dozen young people think. The process of thinking involves the process of agency.
In keeping with the urgent need of our times, History for Peace explores The Idea of Democracy at the annual conference for teaching history in Calcutta this year.
Speakers at The Idea of Democracy:
Romila Thapar, Krishna Kumar, Arun Thiruvengadam, Sudipta Sen, Birgit Sauer[Germany], Sundar Sarukkai, Anurag Bhaskar, Apoorvanand, Arvind Narrain, TM Krishna, Shahnaaz Khan, Shivangi Jaiswal, Smita Bhattacharya.
Registration procedure details can be found here. Register by 10 July 2022.
The Peasant Movements through the Eyes of Somnath Hore: A Workshop for Teachers
Marking the centenary of Somnath Hore, one of India’s foremost printmaker–sculptors, Emami Art and History for Peace bring you a workshop for teachers at the Kolkata Centre for Creativity on 9 July 2022. The workshop will include a walkthrough of the exhibition, and will be based on a History for Peace Teaching–Learning resource developed drawing from two of Somnath Hore’s works published in English translation by Seagull Books, ‘Tebhaga’ and ‘The Tea Garden Journal’.
Why do movements begin? What is the place of identity in people’s response to these movements? How does one record the lives of people who make these struggles? Is the face of people’s movements different in a colony from that in a free nation?
If you are a teacher interested in engaging with Hore’s sketches and notes to explore questions about peoples’ movements historically, and thinking of ways to draw them into your classroom, this is for you.
Please register by 6 July 2022.
This week from the History for Peace archives
The Inter-face of Region and Religion
in the Panjab
‘The doabs were open to the spread of Buddhism, and later of Islam, as happened also in Central Asia, but Puranic Hinduism marked a lower presence. Did pastoralists in the scrubland and the desert, and peasants in the riverine plains of the doabs, find the flexibility of Sufi and Nathapanthi teaching more attractive than the greater rigidity of caste-based Puranic Hinduism of the upland valleys? Urban traders along the main route linking the towns of the foothills might have searched for more overlapping religious thought and practice in the midst of many sects.
What this also highlights is the basic duality in most religious expression in India that continued from early times. Every religion has diverse sects, some breakaways and some add-ons. Every religion has orthodoxy and heterodoxy. A few of the latter aim at opposing orthodoxy, others at competing for status, but most at providing a viable routine for daily living. This may determine whether religion assumes a monolithic theology and institutional structure, or whether it can be more flexible with multiple sects whose existence is conceded although they may not all live harmoniously. I would like to argue that the majority of the people in India have generally preferred the second. This may be because of the close interknitting in particular between religious practice and caste. Where, when and how rituals are performed are indicators of caste. This has greater clarity in some sects than in others. Since religion is a human creation, it must reflect human society.’
Share your Classroom Practices and Ideas with us!
|When Professor Romila Thapar discusses the relationship between the evolving trajectory of religious formations and that of geographical regions historically with specific reference to the Panjab, it makes us question the homogeneity of the association of a religion with a space, that we so easily assume today. We would like to hear from you about your reading of other such moments historically in the context of the subcontinent, when a region underwent several lives in terms of its association with religious cultures. Do you address questions around religion in your teaching of history and the social sciences in your classroom? Under what thematic areas and chapters are you able to do this effectively?|
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Stage of Blood
Naveen Kishore’s photographs document the political nature of Manipuri experimental theatre.
By Chintan Girish Modi.
‘Kishore’s choice of form seems to mirror his politics. In his artist statement, he writes, “The framing is off-tangent. The only way to find a way into the image, the story, the emotion is to choose one of the many points of focus. Never a single point of entry.” This recognition of plurality is perhaps the cornerstone of living in a modern democracy with a vibrant civil society.
[ . . . ] He adds, “The idea was not to show them all. We are constantly seeing atrocity pictures on social media. They are being beamed at us, and we are growing numb. It was to invite people to slow down, reflect.” He succeeds at the task, without a doubt, for the photographs never reduce the people of Manipur to the horrors they have experienced, and the pain they have suffered. They highlight creative practices, and the tension between resistance and restraint.’
Knotted Grief by Naveen Kishore (and a few words about Seagull Books for World Book Day 2022)
By Joseph Schreiber
‘Poetry is, for Kishore, as I understand it, the product of a daily practice of writing—of putting words to the page every day, regardless of available time or present situation. As a friend, it is a discipline he has recommended to me, rather insistently in fact, but I fear I fell off the page some time ago and am only just climbing back on. His poetry has also been shared with those around him, appearing online here and there, even arriving on occasion in my own email inbox. One could even say that poetry tends to inform and permeate his prose and his speech—as if it has become, not a vocation or an exercise so much as a way of being in the world.
Knotted Grief, coalesces around “Kashmiriyat,” an extended cycle inspired by the devastating events in Kashmir in recent years. Across 105 spare verses Kishore paints a pained portrait of violence, misery and loss. The flickering light of candles, personified shadows, cold winter winds, bloodied earth, strangled silence—images of war fold in on one another, frozen by the photographer-poet’s eye and trimmed to their bare essentials, then revisited again and again.’
Seagull Books at 40: Founder Naveen Kishore through the eyes of colleagues and collaborators
A two-part series by Jerry Pinto for Scroll.In, celebrating 40 years of Seagull Books.
‘My first meeting with Naveen Kishore was marked by an absence. By the time I met him he was the Enigma from Calcutta as the city was then known, the man behind Seagull Books which had brought us our first film scripts, our first play scripts and some heavy hitting non-fiction books and important translations. I expected him to take all the oxygen in the room, to fill up space in the way some publishing legends were wont to do. Instead what I discovered was a watchful withdrawal, more in keeping with a writer or a poet.
Over the years however, I have also discovered a warmth offered in homoeopathic and healing doses; and a friend who can get things done.’
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