ADVISORY EDITOR Sarah Thankam Mathews Sarah Thankam Mathews is the author of the novel All This Could Be Different , for which she was shortlisted for the National Book Award. She is also the founder of the mutual aid network Bed-Stuy Strong, and is currently based in Brooklyn. ADVISORY EDITOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

The aragalaya is an exceptional expression of democratic activism—but it contained contradictions that force us to reckon with its true limits and potential. | · THE VERTICAL Op-Ed · Sri Lanka Whiplash and Contradiction in Sri Lanka’s aragalaya The aragalaya is an exceptional expression of democratic activism—but it contained contradictions that force us to reckon with its true limits and potential. Mural painted as a Rapid Response by the Fearless Collective during the GotaGoGama protest in Galleface, Colombo, Sri Lanka. Courtesy of the Fearless Collective (June 2022). HOW DO we begin to make sense of the events of the past several months in Sri Lanka? A country that was ranked as a “middle-income” nation and had one of the highest standards of living in South Asia, now faces economic oblivion. What is truly stunning is the rapidity with which this national tragedy unfolded. Of course, this all says a great deal about the social and economic precarity that neoliberal policies force upon entire populations, who become unwilling victims of an insidious nexus between the instrumental interests of political and corporate elite. And all this has indeed been said frequently. But amidst its dizzying journey to national catastrophe, Sri Lanka also bore witness to a spectacular people’s movement—the aragalaya (“protest” in Sinhala)—which unseated a cabinet of ministers, a prime minister, and ultimately the all-powerful executive president of the country. However, almost equally swiftly the ‘democratic’ gains of the aragalaya have been rapidly undermined and the discredited political culture which the people’s uprising has begun to reconsolidate. The aragayala was a historic first for many reasons. It succeeded in breaking the vicious cycle of patron-client politics which often distorts electoral democracy in the country—with impoverished populations being mobilized on the promise of political largesse. It transcended—if temporarily—ethnic and religious divisions that have fueled conflict in Sri Lanka. It provided a space for youth activism rarely visible in the political mainstream. And it also provided a rare space for alternative cultural expression, including a visibly active LGBTQ community. One could cautiously argue that the aragalaya represented the emergence of a sense of democratic citizenship that has been rarely visible in Sri Lanka’s postcolonial history, despite Sri Lanka’s long tradition of electorally sanctioned democratic transitions of power at regular intervals. But since July 9th when the aragalaya peaked, forcing the executive president Gotabhaya Rajapaksa to flee the country and subsequently resign, the historic gains of the struggle have been rapidly reversed. A parliament, dominated by the ousted president’s party, the Sri Lanka Podu Jana Peramuna (SLPP), supported the election of Ranil Wickremasinghe—a deeply unpopular six-time prime minister—as executive president, resulting in a situation where the very political forces that were rejected by the aragalaya and had seemingly lost their legitimacy rapidly reasserted themselves. Wickremasinghe, a canny and expedient politician, swiftly undermined the aragalaya through two strategies. One was to unleash a wave of state repression with arbitrary arrests and abductions, severely undermining the “liberal democratic” image Wickremasinghe has been careful to cultivate throughout his career. The other strategy has sought to undermine the legitimacy of the people’s movement by characterizing it as a form of anarchy: a deeply conservative and reactionary discourse which has unfortunately found some resonance in society, particularly among segments that have an instrumental motive for backing Wickremasinghe, who they believe will bring economic stability. Democracy, or something like that All of which begs the question: how can the rapid reversal of the aragalaya gains be explained? Given the seeming rapidity with which the aragalaya arose and its apparently equally swift decline, the nature of the aragalya and what it represents in terms of Sri Lanka’s democratic history requires closer scrutiny. The characterization of the aragalaya as a form of anarchy can be traced to a conservative political culture where mass politics, despite regular elections, has had an ambiguous status. Sri Lanka received universal franchise in 1931, ahead of all of its colonial peers. But from the very outset Sri Lanka’s political elite argued against universal franchise, worried about its implications for their authority. They instead argued for a restricted franchise and expressed deep reservations about the ability of the “people” to act with political responsibility. But when the Doughnomore Commission recommended universal franchise in 1931, despite elite objections, the political elite scrambled to work around it by building ethnically and religiously partisan voter bases rather than work towards a more democratically enlightened citizenry. This effectively resulted in the beginnings of a system of patronage politics, and at the same time laid the foundations for an ethnically polarized political culture that has bedeviled the country since independence. Unlike in neighboring India where the political elite were able to mobilize people through an anti-colonial agenda and develop a sense of pan-Indian identity (despite its Hindu-centric nature), Sri Lanka’s elite politics in the period leading up to independence in 1948 failed to articulate such a Sri Lankan identity. In post-independence Sri Lanka, therefore democratic politics easily translated into majority rule, which some commentators have dubbed a form of “ethnocracy”. Although transitions of political power in Sri Lanka have taken place through regular electoral cycles, the minimalist operation of democracy masked a deeply illiberal political culture. One dimension of this illiberality is in how the entrenched culture of Sinhala majoritarianism in the country has marginalized minorities—initially the ethnic Tamil community, and more recently the Muslim community. Sri Lanka’s thirty-year militant conflict where a faction of the Tamil minority fought for an independent state was a direct outcome of this illiberal democracy where the electoral domination of the Sinhala numerical majority led to a distorted rationalization and normalization of majority rule. At the same time, the post-independence Sri Lankan state was unable to establish a system of social and economic justice, an inability which perhaps explains the two armed insurrections among the Sinhala youth in the 1970s and 1980s. Both uprisings were brutally suppressed, and the state’s violent response to the Sinhala youth mirrored how it dealt with Tamil militancy, even if the ethnically biased nature of the state resulted in a more insidious form of state violence against Tamil militancy. In post-independence Sri Lanka, democratic politics easily translated into majority rule, which some commentators have dubbed a form of “ethnocracy”. In Sri Lankan political history the two Sinhala youth uprisings and the Tamil secessionist movement stand as the three most significant people’s uprisings against the state. All three were violent in nature, advocated the use of militant force to overthrow and challenge the state, and were also ethnically marked and geographically confined to a particular territory of the country. While all three uprisings emerged from what might be called a “democratic deficit” in the country’s political mainstream, their ambition could not be termed as truly democratic because of the militant and authoritarian nature of the politics they represented. It is against this history of armed insurrection as well as a warped and majoritarian, albeit seemingly smooth system of electoral politics, system of democracy, that one has to read the aragalaya —both its potentials and limitations. Gotabhaya’s Many Sudden Turns of Fortune The broader context to the emergence of the aragalaya lies in the historic mandate Gotabhaya Rajapaksa received in 2019, winning six point nine million votes—the largest presidential electoral margin in Sri Lankan history. Islamophobia in the aftermath of the Easter Sunday bombings of 2019 and nakedly racist political campaigning shored up a narrative of existential fear in the Sinhala majority and drove them in their millions to vote for Rajapaksa. But these developments were also accompanied by a non-ethnically marked discourse about a need for substantive political change. While Gotabhaya is a member of the Rajapaksa dynasty, headed by his charismatic two-time president and elder brother Mahinda, he was marketed as the “non-political” Rajapaksa option: the technocrat who successfully guided the war effort in 2009 as Defense Secretary and therefore, an efficient apolitical candidate. Gotabhaya was seen perhaps as the Sri Lankan incarnation of a fusion between Malaysia’s Mahathir Mohamed and Singapore’s Lee Kwan Yu—an efficient, nationally committed, benign authoritarian figure who would herald tough and efficient governance. It's easy to forget that in 2019, Gotabhaya’s overwhelming victory was hailed as a historic harbinger of change. Sinhala youth embraced his win enthusiastically. Days after his election a spontaneous nation-wide graffiti campaign (with the exception of the North) transformed wayside walls into colorful, if cheesy, murals themed variously on Sri Lanka’s past grandeur as well as visions for a future of prosperity. And yet, just two years from this moment of hope, it was arguably the same youth who gathered in their hundreds of thousands to oust Gotabhaya—disillusioned by consistently failing governance and holding him accountable for robbing them of their future, a disillusionment that resonated in the slogan “Gota Go Gama” (Gota Go Home). In this context, both Gotabhaya’s election within the recognized democratic system, and his ousting outside the electoral process, need to be seen as democratic. From a liberal perspective, the election of Gotabhaya—an heir to the dark and poisonous racist legacy of the Rajapaksa dynasty— was an illiberal outcome. But it was nonetheless an expression of the people’s will. Similarly, the ousting of Gotabhaya through a popular uprising, when no constitutionally sanctioned alternative was forthcoming is also democratic in its broadest sense. Undoubtedly, extreme economic precarity fueled the aragalaya . However, amidst the solidarity forged by precarity, less instrumental political desires also found a space of expression. This was facilitated by the formlessness of the aragalaya which had no distinct political leadership, no distinct political ideology, and no singular authorship, thus making it possible for diverse forces to coalesce under its banner. Set against the history of Sri Lanka’s armed insurrections sketched above, it is also easy to see why the aragalaya is an exceptional moment of democratic activism. But the very diversity of the aragalaya also meant that many contradictory forces operated within it, and these contradictions, in turn, speak to the limits of what the aragalaya represented. This formless nature of the aragalaya can be attributed to its beginnings. The most immediate precursors of the aragalaya were two protest movements that emerged during the early phase of Gotabhaya Rajapaksa’s presidency. One was a nationwide teachers’ struggle for better wages, which morphed into a national movement questioning the legitimacy of the government and its inability to be receptive to just demands by important segments of society. This was closely followed by a disastrous overnight attempt to switch to one hundred percent organic farming, resulting in farmers across the country protesting as yields plummeted and the entire agricultural sector was plunged into crisis. These two protest movements shook the seemingly solid foundation of the Gotabhaya Rajapaksa government. The rising public dissatisfaction swiftly accelerated as the economic crisis worsened and daily essentials such as fuel, cooking gas and increasingly medicines became scarce. Soon enough, the burden of economic mismanagement was laid squarely on the doorstep of the Rajapaksa presidency. In this context, both Gotabhaya’s election within the recognized democratic system, and his ousting outside the electoral process, need to be seen as democratic. On March 31st, a series of small-scale protests and candlelight vigils—a largely urban middle class phenomenon—that had emerged throughout Colombo and its suburbs turned into a more confrontational mode. Thousands congregated in the vicinity of Gotabhaya Rajapaksa’s private home in the suburbs of Colombo. In the ensuing confrontation with the police scuffles broke out, a bus was torched, and teargas was used. The government attempted a swift crackdown with mass arrests, but the legal community ensured that the protestors were provided protection. Mobilization for this protest happened mainly through social media—which became the default medium for protest mobilization and dissemination of aragalaya news. While the earlier teachers' and farmers' protests had provided the political backdrop, it was this urban activism that created the immediate conditions for the emergence of the aragalaya in a more visible and concrete form. Soon after the events of March 31st, the “Gota Go Gama” village became established as a group of youth began occupying the area in front of the Presidential Secretariat at Galle Face in the heart of the downtown business district in Colombo. As protests continued throughout the country, Gota Go Gama (or GGG) became their focal point. From its outset some organized groups with connections to political parties like the Janatha Vimukthi Peramuna (JVP), the leftist party which launched the two insurrections against the state in the 1970s and 80s, and the Frontline Socialist Party (FSP), a breakaway group from the JVP were present at GGG. In addition, the Inter University Students Federation (IUSF), which is connected to the FSP and has a large following among undergraduates at state universities, along with other trade unions and activist groups, were also present. However, none of these groups could claim ownership over the aragalaya . Instead, a group of youth with no distinct political affiliations essentially managed the GGG site. This politically non-partisan nature of the GGG site allowed it to flourish with a library, an IT facility, a kitchen, and even a cinema hall. At the height of its existence, GGG resembled a mini-township. Aragalaya Culture The cultural dynamics of GGG are immensely significant. GGG allowed a rare mainstream space for alternative cultural expression. The musician Ajith Kumarasiri, a man with a strong presence in the avant-garde musical scene in Sri Lanka but long shunned by the musical establishment, played a prominent role with regular musical performances. Alongside the music, installation and performance art that were both thematically and formally daring found expression at GGG. This cultural dynamic of the aragalya challenged the hegemonic Sinhala national cultural form—a form that is deeply conservative and has little space for marginal identities like the LGBTQ community. The “alternative” cultural identity of GGG also facilitated two significant events. One was the Mullivaikkal Remembrance Day which falls on May 18th and marks the deaths of hundreds of Tamil civilians in the closing stages of the war in 2009. This commemoration, effectively banned by the Sri Lankan state due to its human rights implications, and an uncomfortable truth that the Sinhala community had long ignored, was marked at GGG. What made the event all the more significant was the participation of Buddhist priests—often seen as guardians of Sinhala nationalist ideology—in addition to clergy from other faiths such as the iconic Catholic priest Father Jeevantha Peiris who was closely identified with the aragalaya. The other significant event was a Pride March at GGG on 25th June—a mass celebration of sexual identities that was an unprecedentedly public challenge to the traditional political and cultural mainstream of the country. Still, even while the “alternative” cultural vibe of GGG and the aragalaya forcefully flagged a progressive movement, this aspect of aragalaya culture also jostled for power alongside more established undercurrents. For instance, GGG had a hut for disabled soldiers that promoted the narrative of the ranaviruwa (or war hero), a trope that was weaponized by the Rajapaksas to delegitimize minority political demands and shore up their patriotic Sinhala credentials. Supporters of the controversial war-winning miliary officer-turned-politician Sarath Fonseka were also present in the space of GGG, as was the Buddhist priest Omalpe Sobitha who has a history as a hardline Sinhala nationalist. Their presence could be read in multiple ways. It could mean they strategically maintained a presence within the aragalaya to ensure that its political power remained within the ambit of Sinhala nationalist interests. At the same time, it could also be read as a softening of Sinhala nationalist ideology, potentially creating more space for alternative political and cultural imaginaries. These competing interests and ideologies that were united under the common aragalaya banner of “Gota go Home” became more starkly visible in the aftermath of the July 9th “victory” when protestors stormed several key state buildings, including the Presidential Secretariat, resulting in Gotabhaya Rajapaksa fleeing the country and eventually resigning from the presidency. With the common enemy gone, the competing interests of the various groups represented within the aragalaya began to emerge more explicitly. The FSP began promoting a narrative that the aragalaya had delegitimized the entire parliamentary system in Sri Lank a and that a radical restructuring of the state was necessary. This was also accompanied by a strategic insertion of the notion of a “people’s council,” a seemingly progressive proposal that empowers more direct citizen engagement with governance but was also an obviously strategically motivated bid for the FSP to become relevant in mainstream politics. One narrative that has since emerged is that the aragalaya was hijacked by organized political interests: an accusation that was directed towards the FSP and the JVP by middle class and professional groups that backed the aragalaya but are deeply suspicious of revolutionary politics and subscribe to the more conservative “liberal democratic” discourse discussed above. This narrative of hijacking was not entirely new: indeed, it dovetailed into the incidents of May 9th—early days of the movement—when politically backed thugs, emerging from a meeting at the Prime Minister’s official residence, Temple Trees, unleashed brutal violence on GGG while the police and armed forces did little to intervene. In the aftermath of this unprovoked attack, there was a national backlash, with over 70 houses and properties belonging to politicians thought to be involved in the attack on GGG being torched. One parliament MP was also killed when a mob attacked his vehicle. This is an interregnum in which fluid new political forms are emerging. The spectacular democratic mobilization that emerged during the height of the aragalaya and the spirit of active citizenship it unleashed remains—as does the economic precarity that fueled it. The drivers of the violence of May 9th are unclear. While there was a spontaneous backlash immediately following the attack on GGG, what followed later in the night with systematic burning of politician’s houses had a much more organized dynamic, but it is unclear to this day who drove this wave of attacks. The vigilante violence was of course repudiated by the youth of the aragalaya. But in a deeply conservative political culture where revolutionary political action is viewed with extreme suspicion, May 9th marked a loss of innocence for the aragalaya. Today, there is a sustained campaign to discredit the aragalaya by associating it with violence, a pernicious characterization of it as a “breakdown of the rule of law.” It is frustrating to insist on the fact that given Sri Lanka’s violent history, the aragalaya was indeed a peaceful expression of the people’s will, and not a violent, anarchic movement. It was a creatively conceptualized and executed protest movement that maintained non-violence as a cardinal principle. And it is precisely this peaceful nature of the protest that frustrated a national security apparatus used to the mobilization of force and violent confrontation to suppress dissent. What now? The aragalaya in the form it took since March 31st and lasted more than 100 days appears to be over now. The last of the physical structures that marked the GGG occupy site have been dismantled. As of now, the repression of the Ranil Wickremasinghe government along with its insidious narrative to discredit the aragalaya as a form of anarchy appears to be at least temporarily succeeding. But if we’ve learned anything over the past few months it is that this moment in Sri Lanka is a moment of significant and unpredictable transition. This is an interregnum in which fluid new political forms are emerging. The spectacular democratic mobilization that emerged during the height of the aragalaya and the spirit of active citizenship it unleashed remains—as does the economic precarity that fueled it. The aragalaya marked a distinct turning point in Sri Lanka’s political history as a population used to exercising their franchise within a system of political patronage, at least briefly, transcended instrumental political motivations to demand democratic accountability. The aragalaya also rattled a complacent political class that imagined it was secure within an entrenched patron-client political system. Politics in Sri Lanka are unlikely to follow a familiar script in the aftermath of the aragalaya. The traditional political party system of the country has confronted a significant existential challenge due to the aragalaya . A vast majority of the political parties and their representatives in the current parliament have had their legitimacy undermined—they are held accountable for the current state of the country and they are associated with a corrupt political culture. However, what the swift reversal of fortunes in the aftermath of the aragalaya suggests is that Sri Lanka’s long-entrenched culture of political impunity with deeply institutionalized structures of corruption, nepotism, repression, and violence are unlikely to change easily. If the brief hope kindled by the aragalaya is to survive and be fashioned into viable and sustained political change, it will take committed and long-term engagement by a variety of actors, including civil society and progressive political parties, as highly contingent socioeconomic conditions continue to shape the politics of the moment. Whether anything of this nature will emerge is anybody’s guess. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Op-Ed Sri Lanka Aragalaya Gotagogama Energy Crisis Economic Crisis Poverty Gotabhaya Rajapaksa Mullivaikkal Remembrance Day Ranil Wickremasinghe Contradiction Teachers Movement Movement Organization Movement Strategy Precarity Postcolonialism Doughnomore Commission Universal Franchise Ethnocracy Sri Lankan Civil War Liberation Tigers of Tamil Eelam Islamophobia Easter Sunday Bombings of 2019 Lee Kwan Yu Mahathir Mohamed Technocracy Agricultural Labor Agriculture Agrarian Economy Janatha Vimukthi Peramuna Sinhala Nationalism Majoritarianism Accountability Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. 27th Feb 2023 AUTHOR · AUTHOR Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

ARTIST Mon M MON M is an organizer, writer, and illustrator from Bangalore, India currently organizing around surveillance, ending jail expansion, and prisoner support programs in Lenapehoking/New York City. Her work focuses on undoing the reformist creep of progressive criminal justice institutions and policies, as well as on abolitionist feminist strategies for ending the carceral state, and anti-caste solidarity within the South Asian diaspora, as a Savarna individual. She is a co-author of 8 to Abolition , as well as a founding co-organizer of the National No New Jails Network , and Free Them All for Public Health . ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

JOURNALIST Azad Essa AZAD ESSA is a senior reporter for Middle East Eye . He worked for Al Jazeera English between 2010-2018 covering southern and central Africa for the network. He is the author of Hostile Homelands: The New Alliance Between India and Israel (Pluto Press, February 2023). He is based in New York City. JOURNALIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Despite the marketing of her debut novel "Gold Diggers," Sanjena Sathian did not set out to interrogate the model minority myth or the dynamics of class in the Indian-American diaspora. Instead, she began with the relationship of a mother and daughter. The world of an "uncritical and unthinking ambition" gradually began to assert itself in the narrative. INTERACTIVE Chats Ep. 10 · On Ambition, Immigration, Class in “Gold Diggers” AUTHOR AUTHOR AUTHOR Despite the marketing of her debut novel "Gold Diggers," Sanjena Sathian did not set out to interrogate the model minority myth or the dynamics of class in the Indian-American diaspora. Instead, she began with the relationship of a mother and daughter. The world of an "uncritical and unthinking ambition" gradually began to assert itself in the narrative. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Live Georgia Ambition Class Class Struggle World-building Fiction Debut Authors Debut Novel Upper-caste Rules Rule-breaking Immigration Cultural Narratives of Immigration Indian-American Exceptionalism Indian-American Diaspora Good Immigrant Novels BIPOC Audiences Explanation Immigrant Pressure Unconscious Identity Miranda July Vanity Gold Diggers Ruth Ozeki Latin American Literature Magical Realism Japanese Literature Alchemy Satire Fantasy Science Fiction Genre Genre Tropes Genre Fluidity Jhumpa Lahiri Zadie Smith Philip Roth Irreverence Diaspora Big History Revisionism Myth of the Model Minority Mythology Private Schools Gold Rush Eternalism Temporality SAAG Chats Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. DISPATCH Live Georgia 21st Jun 2021 Writer and journalist Sanjena Sathian in conversation with Vishakha Darbha about rule-breaking, questions from her publishing team, whether explaining world-building came easily to the writing of her debut novel, Gold Diggers (Random House, 2021), what makes a "good" immigrant novel, and writing about the Indian-American diaspora in its own mythologies, complications, and exceptionalism. Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Next Up:

“No, the madness in our home, like the rest of this country, lies in our search for a strongman. In our home, no man is strong enough.” “No, the madness in our home, like the rest of this country, lies in our search for a strongman. In our home, no man is strong enough.” The Lucky Ones: A Memoir by Zara Chowdhary (Crown, July 2024). Cover design and illustration by Arsh Raziuddin. Artist Ahmedabad AUTHOR · AUTHOR · AUTHOR 19 Oct 2024 th · BOOKS & ARTS REPORTAGE · LOCATION How to Grow Flowers in a Bedroom By the end of March, there is no place to breathe in C-8. Papa has forbidden us from standing by the windows. He monitors how long we stand on the balcony, whom we look at, what we’re thinking. Inside, it feels like all air is finite. We’re trampling over one another for space to think, to be. Our silences have gone up our nostrils, come out our mouths, run out the door into the elevator, and fled. Our words now dance on the riverbed, mocking us from afar. We will never be free. Every room in this home is tainted by violence. Papa and Amma’s dark bedroom with its single small window, the kitchen with its deep sink and cloistered shelves, the laundry room, where I hide and write in a diary, the mori or dishwashing bathroom behind the kitchen, where only Gulshan is sent to clean our muck, Dadi’s room, with a view of the street but also Dadi’s fuming mouth. My parents’ room was where Misba and I hid each night during drinking time. We would hear loud, animated conversation outside—glasses chinking, something crude said, some laughter. Then the voices would always grow louder, angrier. Something would be thrown, something smashed. Then Papa would storm off to the bathroom. The door would be slammed. A moment of quiet. In my earliest memory of a night like this, when I was barely three, Amma came rushing into the bedroom, Phupu close behind her. “Rukhsi! Don’t just walk away . . .” Amma turned to close the door on her. “Zahida apa, please. Please.” Her voice wobbled. “Just please let me be.” She came around and sat at the edge of the bed. There, sitting a couple feet from my mother, I felt it for the first time: my mother’s burden shifting, growing, moving restlessly inside her, welling up in her wide, honey-colored eyes. But Amma squeezed her eyes shut and pushed it back in. I remember inching closer to Amma, placing tiny hands on her hunched shoulders, attempting an awkward hug. I remember Amma taking my tiny palms and shaking me off like a wet leaf stuck to her clothes. “Please Zara. Leave me alone.” I felt my own burden sprout, a tiny seed of helplessness. “Kidhar hai Rukhsi?” I remember my father slurring, demanding to be told where his wife was hiding. Please don’t tell him, Phupu, I prayed in this, the worst game of hide-and-seek ever. I remember Phupu’s deadpan voice telling him. I remember how he threw the door open, exploded into the room. “Bitch. Come back outside!” Then I remember Papa’s eyes accidentally meeting mine instead of hers, ready to fire, locked on a target. My eyes are wide and big like hers but dark like his. And yet for the first time I see my twinkle-eyed, smiling father—who tickled me till I collapsed giggling, who scratched my knee till I fell asleep—towering over me from the foot of the bed, glaring at me and seeing not his daughter but a limb that has grown from this woman. A part of her. He spits. “Do your drama. Brainwash the girl against me.” He rumbles, his mountain body barely holding back its rage. I sit there frozen between these two. The woman who won’t let me touch her, the man whom I dare not approach. All I want to whimper is I love you both . I remember Amma finally shaking out of her trance, then standing up and walking out of the room, hoping to draw the fire away, to spare me. I remember Papa turning to look at me one last time, hate in his eyes slowly melting into inebriated confusion. The fire and its first victim walked away. I remember Amma coming back later that night to call us to dinner. “Come on, girls,” she says in that shaky voice, not letting me look into her eyes anymore. When I hesitate to leave the safety of the bed and go out where the plates will tremor like me, she looks at me with complete emptiness. There is no love there, no joy, no life, only exhaustion. “Please, Zara,” she repeats. I quietly, guiltily get off the bed and follow her. I know then that there is no running, no saving myself. I can never leave. Not without my amma. “Arre, no two states of this country can stand each other. Everyone is fighting over food or language or rivers. We have four in this house!” we learn to say, trying to normalize or exoticize our home’s dysfunction for ourselves. It’s true. Dada is from Punjab in the North. Dadi is Gujarati. Amma’s mother is from the mango coast of western India. Her dead father is from the South. We blame the diversity for the disturbance. Too many stories in collision with one another, no shared tongue. But it’s also very not-true. Amma said yes to this marriage dreaming she’d learn to dance the garba, a dance she’d always marveled at from a thousand miles away. Phupu can cook herself any cuisine in the world, but she rushes to the table first when Amma is frying dosas. Dadi hates the mention of Dada’s family in Pakistan’s Punjab, but she pushes Misba and me to dance in front of the guests to every Punjabi bhangra song played at weddings we attend. “Tumhaare khoon mein hai yeh,” she reminds us. It is all in our blood. Amma and Baby Zara. Courtesy of the author. No, the madness in our home, like the rest of this country, lies in our search for a strongman. In our home, no man is strong enough. Dada is haunted by how he failed. Papa withers under the burden of his own mistakes. The women become dictators when they become divorced or widowed. There is no room in C-8 Jasmine for grace. So we huddle in Amma’s bedroom each night, telling each other stories, making up imaginary ones in which we live in forests by little streams, just Amma, Misba, and I. There is a tape deck in the room, a wedding present for Papa and Amma from his friends the Reddys. It’s his prized possession. Papa takes us every Friday to Law Garden, where in the evenings a man sells pirated and original audiotapes from the back of a converted Tempo Traveller: albums of every new and old Bollywood movie, as well as collections of ghazals, devotional Sufi and bhakti music. Papa never buys pirated. They will spoil his deck. If ever his purchases turn out to be fakes and the tape spools out and jams the player, he goes back and fights with the tape walla, calls him a dozen names. And then buys three more tapes. He buys Nusrat Fateh Ali Khan for himself. Some mornings he plays it after his shower and raises his hands and hums “Allah Hu, Allah Hu” as if temporarily possessed, energized, tentatively tethered to a faith he doesn’t understand. This is the only grace I see. I watch him, his soft beer belly rising and falling, the depression dropping away like the seams of his semitransparent cotton kurta suspended around his heaviness. Since the riots started, he hasn’t played it. But one Sunday, bored out of his mind, he opens the deck up and cleans the head with cotton swabs and Dada’s eau de cologne. When Misba and I shut the door of Amma’s bedroom that evening, we look at each other conspiratorially. We switch on the tape deck and allow ourselves the same grace. Grace is the only language Misba and I know to speak in. It has been our shared tongue as sisters since before we ever learned how to talk. We don’t yet know what it means to save each other, but we know something happens when we dance. We feel redeemed. We have done this each evening from the moment we started to walk, from the moment we recognized our world burned like clockwork each evening. We insert our favorite tapes one after another, hits from 2001: Lagaan, Kabhi Khushi Kabhie Gham, Dil Chahta Hai, Aks, Lajja, Nayak, Pyaar Tune Kya Kiya, Zubeidaa . We haven’t watched all the movies. Papa takes us to the theater only for the big ones. But song after song we go, moving and making the movie with our bodies. Through the moods and bhavas and rasas of each song, we make up steps and build facial expressions, we construct entire lives and love stories filled with heartbreak and mischief and sublime joy. Amma slips into the room in between dinner preparations to watch us. A few times, Dadi and Phupu peep inside too. Apa sits on the bed, arms folded, her grim mouth slackening into a smile. There is nothing to dance about right now. But in C-8 Jasmine, there seldom is. Dance is the only way Misba and I know to transcend this reality. When Amma comes in to watch, I watch her back, as she leans her tired body against the linen closet, her smile building from her thick lips to her honey eyes. Soon she’s clapping with our every shimmy and shake. She lets out a soft hoot. This is all she can do. Dance is teaching us what she can’t, mustn’t. That we have power. That as long as we have each other, our souls will be okay. She watches us bloom amid all this smoke, gracefully stretching into life, grateful we are hers, thankful we are alive. ∎ Excerpted from The Lucky Ones: A Memoir by Zara Chowdhary (Crown, July 2024). SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Essay Ahmedabad Memoir Childhood India Pakistan Conflict Nationalism Feminism Non-fiction Excerpt Resilience Domestic violence 2002 Gujarat Riots Multiculturalism Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

ARTIST, FILMMAKER Vinay Ghodgeri VINAY GHODGERI is a visual artist based in Goa, India, who works across painting, photography, and film mediums. His artwork has been shown at group exhibitions in Auroville, Pune, and Goa, and his illustrations have been published in Kyoorius Design Magazine ’11. He is currently working on his directorial debut, a Marathi language feature film, A Shadow Rising . ARTIST, FILMMAKER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Beatrice Wangui's quest to challenge Kenya’s punitive seed laws tells a larger story about the nature of indigenous knowledge and preservation, as well as that of agrarian labour, situated in a longer history of the public and private approaches to agriculture that are promulgated under the guise of modernization. THE VERTICAL Beatrice Wangui's Fight for Seed Sovereignty in Kenya Beatrice Wangui's quest to challenge Kenya’s punitive seed laws tells a larger story about the nature of indigenous knowledge and preservation, as well as that of agrarian labour, situated in a longer history of the public and private approaches to agriculture that are promulgated under the guise of modernization. Pierra Nyaruai Farming has always been a bonding point between my father and me. When I ventured into agriculture, I only understood food systems from the point of small-scale farming. As a way of learning, my father would often bring some seeds and cuttings when he went somewhere new. This was one of the ways we introduced new foods to our small farm and onto our plates. In 2012, the Kenyan government enacted a law that made seed saving and exchange illegal, thereby posing a threat to an indigenous system of seed exchange that has persisted for eons. When I arrived at Beatrice Wangui’s house she was showing farmers how to build a vertical garden. Her home is an oasis in the dry Gilgil area and a large group of farmers, local and from other countries, stood around her as she showed them how to make a blend of manure, charcoal dust, and soil to grow vegetables in. This is a regular activity on her small but well-sectioned agricultural island. One side of her farm is a thriving bunch of vertical gardens teeming with leafy greens. Corners on the ground spot herbs like mint and rosemary. There is a short spread of beds hosting at least six varieties of managu (black nightshade ) , terere (Amaranth ) , mitoo (slenderleaf) and saget (spider plant). Now 59 years old, Beatrice has been an organic farmer for many years as well as champion of seed sovereignty. Indigenous communities in Kenya have had to work around the systemic effects and hurdles in the way of corporate capture of seeds, promulgated in the form of millions of US dollars by international seed companies to monopolize the seed sectors in Africa. I wanted to dive into the world of seed saving to see how people responded to or worked around the law that criminalized these traditions. Beatrice training a group of visitors on creating vertical gardens. Photo courtesy of the author. Seed sovereignty upholds the farmer’s right to save, use, exchange, and sell his or her own seeds. Seed regulation in Kenya began in 1972, ten years after the country gained independence. The Seed and Plant Varieties Act of 1972 entered into force in 1975, was promulgated in 1991, and later amended in 1994. While Kenya joined the World Trade Organization (WTO) in 1995, the country had already enacted its own unique (sui generis) law on Plant Breeders' Rights (PBRs). However, this PBR law did not take effect until 1999 after Kenya ratified the 1978 Act of the International Union for the Protection of New Varieties of Plants (UPOV). In 2012, Kenya updated its PBR law through the Seeds and Plant Varieties (Amendment) Act . Then, in 2015, the country furthered its commitment to UPOV by ratifying the 1991 UPOV Convention, which outlines stronger protections for new plant varieties. Today, seed saving is an essential part of Kenyan livelihoods, especially in rural parts of the country. In Kenya, 70 percent of the rural population is dependent on agriculture. As a child, I remember when my parents would return from visiting new places with some form of seed propagation. They could be suckers for a new vegetable, vines, or a handful of seeds – all a means to grow the crops that caught my parents’ interest. This was how I came to know and love a vegetable called rhubarb. In many rural homes across Kenya, kitchens are not only a space to prepare food. Hanging on walls, under the traditional fire racks near the fireplace are seeds tied up in leaves along with calabashes. The warmth from the fire dries them out and the smoke makes them nearly pest-proof. Smoking is one of the most traditional modes of seed saving. In many communities, other methods such as diatomite, cow dung, soot, and ash are used. This is a tradition for most, if not all the communities in Kenya. Slenderleaf pods at Beatrice’s farm. Photo courtesy of the author. Punitive Seed Laws The Seed and Plant Varieties Act of 2012 criminalizes farmers from “selling, sharing and exchanging” unregistered or uncertified seeds. Farmers who break the law risk a prison sentence of up to two years or a fine of up to a million Kenyan shillings. Beatrice says she refused to keep silent in the face of laws that promote corporate greed over the lives and livelihoods of communities across the country. She joined other farmers and civil society organizations as a petitioner in a case against the law prohibiting seed saving. The alliance of farmers and activists has courageously spoken up against the laws, arguing for the rights of small-scale farmers to save, exchange, and use their seeds freely. Their persistence and hard work has inspired farmers across Kenya to join their cause. They hold seed exchange fairs to fight for the right to cultivate indigenously obtained and retained seeds. Apart from them, fifteen other small land-holding farmers have filed a petition to the court to amend the law. Speaking to Beatrice feels like a plunge in a well of seed preservation knowledge. On a tour of her seed-saving facility, she pointed out the strategic use of all the materials she had on hand. She explained how each element played a role in ensuring the survival of seeds for up to years in glass bottles. Even though her village has no piped water, the facility carries stacks of jerry cans filled with water. The water helps keep the temperature low which reduces heat damage. The room is also low and near the ground. Beatrice at her community seed bank. Courtesy of Gregory Onyango As custodian of the community seed bank, Beatrice is tasked with ensuring that the seeds are in tip-top shape by the time farmers come to collect them. “Farmers bring in their seeds after drying them,” she says. “And they must wait at least a season before they come to get seeds. A farmer cannot take all the seeds at the same time. There was a year we had two failed rainy seasons and only the last batch of the seeds made it.” It begins with inspecting the seeds for moisture content. If the seeds do not pass this test, the farmer is required to take them back and reduce the moisture content to the required level. The next step is to check out the seed's germination percentage. "This is done by picking about 10 seeds, placing them in a bowl, and covering them with a wet tissue. In about 5 days, we observe how many out of the ten have germinated," Beatrice explains. If three or fewer seeds germinate, it means the germination percentage is low and the seeds are not of good quality and cannot be stored. Depending on the quantity of seeds, some are stored in airtight glass bottles while others are stored in buckets. A film of ash from special trees and bushes is spread over the seeds to keep both moisture and pests off. With help from organizations such as The Seed Savers Network , Beatrice has been able to increase her knowledge and capacity for seed saving. The Seed Savers Network was registered in 2009 and to date, has helped establish more than 52 community seed banks, including one that Beatrice looks after. The Seed Savers Network, she says, taught them seed characterization which is a process they follow from when they plant a seed to when they harvest it. Beatrice Wangui in her garden. Courtesy of Gregory Onyango Beatrice is keen on passing on this knowledge to her children and grandchildren. Her granddaughter who is named after her and attends a local secondary school, is very hands-on with the project. She has grown up around her grandmother and has learned how to tell different varieties apart and how to preserve each of them. “When she is around and I have visitors, she teaches them just as well as I can. She understands how to handle seeds and crops alike,” she shares. For Beatrice and others like her, awareness of such methods and passing on their teaching is an integral part of the process without which indigenous knowledge would disappear. With help from organizations such as The Seed Savers Network, Beatrice can meet other seed savers from across Kenya and the world. As she shows me around, explaining varieties of maize, beans, tomatoes, and vegetables she hopes the indigenous knowledge, varieties, and preservation are not stifled by punitive seed laws. As she fights for indigenous seeds through the law and by practicing traditional methods, she hopes her cross-generational efforts pay off and the indigenous crop varieties stand the test. Beatrice is one of many people and organizations working to maintain the s tate of seed sovereignty . Despite the immense challenges posed by the corporate consolidation of the seed industry, the movement for seed sovereignty continues to gain momentum around the world. From seed libraries and seed swaps to on-the-ground breeding projects, countless individuals and communities are taking steps to reclaim their ancestral seed heritage and maintain biodiversity. By resisting the privatization of this vital common resource, seed savers stand as stewards of food security and biodiversity for present and future generations. Though the battle is an uphill one, the remarkable resilience and creative cross-pollination within the seed sovereignty movement offer a path toward a more regenerative, equitable, and sustainable food system. ∎ Farming has always been a bonding point between my father and me. When I ventured into agriculture, I only understood food systems from the point of small-scale farming. As a way of learning, my father would often bring some seeds and cuttings when he went somewhere new. This was one of the ways we introduced new foods to our small farm and onto our plates. In 2012, the Kenyan government enacted a law that made seed saving and exchange illegal, thereby posing a threat to an indigenous system of seed exchange that has persisted for eons. When I arrived at Beatrice Wangui’s house she was showing farmers how to build a vertical garden. Her home is an oasis in the dry Gilgil area and a large group of farmers, local and from other countries, stood around her as she showed them how to make a blend of manure, charcoal dust, and soil to grow vegetables in. This is a regular activity on her small but well-sectioned agricultural island. One side of her farm is a thriving bunch of vertical gardens teeming with leafy greens. Corners on the ground spot herbs like mint and rosemary. There is a short spread of beds hosting at least six varieties of managu (black nightshade ) , terere (Amaranth ) , mitoo (slenderleaf) and saget (spider plant). Now 59 years old, Beatrice has been an organic farmer for many years as well as champion of seed sovereignty. Indigenous communities in Kenya have had to work around the systemic effects and hurdles in the way of corporate capture of seeds, promulgated in the form of millions of US dollars by international seed companies to monopolize the seed sectors in Africa. I wanted to dive into the world of seed saving to see how people responded to or worked around the law that criminalized these traditions. Beatrice training a group of visitors on creating vertical gardens. Photo courtesy of the author. Seed sovereignty upholds the farmer’s right to save, use, exchange, and sell his or her own seeds. Seed regulation in Kenya began in 1972, ten years after the country gained independence. The Seed and Plant Varieties Act of 1972 entered into force in 1975, was promulgated in 1991, and later amended in 1994. While Kenya joined the World Trade Organization (WTO) in 1995, the country had already enacted its own unique (sui generis) law on Plant Breeders' Rights (PBRs). However, this PBR law did not take effect until 1999 after Kenya ratified the 1978 Act of the International Union for the Protection of New Varieties of Plants (UPOV). In 2012, Kenya updated its PBR law through the Seeds and Plant Varieties (Amendment) Act . Then, in 2015, the country furthered its commitment to UPOV by ratifying the 1991 UPOV Convention, which outlines stronger protections for new plant varieties. Today, seed saving is an essential part of Kenyan livelihoods, especially in rural parts of the country. In Kenya, 70 percent of the rural population is dependent on agriculture. As a child, I remember when my parents would return from visiting new places with some form of seed propagation. They could be suckers for a new vegetable, vines, or a handful of seeds – all a means to grow the crops that caught my parents’ interest. This was how I came to know and love a vegetable called rhubarb. In many rural homes across Kenya, kitchens are not only a space to prepare food. Hanging on walls, under the traditional fire racks near the fireplace are seeds tied up in leaves along with calabashes. The warmth from the fire dries them out and the smoke makes them nearly pest-proof. Smoking is one of the most traditional modes of seed saving. In many communities, other methods such as diatomite, cow dung, soot, and ash are used. This is a tradition for most, if not all the communities in Kenya. Slenderleaf pods at Beatrice’s farm. Photo courtesy of the author. Punitive Seed Laws The Seed and Plant Varieties Act of 2012 criminalizes farmers from “selling, sharing and exchanging” unregistered or uncertified seeds. Farmers who break the law risk a prison sentence of up to two years or a fine of up to a million Kenyan shillings. Beatrice says she refused to keep silent in the face of laws that promote corporate greed over the lives and livelihoods of communities across the country. She joined other farmers and civil society organizations as a petitioner in a case against the law prohibiting seed saving. The alliance of farmers and activists has courageously spoken up against the laws, arguing for the rights of small-scale farmers to save, exchange, and use their seeds freely. Their persistence and hard work has inspired farmers across Kenya to join their cause. They hold seed exchange fairs to fight for the right to cultivate indigenously obtained and retained seeds. Apart from them, fifteen other small land-holding farmers have filed a petition to the court to amend the law. Speaking to Beatrice feels like a plunge in a well of seed preservation knowledge. On a tour of her seed-saving facility, she pointed out the strategic use of all the materials she had on hand. She explained how each element played a role in ensuring the survival of seeds for up to years in glass bottles. Even though her village has no piped water, the facility carries stacks of jerry cans filled with water. The water helps keep the temperature low which reduces heat damage. The room is also low and near the ground. Beatrice at her community seed bank. Courtesy of Gregory Onyango As custodian of the community seed bank, Beatrice is tasked with ensuring that the seeds are in tip-top shape by the time farmers come to collect them. “Farmers bring in their seeds after drying them,” she says. “And they must wait at least a season before they come to get seeds. A farmer cannot take all the seeds at the same time. There was a year we had two failed rainy seasons and only the last batch of the seeds made it.” It begins with inspecting the seeds for moisture content. If the seeds do not pass this test, the farmer is required to take them back and reduce the moisture content to the required level. The next step is to check out the seed's germination percentage. "This is done by picking about 10 seeds, placing them in a bowl, and covering them with a wet tissue. In about 5 days, we observe how many out of the ten have germinated," Beatrice explains. If three or fewer seeds germinate, it means the germination percentage is low and the seeds are not of good quality and cannot be stored. Depending on the quantity of seeds, some are stored in airtight glass bottles while others are stored in buckets. A film of ash from special trees and bushes is spread over the seeds to keep both moisture and pests off. With help from organizations such as The Seed Savers Network , Beatrice has been able to increase her knowledge and capacity for seed saving. The Seed Savers Network was registered in 2009 and to date, has helped establish more than 52 community seed banks, including one that Beatrice looks after. The Seed Savers Network, she says, taught them seed characterization which is a process they follow from when they plant a seed to when they harvest it. Beatrice Wangui in her garden. Courtesy of Gregory Onyango Beatrice is keen on passing on this knowledge to her children and grandchildren. Her granddaughter who is named after her and attends a local secondary school, is very hands-on with the project. She has grown up around her grandmother and has learned how to tell different varieties apart and how to preserve each of them. “When she is around and I have visitors, she teaches them just as well as I can. She understands how to handle seeds and crops alike,” she shares. For Beatrice and others like her, awareness of such methods and passing on their teaching is an integral part of the process without which indigenous knowledge would disappear. With help from organizations such as The Seed Savers Network, Beatrice can meet other seed savers from across Kenya and the world. As she shows me around, explaining varieties of maize, beans, tomatoes, and vegetables she hopes the indigenous knowledge, varieties, and preservation are not stifled by punitive seed laws. As she fights for indigenous seeds through the law and by practicing traditional methods, she hopes her cross-generational efforts pay off and the indigenous crop varieties stand the test. Beatrice is one of many people and organizations working to maintain the s tate of seed sovereignty . Despite the immense challenges posed by the corporate consolidation of the seed industry, the movement for seed sovereignty continues to gain momentum around the world. From seed libraries and seed swaps to on-the-ground breeding projects, countless individuals and communities are taking steps to reclaim their ancestral seed heritage and maintain biodiversity. By resisting the privatization of this vital common resource, seed savers stand as stewards of food security and biodiversity for present and future generations. Though the battle is an uphill one, the remarkable resilience and creative cross-pollination within the seed sovereignty movement offer a path toward a more regenerative, equitable, and sustainable food system. ∎ SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Rise by Ian Njuguna. SHARE Facebook Twitter LinkedIn Profile Kenya Climate Seed Sovereignty Agriculture Farming Beatrice Wangui Seed Saving Indigeneity Indigenous Seed Exchange Seed and Plant Varieties Act Agrarian Economy Rural Farmers Seed Savers Network Seed Banks Community Building Gilgil Nakuru County Sustainability Food Systems Organic Farming Environment Climate Change Agricultural Labor PIERRA NYARUAI is a Kenyan journalist with a focus on food systems, women empowerment, sustainable development goals and human interest, based in Nakuru, Kenya. Over the past five years, she has been looking for and telling the stories of African women in agriculture, their role in the world’s food systems and the nutritional and economic side of Africa. She has written for The Continent, Mail & Guardian and The Insider-South Sudan . 22 Apr 2024 Profile Kenya 22nd Apr 2024 IAN NJUGUNA is a visual artist born and raised in Nairobi, Kenya, where he currently resides. He works in Illustration, motion design, and graphic design. Njuguna's art style is characterized by a blend of whimsy and photorealism, often weaving together elements of fine art and cartoon styles. His practice is a commitment towards what he calls "African stories." Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

JOURNALIST Anumeha Yadav ANUMEHA YADAV is a journalist and researcher who works on labour, and the effects of social and economic policies on working-class and rural communities. Her work has been published extensively in The Hindu, The Indian Express, Al Jazeera, The Guardian, and Caravan , amongst others. JOURNALIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ARTIST Ikroop Sandhu IKROOP SANDHU is a graphic novelist based in Dharamshala, India. She studied Philosophy from LSR College, Delhi, and Animation from Vancouver Film School. She is the author of Inquilab Zindabad: A Graphic Biography of Bhagat Singh ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

The story of the Spring Revolution in Myanmar can be told through the footwear—the strewn, tossed, bloodied, abandoned—that is tied up with both the iconography and reality of brutal state violence. Piles of flip-flops amidst the debris, military boots stomping the ground: both are “central characters” of the Revolution. FEATURES Whose Footfall is Loudest? The story of the Spring Revolution in Myanmar can be told through the footwear—the strewn, tossed, bloodied, abandoned—that is tied up with both the iconography and reality of brutal state violence. Piles of flip-flops amidst the debris, military boots stomping the ground: both are “central characters” of the Revolution. Thawda Aye Lei Never in my life did I think that flip-flops could be fascinating. Only after a memorable incident entailing a particular pair of flip-flops did I begin to pay attention to them. An incident, yes! The one that will stay with me my whole life. It made me realise that certain footwear could carry more meaning than just “footwear”. It happened after Amay passed away. Before she drew her last breath, Amay had been struggling with lung cancer for nearly three months. At the time, we were living in a small town. Hoping that we could still save her, we sent her to a hospital in the city. We buried her there when she died. Without Amay, our journey back to our small town was desolate. My heart felt empty, as if there was nothing left for me to hold on to. Everything around me went pitch dark, as if I had been pulled into a black hole. When it was decided that all of Amay’s belongings would be given away to needy families, I acquiesced. I didn’t want to cling to her stuff—after all, I had lost Amay as a person already. Even then, something that belonged to Amay was discovered unexpectedly. A pair of flip-flops. Under Amay’s bed, lying still and quiet in the darkest corner as if they were hiding, were a pair of her flip-flops. They must have been separated from Amay when she was taken to hospital. When I looked at them carefully, I saw that the soles were worn out and the heels were ragged. Amay was a frugal woman who always budgeted carefully and spent wisely. Apart from a new pair of flip-flops for some occasions, she wore these worn rubber flip-flops on a daily basis—when she did household chores and went grocery shopping—for many years. If the straps were broken, she would replace them with new ones herself. If only one strap of her flip-flop was broken, she would keep one new strap for later use. After several years of daily use, Amay’s toeprints were imprinted on the flip-flops. Tears started rolling down as I looked at them. These flip-flops showed me beyond a doubt how Amay went through hard times in her life, and how she endured pain and suffering. That pair of flip-flops I inherited from Amay would stay with me for many, many more years. Since then, I’ve been drawn to stories, memories and lives that could be revealed by well-worn flip-flops. We might change clothes every day, but a member of a low-income household, who could barely afford an extra pair of flip-flops, had to rely on the only pair they had. Flip-flops were a poor person’s comrades-in-arms on a thorny road. Flip-flops gave them strength. They were as close to them as their own skin. “My flip-flops are my fortress!” poet Hla Than declared. After the military coup in February 2021, I collected more intriguing stories of flip-flops and their owners. A small, underdeveloped country suffering from economic asthma under COVID-19 was hit by a rogue political wave. This spring, the future of the nation became as blurry as the spring mist itself. If someone looked far into the future, they would only see a parched land. The military claimed that the 2020 election fraud made the coup inevitable. Prior to the election, “The Sound of Heels,” an election campaign song by the National League for Democracy (NLD), was very popular. It became the NLD’s triumphant anthem following the party’s landslide victory in the election, but it vanished into thin air after the military seized power. The song was dedicated to the State Counsellor, Daw Aung San Suu Kyi, leader of the NLD, to whom her supporters referred as “Amay”. The song was about how her efforts gave Myanmar, an ostracised society under long years of military rule, a chance to step onto the world stage. On 1 February, the clack-clack of heels were silenced by the bang-bang of military boots. Before long, the whole country was completely under the boots. The voices of mourning mothers, the tongue-clicking of dismayed youth, the moaning of farmers out of their stubbled fields and workers out of their factories got louder and louder each day. “Join the CDM now!” As soon as the rallying cry put people on alert, all those different voices merged together—ineffectual whines turned into battle cries reverberating across the sky. If someone had ever questioned whether footwear could be frightening, the answer would have been “yes” if they were military boots. In the first week of the Spring Revolution, civil servants joined the CDM en masse. The main action of the CDM was that no employee should go to work. In some political cartoons, military generals in jackboots trampled doctors, school teachers and workers. “Stop going to office, struggle out of the dictatorship!” was the slogan of the strikers. They warned each other that if people continued to work for the military state, many precious lives, beautiful things and human values would be smashed under the boots. That’s how footwear became a central character in the Myanmar Spring Revolution. There was more to come. Within a week of the coup, thousands of young people took to the streets. In response, the military hired a group of jingoists and staged counter-protests. Some anti-coup protesters started shouting that they were out on the street on their own volition, and that they had not been paid by anyone. To drive home the point that they were from well-to-do families and that they could not possibly be bought, they came to the protests in expensive outfits and shoes. This, however, only highlighted the dire situation of most of their fellow protestors, who couldn’t afford fancy outfits. There were messages on social media condemning some affluent protesters for talking down to people from underprivileged backgrounds, including those hired by the military. In opposing tyranny, people simultaneously learned to smash any form of discrimination based on wealth or class. Day by day, the revolution gathered strength. It soon turned into a nationwide protest of people from all walks of life—rural and urban. Their footfall echoed in the streets. Now street surfaces seemed totally covered by an array of flip-flops and shoes that it would be difficult for anyone to gain a foothold there. Spring was in full bloom. On roads where fallen ones would be laid to rest, columns after columns of rallies continued to march over and over again. One of the non-violent protests was known as “Lace your shoes up!” In the early days of the Spring, security personnel seemed uncertain about whether they should use force against protesters. They tried to push the crowds off the roads, saying the people were obstructing traffic. The youth reacted by making their protests mobile. They moved around in small groups and continued to protest. They crossed the road when the light was green. They stopped when the light turned red. They shouted rally cries. As soon as they had the chance, they sat on the road, lacing up their shoes at a leisurely pace. Policemen watching them were speechless. In the following days, there were “harvesting onion” and “collecting rice grains” movements. Loose onions and grains of rice were deliberately poured out in the middle of a road so everyone could help pick them up and put them back in the bags to annoy the police. Spring flowers of a variety of colours were seen everywhere. New and creative forms of revolutionary activities shone here and there. Some people found fault with these kinds of protests. Young people were not serious, they said. Others pointed out the generation gap. Older people did not understand the state-of-the-art techniques of young people. In reality in the early days of the spring, people of all ages managed to build mutual trust and solidarity. They were full of energy, enjoying the calm before a storm. The fresh, green spring would soon turn into a fully-blown parched summer. The intense heat made wall tiles rise up and crack. A heatwave also pervaded throughout the democratic movement. The forces, standing up hand-in-hand against the junta, were hit with a bloody gust. A volley of gunfire across the sky set a flock of roosting birds on a chaotic flight. A group of soldiers and police chased down the protesters who were retreating into a neighbourhood, and beat them to death like blood-starved beasts. Even the black asphalt road began to weep, blood streaming down all over her face. After blood was spilled, the style of people’s revolutionary art also changed. Each time a group of people were chased by guns and batons, dozens of ownerless flip-flops would be left abandoned on the street. Some flip-flops were upside down, others in the gutter, and many of them unpaired. And yet most of them looked well-worn. When the security forces were gone, people picked them up and organised them in pairs for their owners to come and collect them. The abandoned flip-flops didn’t look great but they could be invaluable to their owners. In this way, I learned, rather accidentally, that flip-flops had always been important witnesses to our revolutions. In the 1988 uprising, flip-flops were scattered everywhere on the road. In the 2007 Saffron Revolution, there were many flipflops drenched in blood. Following the 2015 student protests, hundreds of flip-flops were on the road again. There was even a shoe charity campaign in 2021. It emerged after some people began to question on social media what kind of shoes would be most suitable for protests if they were to escape from violent attacks. A number of shoe donors came forward. In some places, many pairs of “used, feel free to take” shoes in various sizes were on offer. Some people who owned extra pairs of shoes shared them with their comrades. They exchanged metta in sharing shoes. They looked after each other. They became more united, realising that people were cut from the same cloth. On top of physical violence, people also suffered from psychological warfare by the regime. The longer a revolution dragged on, the more volatile revolutionary morale could become. And yet, crackdowns notwithstanding, most protesters decided to continue with their struggle. Some bid farewells to their parents and friends. “In the event that I am killed I donate my organs to anyone in need,” some people wrote in their wills. “Don’t push this person any further, / at land’s end / my flipflops are my fortress,” read the last lines of a poem by Hla Than. People prepared for a last-ditch fight. Oaths—that they would not back down no matter what—were sworn. They glued pictures of the coup leader on the roads and marched on them. The senior general’s face was smeared with hundreds of footprints. The murder of protesters became more commonplace. The number of martyrs multiplied every day. People shed new tears before old tears dried on their cheeks. They were placed under curfew. Internet access was restricted. Arrests and detentions under various charges became more frequent. People felt less and less secure. There were no more grounds for them to take a stand, so it seemed. They became afraid of nightfall. What they feared more probably was the nightfall over their future. One day I saw a photo of a pair of slippers on social media. “These belonged to a mother. They were left during a protest.” They were white and size 37. The straps were white, but not pure white. The left and right slippers must have been thrown into disarray when the wearer was attacked. There was a line of blood on the pavement that stained one of them. I learned that the owner was a 50-year-old schoolteacher. She was shot to death at that spot by the military terrorists. A bullet that hit her hand took her life as she had a heart condition. “She wasn’t feeling very well when she went to the protest,” said her daughter in an interview. The alleged “2020 election fraud” brought dishonour to members of the education department who had overseen the polling stations. That’s why she believed that it was her duty to protest the coup on the front line. Before she left home, she had comforted her daughter that the security forces would go easy and not use violence against school teachers. Sadly, the gun barrel does not discriminate—it was loyal only to the finger that pulled the trigger. One bullet after another shattered our dreams. Karl Marx’s slogan “Proletarians have nothing to lose but their chains,” echoed loudly among the masses. The daughter wept violently over the slippers left by her fallen mother. This reminded me of how I cried whenever I saw my amay’s flip-flops. What of her? Would she become interested in footwear too? In revolutions, footwear is often prematurely parted from its wearers. The group in military boots stood firm, determined to put an end to the civilian resistance. The people had no weapons, nor sturdy shields. Their flip-flops wore thin. Even then, the hot, bloody roads couldn’t be worse than hell. No one seemed to mind the intense heat under their soles. With or without footwear, their way out of hell would be an arduous journey. ∎ Endnotes : Hla Than’s poem was translated by Ko Ko Thett. This essay appeared in Picking Off New Shoots Will Not Stop the Spring: Witness Poems and Essays from Burma/Myanmar 1988-2021 , edited by Ko Ko Thett and Brian Haman, and published by Gaudy Boy in North America, Balestier Press in the UK, and Ethos Books in Singapore. Never in my life did I think that flip-flops could be fascinating. Only after a memorable incident entailing a particular pair of flip-flops did I begin to pay attention to them. An incident, yes! The one that will stay with me my whole life. It made me realise that certain footwear could carry more meaning than just “footwear”. It happened after Amay passed away. Before she drew her last breath, Amay had been struggling with lung cancer for nearly three months. At the time, we were living in a small town. Hoping that we could still save her, we sent her to a hospital in the city. We buried her there when she died. Without Amay, our journey back to our small town was desolate. My heart felt empty, as if there was nothing left for me to hold on to. Everything around me went pitch dark, as if I had been pulled into a black hole. When it was decided that all of Amay’s belongings would be given away to needy families, I acquiesced. I didn’t want to cling to her stuff—after all, I had lost Amay as a person already. Even then, something that belonged to Amay was discovered unexpectedly. A pair of flip-flops. Under Amay’s bed, lying still and quiet in the darkest corner as if they were hiding, were a pair of her flip-flops. They must have been separated from Amay when she was taken to hospital. When I looked at them carefully, I saw that the soles were worn out and the heels were ragged. Amay was a frugal woman who always budgeted carefully and spent wisely. Apart from a new pair of flip-flops for some occasions, she wore these worn rubber flip-flops on a daily basis—when she did household chores and went grocery shopping—for many years. If the straps were broken, she would replace them with new ones herself. If only one strap of her flip-flop was broken, she would keep one new strap for later use. After several years of daily use, Amay’s toeprints were imprinted on the flip-flops. Tears started rolling down as I looked at them. These flip-flops showed me beyond a doubt how Amay went through hard times in her life, and how she endured pain and suffering. That pair of flip-flops I inherited from Amay would stay with me for many, many more years. Since then, I’ve been drawn to stories, memories and lives that could be revealed by well-worn flip-flops. We might change clothes every day, but a member of a low-income household, who could barely afford an extra pair of flip-flops, had to rely on the only pair they had. Flip-flops were a poor person’s comrades-in-arms on a thorny road. Flip-flops gave them strength. They were as close to them as their own skin. “My flip-flops are my fortress!” poet Hla Than declared. After the military coup in February 2021, I collected more intriguing stories of flip-flops and their owners. A small, underdeveloped country suffering from economic asthma under COVID-19 was hit by a rogue political wave. This spring, the future of the nation became as blurry as the spring mist itself. If someone looked far into the future, they would only see a parched land. The military claimed that the 2020 election fraud made the coup inevitable. Prior to the election, “The Sound of Heels,” an election campaign song by the National League for Democracy (NLD), was very popular. It became the NLD’s triumphant anthem following the party’s landslide victory in the election, but it vanished into thin air after the military seized power. The song was dedicated to the State Counsellor, Daw Aung San Suu Kyi, leader of the NLD, to whom her supporters referred as “Amay”. The song was about how her efforts gave Myanmar, an ostracised society under long years of military rule, a chance to step onto the world stage. On 1 February, the clack-clack of heels were silenced by the bang-bang of military boots. Before long, the whole country was completely under the boots. The voices of mourning mothers, the tongue-clicking of dismayed youth, the moaning of farmers out of their stubbled fields and workers out of their factories got louder and louder each day. “Join the CDM now!” As soon as the rallying cry put people on alert, all those different voices merged together—ineffectual whines turned into battle cries reverberating across the sky. If someone had ever questioned whether footwear could be frightening, the answer would have been “yes” if they were military boots. In the first week of the Spring Revolution, civil servants joined the CDM en masse. The main action of the CDM was that no employee should go to work. In some political cartoons, military generals in jackboots trampled doctors, school teachers and workers. “Stop going to office, struggle out of the dictatorship!” was the slogan of the strikers. They warned each other that if people continued to work for the military state, many precious lives, beautiful things and human values would be smashed under the boots. That’s how footwear became a central character in the Myanmar Spring Revolution. There was more to come. Within a week of the coup, thousands of young people took to the streets. In response, the military hired a group of jingoists and staged counter-protests. Some anti-coup protesters started shouting that they were out on the street on their own volition, and that they had not been paid by anyone. To drive home the point that they were from well-to-do families and that they could not possibly be bought, they came to the protests in expensive outfits and shoes. This, however, only highlighted the dire situation of most of their fellow protestors, who couldn’t afford fancy outfits. There were messages on social media condemning some affluent protesters for talking down to people from underprivileged backgrounds, including those hired by the military. In opposing tyranny, people simultaneously learned to smash any form of discrimination based on wealth or class. Day by day, the revolution gathered strength. It soon turned into a nationwide protest of people from all walks of life—rural and urban. Their footfall echoed in the streets. Now street surfaces seemed totally covered by an array of flip-flops and shoes that it would be difficult for anyone to gain a foothold there. Spring was in full bloom. On roads where fallen ones would be laid to rest, columns after columns of rallies continued to march over and over again. One of the non-violent protests was known as “Lace your shoes up!” In the early days of the Spring, security personnel seemed uncertain about whether they should use force against protesters. They tried to push the crowds off the roads, saying the people were obstructing traffic. The youth reacted by making their protests mobile. They moved around in small groups and continued to protest. They crossed the road when the light was green. They stopped when the light turned red. They shouted rally cries. As soon as they had the chance, they sat on the road, lacing up their shoes at a leisurely pace. Policemen watching them were speechless. In the following days, there were “harvesting onion” and “collecting rice grains” movements. Loose onions and grains of rice were deliberately poured out in the middle of a road so everyone could help pick them up and put them back in the bags to annoy the police. Spring flowers of a variety of colours were seen everywhere. New and creative forms of revolutionary activities shone here and there. Some people found fault with these kinds of protests. Young people were not serious, they said. Others pointed out the generation gap. Older people did not understand the state-of-the-art techniques of young people. In reality in the early days of the spring, people of all ages managed to build mutual trust and solidarity. They were full of energy, enjoying the calm before a storm. The fresh, green spring would soon turn into a fully-blown parched summer. The intense heat made wall tiles rise up and crack. A heatwave also pervaded throughout the democratic movement. The forces, standing up hand-in-hand against the junta, were hit with a bloody gust. A volley of gunfire across the sky set a flock of roosting birds on a chaotic flight. A group of soldiers and police chased down the protesters who were retreating into a neighbourhood, and beat them to death like blood-starved beasts. Even the black asphalt road began to weep, blood streaming down all over her face. After blood was spilled, the style of people’s revolutionary art also changed. Each time a group of people were chased by guns and batons, dozens of ownerless flip-flops would be left abandoned on the street. Some flip-flops were upside down, others in the gutter, and many of them unpaired. And yet most of them looked well-worn. When the security forces were gone, people picked them up and organised them in pairs for their owners to come and collect them. The abandoned flip-flops didn’t look great but they could be invaluable to their owners. In this way, I learned, rather accidentally, that flip-flops had always been important witnesses to our revolutions. In the 1988 uprising, flip-flops were scattered everywhere on the road. In the 2007 Saffron Revolution, there were many flipflops drenched in blood. Following the 2015 student protests, hundreds of flip-flops were on the road again. There was even a shoe charity campaign in 2021. It emerged after some people began to question on social media what kind of shoes would be most suitable for protests if they were to escape from violent attacks. A number of shoe donors came forward. In some places, many pairs of “used, feel free to take” shoes in various sizes were on offer. Some people who owned extra pairs of shoes shared them with their comrades. They exchanged metta in sharing shoes. They looked after each other. They became more united, realising that people were cut from the same cloth. On top of physical violence, people also suffered from psychological warfare by the regime. The longer a revolution dragged on, the more volatile revolutionary morale could become. And yet, crackdowns notwithstanding, most protesters decided to continue with their struggle. Some bid farewells to their parents and friends. “In the event that I am killed I donate my organs to anyone in need,” some people wrote in their wills. “Don’t push this person any further, / at land’s end / my flipflops are my fortress,” read the last lines of a poem by Hla Than. People prepared for a last-ditch fight. Oaths—that they would not back down no matter what—were sworn. They glued pictures of the coup leader on the roads and marched on them. The senior general’s face was smeared with hundreds of footprints. The murder of protesters became more commonplace. The number of martyrs multiplied every day. People shed new tears before old tears dried on their cheeks. They were placed under curfew. Internet access was restricted. Arrests and detentions under various charges became more frequent. People felt less and less secure. There were no more grounds for them to take a stand, so it seemed. They became afraid of nightfall. What they feared more probably was the nightfall over their future. One day I saw a photo of a pair of slippers on social media. “These belonged to a mother. They were left during a protest.” They were white and size 37. The straps were white, but not pure white. The left and right slippers must have been thrown into disarray when the wearer was attacked. There was a line of blood on the pavement that stained one of them. I learned that the owner was a 50-year-old schoolteacher. She was shot to death at that spot by the military terrorists. A bullet that hit her hand took her life as she had a heart condition. “She wasn’t feeling very well when she went to the protest,” said her daughter in an interview. The alleged “2020 election fraud” brought dishonour to members of the education department who had overseen the polling stations. That’s why she believed that it was her duty to protest the coup on the front line. Before she left home, she had comforted her daughter that the security forces would go easy and not use violence against school teachers. Sadly, the gun barrel does not discriminate—it was loyal only to the finger that pulled the trigger. One bullet after another shattered our dreams. Karl Marx’s slogan “Proletarians have nothing to lose but their chains,” echoed loudly among the masses. The daughter wept violently over the slippers left by her fallen mother. This reminded me of how I cried whenever I saw my amay’s flip-flops. What of her? Would she become interested in footwear too? In revolutions, footwear is often prematurely parted from its wearers. The group in military boots stood firm, determined to put an end to the civilian resistance. The people had no weapons, nor sturdy shields. Their flip-flops wore thin. Even then, the hot, bloody roads couldn’t be worse than hell. No one seemed to mind the intense heat under their soles. With or without footwear, their way out of hell would be an arduous journey. ∎ Endnotes : Hla Than’s poem was translated by Ko Ko Thett. This essay appeared in Picking Off New Shoots Will Not Stop the Spring: Witness Poems and Essays from Burma/Myanmar 1988-2021 , edited by Ko Ko Thett and Brian Haman, and published by Gaudy Boy in North America, Balestier Press in the UK, and Ethos Books in Singapore. SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Artwork by Mahnoor Azeem. Ink collage on cardstock. SHARE Facebook Twitter LinkedIn Essay Myanmar Military Coup Spring Revolution Saffron Revolution Hla Than Aung San Suu Kyi National League for Democracy Amay Sound Low-Income Workers Picking Off New Shoots Will Not Stop the Spring Student Movements Student Protests Incarceration Military Crackdown Military Dictatorship Military Operations Revolution Histories of Revolutionary Politics THAWDA AYE LEI is a Burmese writer who has published four novels and two short story collections. She is currently working as a researcher on gender- and media-related studies for Burma-based international NGOs. In 2021, she enrolled in the PhD program in Political Science at McMaster University, Canada. 24 Feb 2023 Essay Myanmar 24th Feb 2023 MAHNOOR AZEEM is an illustrator, writer, and recent graduate of the Savannah College of Art and Design. She is based in Lahore. Skulls K Za Win 4th Apr In the Yoma Foothills Tun Lin Soe 26th Feb Exhaustion & Emancipation Asad Haider 10th Mar Mahrang Baloch's Struggle Against Enforced Disappearances Shah Meer Baloch 18th Feb Discourses on Kashmir Huma Dar · Hilal Mir · Ather Zia 24th Oct On That Note:

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