ARTIST Mohamed Ikram MOHAMED IKRAM is a music producer, engineer, and fine artist. He intuitively sketches and draws to reflect on his personal nature in Maldivian society and in a larger political context. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Since Manto's time, screenwriters have been battling studios that prioritise commercial interests, political imperatives, and profits over original, meaningful storytelling. SWA, the trade union for screenwriters, is at the frontlines of screenwriters chafing against the inequalities and wage theft that stifle artistic expression in Bombay's film industry. THE VERTICAL The Cost of Risk in Bombay’s Film Industry AUTHOR AUTHOR AUTHOR Since Manto's time, screenwriters have been battling studios that prioritise commercial interests, political imperatives, and profits over original, meaningful storytelling. SWA, the trade union for screenwriters, is at the frontlines of screenwriters chafing against the inequalities and wage theft that stifle artistic expression in Bombay's film industry. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Essay Bombay Screenwriters Association SWA Films Film-Making Labor Rights Trade Unions Directors Film Studios Radical Writers Saadat Hassan Manto Hindutva Minimum Wage Minimum Basic Contract The Legend of Shaheed Bhagat Singh Working Conditions Baburao Patel Nanubhai Desai FilmIndia Creative Labor Pukar Leila Majnu Genre Dabangg Singham Simmba Mary Kom Dangal Fair Compensation Copyright Protection Raajneeti Anjum Rajabali Film Enquiry Committee Bollywood Wage Depression Wage Theft Hitesh Kewalya Shubh Mangal Savdhaan Rom-Coms Police Films Action Films Sports Biographies Amazon Prime Netflix Lionsgate OTT Disney+ Saiwyn Quadras AMPTP Writers Strike WGA Monkey Man BJP Annapoorni Saffron 1975 Emergency Censorship Kangana Ranaut Tejas Ram Setu Namrata Joshi Labor Labor Movement 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 Essay Bombay 5th Aug 2024 Saadat Hassan Manto, a luminary of Urdu literature, once embarked on a hunger strike. It was the early 1940s, and the writer was working for one hundred rupees a month under the Bombay-based film director and producer Nanubhai Desai . Manto asked Desai for pending wages and additional money to rent out a flat for his new bride and himself. Desai refused, and Manto resigned. In an essay on the film critic Baburao Patel, Manto wrote about the beginning of his hunger strike on the steps of Desai’s production studio. Later, with Patel’s help, he recovered a little more than half of his pending dues. The pay seemed too meagre for too little in return, with many of Manto’s scripts never even making it to production because of their radical nature. This isn’t just a story from a time when critics had enough muscle in the industry to wrestle producers into paying writers. It is also a story of precarity. It depicts the tenuous relationship between screenwriters and the screens they write for, neither of which are unique to Manto’s career nor an artefact of the past. This disempowerment is the reason why contemporary films feel ill-equipped to respond to urgent questions. Current industry conditions resemble that of the 1940s: financial backing for subversive cinematic concepts is hard to come by, especially without a major star. In a decidedly censorial political climate and hostile communal environment, writers increasingly face complicated legal and social backlash. Creativity is not incentivised. It’s a liability. The lack of creativity present in Bombay talkies during Manto’s tenure did not go unnoticed. Around the time of his hunger strike, the leading film magazine FilmIndia published a hit piece on the standardised format of Bombay cinema. It denounced “Indian screenwriters” as carrying “little originality” and producers as lacking “imagination completely.” An article edited by Baburao Patel declared that producers “imitate others too often.” For example, the “sensational success” of Pukar (1939) gave way to period dramas and historical fiction, and the popularity of Leila Majnu (1945) enabled the “rise of an epidemic of new love themes.” If a particular genre worked, the industry would churn out movies of the same cut until the fad petered out and a new concept supplanted it. Creative risks were scarce and, at best, sporadic. One could say the same of Bollywood today. With Dabangg (2010), a blockbuster peddling nationalist police propaganda, came a flurry of others like Singham (2011) and Simmba (2018). Hit sports biographical films like Bhaag Milkha Bhaag (2013) encouraged movies like Mary Kom (2014) and Dangal (2016). But what FilmIndia failed to highlight, like many other critics at the time, was the seeming inability of screenwriters to write meaningful scripts. Critics failed to connect Manto’s hunger strike to writers’ limitations in exploring their creativity. Production pressures, the absence of collective bargaining, and precarious working conditions kept writing stagnant. One organisation is gradually rebuilding collective strength despite entrenched resistance from the film industry’s top brass. The Screenwriters Association (SWA) , a formally registered trade union since 1960, represents more than 57,000 Indian screenwriters who work throughout the film industry. The union handles copyright protection, legal disputes about fair compensation, and more. Though it may not have been a vehicle for collective bargaining in the past, SWA may finally become a force to be reckoned with. Apart from its ongoing struggle for labour protections, the union has strived to become a space for mentorship. Public script labs, for instance, nurture new relationships that address inadequate diversity—especially caste—when it comes to who is allowed to write the films that make it to the floor. Anjum Rajabali, SWA’s Executive Committee Member and the renowned screenwriter of The Legend of Shaheed Bhagat Singh (2002) and Raajneeti (2010), is a major driving force for the union’s efforts. According to screenwriter Darab Farooqui, screenwriters “are all following his lead.” Rajabali is generous with his time, accepting interview requests from airports amidst ongoing health issues. His commitment to building the union is clear. The intensifying struggle for screenwriters’ protections resulted in the Minimum Basic Contract, which raised questions about whether screenwriters can be recognized as workers and the rights that should be afforded to them. Though film industries are subject to intense content regulation, they lag far behind in enforcing labour mandates. SWA’s proposed contract highlights the asymmetric dynamic between writers and production studios and pushes for major changes. In 1951, India’s first Film Enquiry Committee published a searing investigation into the conditions of cinema industries across the country. The report largely agreed with FilmIndia that “the creative activity of production” is too dependent on commercial requirements and lamented that writers end up “unknown even if they are competent.” An unnamed producer admitted to the committee that “we are trying to sell to the public something in a package.” The committee proposed separating financial investments from innovation but it was never implemented. Bombay studios continued to prioritise profit and loss, a calculation in which screenwriters had little to gain. The industry remains dominated by those who want to sell movies and those who can mobilise significant funds for its package deals. Bollywood’s highest-grossing productions released last year shored up combined investments of nearly 2,000 crore Indian rupees. Yet, a new survey has brought to light the intensity of wage depression felt by screenwriters. The 2,000 crore cake cuts only the thinnest sliver for the storytellers who bring in its base ingredients. Saiwyn Quadras, an SWA member and the writer who helmed films like the Priyanka Chopra-starring Mary Kom , shares that “non-payment of dues is a big thing. It happens to me even now.” Seasoned screenwriter and director Hitesh Kewalya says: “When you come to a city like Bombay as a young writer, you have to earn a livelihood. So, you take up two to three projects at the same time. Out of those, only one might actually happen. Even then, you might not get paid fully. It becomes a vicious cycle, and you end up exhausted.” Kewalya, with more than 25 years of industry experience and two hits to his name, including Shubh Mangal Savdhaan— one of the first explicitly queer Bollywood rom-coms—says the industry doesn’t encourage creativity. “It's like running on a treadmill, and if you're lucky enough, you might manage to pay your bills.” One key tactic deployed by studios is the percentage model. Scripts are evaluated on a per-draft basis, with pending dues for works in progress. This means huge portions of a writer’s income are dependent on producers’ approval of unfinished screenplays. As with film industries elsewhere but arguably at a larger scale, producers gauge scripts based on their perception of the content’s potential popularity and arbitrary predictions on the return on investment it would generate. It does not, however, provide any guarantee for writers’ wages. “You won’t know if a story works until you write it, and many times you don’t get to write the whole story,” Rajabali shares. How can a writer take risks with a script if their dues are tied up in its incomplete versions? If a script is rejected before completion, the writer may receive up to a third of their owed wages regardless of their efforts—which are not always translated onto the page. The work of writers is treated as disposable. Far more scripts get shelved than made. As a result, the union has demanded a minimum compensation of 12 lakh rupees for the delivery of the story, screenplay, and dialogue, along with mandatory credits for any screenwriter who has written at least a third of a script. These problems exist even in contracts with multinational corporations like Amazon Prime Video and Netflix, which together constitute a 35% audience share amongst OTT platforms active in the subcontinent. Quadras says that international entities, much like their domestic counterparts, view Indian writers as a “source for cheap labour.” Thus, the SWA’s call for work stoppage on American projects during the WGA strike was more than a show of solidarity. It signalled a pressing need to transform screenwriters’ relations with Indian subsidiaries of global streaming services and production studios like Lionsgate India and Disney+ Hotstar. According to Rajabali, contracts with foreign and domestic studios often come with a clause prohibiting screenwriters from consulting with or approaching the union. These clear attempts at union-busting mirror those of Hollywood’s Alliance of Motion Picture and Television Producers (AMPTP). The material connections between working conditions and labour resistance internationally, and the possibilities both engender for domestic cinema workers, are rife. There is little information on how WGA’s win could impact foreign subsidiaries held by AMPTP-associated companies. But the SWA believes at least a precedent has been set, and its proposed Minimum Basic Contract is geared towards leveraging this historic moment. Even the wrong colour can mean the death of a film in the current Indian context. Where some film workers believed streaming studios to be a window of freedom, recent Central regulations have pulled the blinds on that. Netflix’s cancellation of Dev Patel’s Monkey Man (2024) and the film’s removal of saffron, a colour popularly associated with the ruling Bharatiya Janata Party (BJP) led by Narendra Modi, has not improved the film’s chances of being released in the country. The Tamil film Annapoorni (2023) elicited legal cases from two right-wing outfits based in Bombay for “hurting religious sentiments of Hindus” and led to its removal from Netflix’s India catalogue. The list of films officially and unofficially banned from being shown in cinema halls in different Indian states at the behest of right-wing political and vigilante outfits is even longer. There is justified fear, then, that government regulation could come to be a double-edged sword. It could work towards alleviating unfair labour practices, but it could also expand the broader pattern of state-sponsored Hindutva agendas. SWA is drawing contingency plans through the Minimum Basic Contract for these overtly political acts. Their proposal demands the removal of contract clauses that shift the responsibility away from producers and onto writers. Currently, producers are guarded against legal, political, and religious backlash, while writers are provided little to no protection from their employers. “Let’s say there’s a scene that shows a fight outside a temple. The studio’s lawyers will tell you to change it. Contractually, the writer is either obliged to change it or risk bearing the consequences on their own head. This is a clause we have to fight,” says Quadras. “And for that, we need collective negotiating power.” But most mainstream Hindi films today happily toe the government line, much as they did in another era of censorship: the Emergency. In June 1975, as a response to increasing worker agitations, internal problems in the Congress party, and legal challenges against her election, India’s two-time Prime Minister Indira Gandhi enacted a state of Emergency. State and national elections were suspended, dissidents were arrested, and trade union actions were brutally repressed. People trapped in poverty were forcibly sterilised. Hundreds of thousands were displaced. Bombay cinema, amongst other industries, was unabashedly censored. Scholar Ashish Rajadhyaksha notes that conditional investments made by the Film Finance Corporation (now known as National Film Development Corporation ) during the early ‘70s petered out immediately after the Emergency. The state deepened its interests in media apparatuses and pursued a policy of highly restrictive censorship, impeding new-wave efforts like Mrinal Sen’s Bhuvan Shome . In Bombay, creative risk fell to the wayside and narratives critical of the public and private nexus vanished. The angry, young man, especially as personified by Indian actor Amitabh Bachhan, represented a specific kind of radical, working-class man, was retired from films. Instead, characters like the fantasy shape-shifting woman-cobra in Naagin (1976) and mythological warriors like those in Dharam Veer (1977) appeared in its place. Gandhi’s government bureaucratically chopped political satires or outrightly banned certain movies . Half a century later, the pattern repeats, albeit this time with a distinctly communal spin. The bulk of Hindi films released today consist primarily of majoritarian propaganda , safe’ biographical , mythological, or period movies . Creative and political risk has been rendered almost non-existent, but making choices that could be seen as either adhering to or being silent on the Hindutva narratives have not protected Bollywood from conservative calls for boycotts. Adipurush (2023), a film on the epic Ramayana , created by the self-proclaimed Hindu nationalist screenwriter Manoj Muntashir, elicited right-wing criticism and flopped upon release. Similarly, actress turned BJP politician Kangana Ranaut’s Hindi language film, Tejas, and Tamil language film, Chandramukhi 2 , did not muster enough to balance their budgets. Hindutva’s poster boy Akshay Kumar was also unable to bring supremacists to purchase tickets for Ram Setu (2022), an archaeological action film seeking to prove the existence of Ramayana , which prolific film critic Namrata Joshi has labelled as “a show of Hindu victimhood.” The race to appease Hindutva groups seems to be an unwinnable one. Still, some in the industry refuse to abandon the race. Despite the overwhelming web of financial and political struggles, screenwriters like Rajabali, Kewalya, and Quadras march on, and younger aspirants continue to join their ranks. “I am a storyteller. I don’t know how to do anything else,” says Kewalya. What can a screenwriter do? Where can their stories go? If such forces continue to helm decision-making, what becomes of creative integrity and freedom? Is the Hindi film industry doomed to creating “products” or “packages”? Can it transcend its confines? Can it deliver necessary stories—ones with substance, original voices, and honesty? The SWA might be slow-paced, but it is determined. It does not shy away from challenging the power dynamics that currently exist—on and off-screen—and it might just be the most hopeful response to the industry’s continued prioritisation of profit over people. Manto’s creative descendants have come a long way from striking at the steps of a studio. But they have an even longer way ahead of them. ∎ 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:

Four South Asian authors talk about children's publishing & narratives that come from pain but create joy. COMMUNITY Dissident Kid Lit Saira Mir · Shelly Anand · Vashti Harrison · Simran Jeet Singh Four South Asian authors talk about children's publishing & narratives that come from pain but create joy. Political dissidence isn't often thought to be part of parenting discourse or children's reading practice—but it must be. In our third panel, four South Asian authors talk about navigating children's publishing and the balance of narratives that come from pain but create joy. Saira Mir, Simran Jeet Singh, Vashti Harrison, & Shelly Anand discussed why their books tackle issues including race, religion, age, and body image, and how children's literature can aim to decenter the white gaze, break out of victimized narratives, and spark conversations in young readers. Watch Deputy Editor Aditya Desai on how this panel came about. The panel opened with Shelly reading from her book, Laxmi's Mooch , that has since been published to great acclaim. It then moved into a conversation with Saira, Simran, and Vashti and their books, Muslim Girls Rise , Fauja Singh Keeps Going , and Festival of Colors , respectively, while tackling such questions as: How do you balance the desire to claim ownership of narratives or to offer representation? How do we navigate being asked to write about communal trauma, pain versus writing what we want? What are the strategies of breaking out of a victimizing framework? We conclude with an illustration demo from Vashti on how she collaborates with the writer's storylines and finds ways to place her own political stamp on the book! EDITOR'S NOTE: Since this panel on 20th December 2020, our panelists have published more notable books (some recent, others upcoming in 2023). Check for updates by navigating to their pages below. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Watch the panel on YouTube or IGTV. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Panel Kid Lit Children's Literature Age Ageism Black Solidarities Islamophobia Anti-Racism Publishing Industry Public History Colorism Leadership Future Dream Spaces Dreaming Spiritual Practice Art Practice Illustration Demonstration Reading Muslim-American Narrative Identity Procreate Sikh Spiritualism Biracial Diaspora Diasporic Distance Dreamers Legends Muslim Girls Brownness In-Progress Affirmation Art Knowledge Comics Debut Authors Public Arts Authenticity Genre Tropes Religion Generational Stories Kindness as Politics Personal History Experimental Methods Language Comic Humor Pedagogy Absurdity Literature & Liberation Art Activism Fiction Craft Race Metaphor Vernacular Literature Politics of Art Victimization Narratives SAIRA MIR is a physican and author of the award-winning picture book Muslim Girls Rise (2019). This biographic anthology was born out of the need to counter Islamophobia and fill her daughter’s heart with amazing Muslim women like her. Her new book, Always Sisters: A Story of Loss and Love will be published by Simon & Schuster in August 2023, available for preorder at her website. SHELLY ANAND was born and raised in Georgia by immigrant parents from India. She is a human rights attorney fighting for immigrant and workers' rights in the South, and Co-Founder and Executive Director of Sur Legal Collaborative. She lives in Decatur, Georgia with her husband and two children. She is the author of the picture book Laxmi's Mooch, (Kokila, 2019), and co-author with Nomi Ellenson of I Love My Body Because (Simon & Schuster Kids, 2022). VASHTI HARRISON is an NYT-bestselling author, illustrator, and filmmaker, originally from Onley, Virginia. She has a background in cinematography and screenwriting and a love for storytelling. She is the author and illustrator of the best-selling middle grade series Little Leaders , Little Dreamers , Little Legend s, the illustrator of the best-selling picture books Hair Love by Matthew Cherry, Sulwe by Lupita Nyong’o, which received a Coretta Scott King Illustrator Honor. Her latest children's book Big will be published by Little, Brown in May 2023. Vashti is a two-time recipient of the NAACP Image Award for Outstanding Literary Work for Children. Her experimental films have shown around the world at film festivals and venues including the New York Film Festival , Rotterdam International Film Festival and Edinburgh International Film Festival . SIMRAN JEET SINGH is Executive Director for the Aspen Institute’s Religion & Society Program and author of The Light We Give: How Sikh Wisdom Can Transform Your Life (Riverhead Books, 2022) and the award-winning children’s book Fauja Singh Keeps Going: The True Story of the Oldest Person to Ever Run a Marathon . He is a visiting professor of history and religion at Union Theological Seminary and a Soros Equality Fellow with the Open Society Foundations. In 2020 TIME Magazine recognized him among sixteen people fighting for a more equal America. His work has appeared in the New York Times, Washington Post , and CNN , and he is a columnist for Religion News Service . Panel Kid Lit 20th Dec 2020 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

ARTIST Jaishri Abichandani JAISHRI ABICHANDANI has intertwined studio and social practice, art and activism in her career, founding the South Asian Women’s Creative Collective (SAWCC) in New York (1997) and London (2004). Abichandani has exhibited internationally including at P.S.1/MoMA, the Queens Museum of Art, and Asia Society in New York, 798 Beijing Biennial and Guangzhou Triennial in China, IVAM in Valencia, Spain, and the House of World Cultures in Berlin. She served as the founding Director of Public Events and Projects from 2003-06 at the Queens Museum of Art, where she organized Fatal Love: South Asian American Art Now, Queens International 2006: Everything All at Once , and curated Her Stories: Fifteen Years of SAWCC . In 2017, Abichandani engineered a collaboration between the Smithsonian Asian Pacific American Center, Asia Society and the Queens Museum to organize a three-day national convening of South Asian American artists, academics and curators; along with the exhibition Lucid Dreams and Distant Visions , in which she was a co-curator and a participating artist. In 2019, Abichandani organized a trilogy of exhibitions to inaugurate the Ford Foundation Gallery: Perilous Bodies, Radical Love, and Utopian Imagination centered the visions of BIPOC artists. Abichandani’s work is in the Burger Collection, Asia Art Archive Collection, and Saatchi Collection. She has been a resident of LMCC’s Process Space residency and an honoree of the Brooklyn Arts Council and ASHA for Women. She was awarded grants by the FST Studio Projects fund and the Foundation for Contemporary Art in 2021. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Journalist Fiza Pirani in conversation with Editor Kamil Ahsan. COMMUNITY How Immigration & Mental Health Intersect Journalist Fiza Pirani in conversation with Editor Kamil Ahsan. Fiza Pirani I’ve been very frustrated by the way that the media portrays suicide. Suicide contagion has been on the rise for teenagers in wealthy, suburban American neighborhoods. Financial prosperity does not protect them from mental illness. But suicide deaths still aren’t really reported on. RECOMMENDED: Foreign Bodies , a Carter Center-sponsored newsletter by Fiza Pirani, centering immigrants with a mission to de-stigmatize mental illness and encourage storytelling. One year after teen's suicide, Georgia father continues the fight , The Atlanta Journal-Constitution (Oct 27th, 2018), by Fiza Pirani I’ve been very frustrated by the way that the media portrays suicide. Suicide contagion has been on the rise for teenagers in wealthy, suburban American neighborhoods. Financial prosperity does not protect them from mental illness. But suicide deaths still aren’t really reported on. RECOMMENDED: Foreign Bodies , a Carter Center-sponsored newsletter by Fiza Pirani, centering immigrants with a mission to de-stigmatize mental illness and encourage storytelling. One year after teen's suicide, Georgia father continues the fight , The Atlanta Journal-Constitution (Oct 27th, 2018), by Fiza Pirani SUB-HEAD ALSO IN THIS ISSUE: Clare Patrick (Our) Worlds and (Plant) Wisdoms Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Watch the interview on YouTube or IGTV. SHARE Facebook Twitter LinkedIn Interview Investigative Journalism Mental Health Climate Change Erasure The Intersections of Mental Health Suicide Contagion Immigration Foreign Bodies Teenagers Personal History FIZA PIRANI is an independent journalist, writer and editor based in Atlanta, Georgia. She is currently a student in the University of Georgia’s Master of Fine Arts in Narrative Nonfiction program and the founder of the award-winning immigrant mental health newsletter Foreign Bodies . Her work has appeared in The Guardian, Teen Vogue, Colorlines, Electric Literature. Previously, she was managing editor of The AJC’s Pulse Magazine. 16 Sept 2020 Interview Investigative Journalism 16th Sep 2020 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:

Facing the jarring revival of chauvinist storylines in mainstream motion pictures, a new era of feminist film is cleaving its way into festival and global acclaim. Two such films—Don’t Cry, Butterfly (2024) and Santosh (2024)—debuted at the Toronto International Film Festival to a welcome reception. Celebrated for showcasing revelatory Asian women’s narratives from distinct perspectives, the features ebb and flow artfully between absurdity and reality, demarcating their respective protagonists’ experiences reclaiming autonomy, dignity, and justice in spaces and psyches consumed by patriarchy. · BOOKS & ARTS Review · Toronto Facing the jarring revival of chauvinist storylines in mainstream motion pictures, a new era of feminist film is cleaving its way into festival and global acclaim. Two such films—Don’t Cry, Butterfly (2024) and Santosh (2024)—debuted at the Toronto International Film Festival to a welcome reception. Celebrated for showcasing revelatory Asian women’s narratives from distinct perspectives, the features ebb and flow artfully between absurdity and reality, demarcating their respective protagonists’ experiences reclaiming autonomy, dignity, and justice in spaces and psyches consumed by patriarchy. Iman Ifthikhar, Untitled (2025). Digital painting. A Man's World “What can one do, Geetanjali? Sadly, it’s a man’s world,” roared Ranbir Kapoor’s quasi-alpha, male avenger in Sandeep Reddy Vanga’s blockbuster picture Animal (2023) . The film’s problematic psyche enveloped by an uber-massy exterior invigorated the pen of many critics. Several of them deciphered—in accordance with Vanga’s implied admissions—the film’s intrinsic toxicity as an attempt by the director to double down on his ethically-questionable brand of filmmaking, in response to those who questioned the philosophies of his previous films. His contempt towards his critics, the Hindi film industry, and its audiences is effectively ventriloquized through Animal’s glossy protagonist’s several loud, misplaced outbursts directed at society’s collective failure in recognizing the importance of the “ alpha male” —a stand-in metaphor for Vanga’s bratty brand of manchild protagonists. Following the shattering acclaim that Animal has enjoyed, the rhetorical question that Kapoor’s character screams at his wife, also becomes one that the film mocks the industry with. What can the audience, the critics, or the filmmakers do? Unfortunately, it is a man’s world. The answer presents itself in two films which screened at the Toronto International Film Festival this year. One Vietnamese and one Indian, both helmed by two distinct debutante women directors , where the protagonists are two distinct women holding their own against the patriarchy, while cleverly counteracting genre expectations (in essence, the opposite of Animal ). Dương Diệu Linh’s Don’t Cry, Butterfly (2024) and Sandhya Suri’s Santosh (2024) had triumphantly traveled the festival circuit before arriving at TIFF. Both films are equally poignant in their portrayal of patriarchy as an infestation: Linh’s quite literal and Suri’s more metaphorical, allowing for novel insights into the extent to which ours is, in fact, unfortunately, a man’s world. Still from Don't Cry Butterfly (2024). Image Courtesy of TIFF. Dương Diệu Linh’s Don’t Cry, Butterfly Linh’s fascination with the domestic and emotional perils of middle-aged Vietnamese women neatly threads through her filmography . Her debut feature follows a similar syntax as it documents the desperation of a wedding planner, Tam (Lê Tú Oanh), after she catches her husband philandering with a much younger woman during the broadcast of a nationally televised soccer game. This peculiar predicament sends Tam down an introspective spiral, forcing her to consult the services of a feng-shui master who advises her to make several lifestyle and appearance changes to save her decaying marriage, much to her daughter Ha’s (Nguyen Nam Linh) chagrin. An unwelcome companion to this crisis is a leak in Tam’s bedroom ceiling which persists endlessly, eventually metamorphosing into a tar-like sentient substance only visible to the women in the building, growing in size as Tam’s marriage gradually becomes comatose. The film’s quirky comedic overtone is thus assisted in willful contrast by a reliance on the supernatural, which cleverly conveys the thesis to the audience without conscribing to pre-existing genre tropes. Linh’s hyper-fixation on the specificity of Tam’s situation underscores the culturally informed mechanism through which Don’t Cry, Butterfly addresses the broader issue of patriarchy. The infestation, standing in as a symbol for patriarchal ambivalence, mimics the toxic phallocentric culture which allows Tam’s husband, Thanh ( Le Vu Long ), to slog around the house sans accountability or apology. There is a distilled direction in Linh’s style of storytelling which allows her to effectively sashay between the dry humor dominating the film’s dialogue and gripping moments of supernatural terror. While she employs the fantastical elements quite sparingly, she ensures their effect is well-informed, creating a horror-comedy that delivers across both departments. Linh also infuses the film with welcome observations about Vietnamese customs and society, creating a work that is global despite (or perhaps, because of) its nuances. “If we chop the dicks off of all cheating men, the whole country will be filled with eunuchs,” remarks Tam’s friend, in a statement where the ethos transcends borders. Don’t Cry, Butterfly is a stellar showcase of independent cinema, intelligently employing form and fiction to serve something beyond its broad thesis. You are reminded to trust the tale as told by the teller, absorbing all that the story has to offer you. Sandhya Suri’s Santosh Suri ’s Santosh, albeit not as creatively fluid, still effectively upturns expectations in pursuit of a grander purpose. Her previous narrative short, The Field (2018) , also produced by the British Film Institute (BFI) , functioned similarly, exploiting the beats of a conventional thriller to highlight the innocence of an extramarital affair in rural India. Her debut feature, Santosh , is centered around the eponymous character (Shahana Goswami) who, through a government scheme aimed at helping widows, replaces her deceased husband in the local police force. The “khaki” uniform adds heft to Santosh’s identity, which was previously reduced to doomed daughter-in-law and hapless widow. There is a purpose to her step in this new job where she operates in service of a greater truth. Her occupational idyll, however, is shattered when the murder of a Dalit girl exposes her to the malignance of those in power. Inaction by her superiors in addressing the victim’s family's concerns causes major uproar in the media, and a female inspector ( Sunita Rajwar ) is brought in to placate the situation. Suri, much like Linh, posits the primary crisis not as a means of tackling the problem, but as a portrayal of its entrenchedness, while branching out with equal enthusiasm towards subsidiary issues. The extent to which caste-based discrimination penetrates the fabric of Indian society rests at the forefront of the film’s ideas. But nestled within are communalism, patriarchy, police negligence, and an overall decay in India’s legislative, executive, and judicial institutions. The labored pacing, especially in the chase sequences and the static positioning of the camera, works in service of such multi-layered messaging, as the film delicately explores its ideas in lieu of arguing for them. This attributes a documentary quality to the film, where it presents the events in a rather quotidian manner, allowing for a measured confrontation with reality, rather than an exploitation of the events for contrived emotion. Still from Santosh (2024). Image courtesy of India Currents. The premise, which is reminiscent of Anubhav Sinha’s social thriller Article 15 (2019), avoids conscribing to the showmanship of cop films as idealized by those like Sinha’s but more prominently by those of Rohit Shetty in Hindi cinema. There is no euphoric release where Santosh batters the villains to a pulp. There is no “gotcha!” moment where Santosh wields the law to best the killer, locking them up for life. There is no monologue about the oppressive caste system or the abysmal statistics regarding women’s safety in India. Santosh trusts the viewer with its messaging, reinforcing the grim subject matter with an equally grim portrayal. The closest the film comes to giving us a heroic smash-the-patriarchy moment is a measured but revolting scene in which Santosh spits out her barely chewed meal to discomfort the gaze of a man staring at her. Despite its aspirations and twists in emotion and notion, the story eventually becomes predictable towards the end. The casting of an otherwise lovable Sunita Rajwar as a domineering inspector also falters in places owing to the relatively harmless characters she has taken up recently. Regardless of its shortcomings, however, Santosh stands out as a testament to a fearless brand of filmmaking that exhibits a flawed India, where the only thing separating the cop and the crook is a “khaki” uniform and a government-issued firearm. A refreshing deviation from the mainstream The meticulousness of both Don’t Cry, Butterfly and Santosh stands in stark contrast to the populist, pulpy, and policed cinema that is mass-produced in their respective countries, and in the absence of a commercially successful precedent, it becomes a monumental task to fund films like these. It thus becomes extremely crucial that films like Don’t Cry, Butterfly and Santosh , and filmmakers like Linh and Suri, who have been nurtured by Western institutions like Berlinale and the BFI, get this recognition in front of international audiences as it paves the way for such an “arthouse” brand of cinema to exist alongside the mainstream. The inter-continental efforts required to produce these films also stands as testament to the idea of global filmmaking, which is helping amplify regional voices, and preventing them from being strangled by the rigidity of their national cinemas and governments. Now, it remains to be seen whether either of Linh’s or Suri’s films are received with as much domestic fanfare as they were internationally. With both having been picked up by mid-size primary distributors, there is still hope that non-festival audiences get to enjoy these truly novel films. Nevertheless, there is a lot to be done: after all, it is, sadly, a man’s world. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Review Toronto Chauvinism Motion Picture Film Cinema Feminism Film Festival Dont Cry Butterfly Santosh Toronto International Film Festival Art Criticism Absurdity Autonomy Rhetoric Duong Dieu Linh Sandhya Suri TIFF Indian Currents Filmography Vietnamese Indian Independent Cinema British Film Institute Caste-based Discrimination Arthouse Berlinale A Mans World 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. 2nd Mar 2025 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:

TRANSLATOR Arunava Sinha ARUNAVA SINHA translates fiction, poetry and non-fiction from Bangla to English. Sixty of his translations have been published so far, with 12 of them having won or been shortlisted or longlisted for translation prizes in India and abroad. He is an associate professor of practice in the Creative Writing department at Ashoka University, and Co-Director of the Ashoka Centre of Translation. He is based in Delhi. TRANSLATOR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

"So Modhu traveled beyond Kalai, Mokamtala, Bogra, Sirajganj, across the Jamuna Bridge, to the city of Dhaka, two hundred miles away. There he pulls a rickshaw, earns a hundred takas a day, counts that money each night, again and again, can’t settle on one place where he can hide this money." FICTION & POETRY The Cuckoo Keeps Calling AUTHOR AUTHOR AUTHOR "So Modhu traveled beyond Kalai, Mokamtala, Bogra, Sirajganj, across the Jamuna Bridge, to the city of Dhaka, two hundred miles away. There he pulls a rickshaw, earns a hundred takas a day, counts that money each night, again and again, can’t settle on one place where he can hide this money." SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Short Story Translation Bengali Bangladesh 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 Short Story Translation 23rd Sep 2020 Translated from the Bengali by Shabnam Nadiya MODHU wakes up at dawn and says to his wife, “Say goodbye.” Modina clasps her husband’s hand and says, “Not today. Go tomorrow.” The cuckoo trills from the branches of the koroi tree. Modhu doesn’t know what it means when the cuckoo calls during a spring dawn. He lies back again. Now comfortable, he goes back to sleep. The next day at dawn, Modhu again asks his wife to bid him farewell. Again, his wife says, “Not today, tomorrow.” Modhu again lies down like a good boy. Sleeps comfortably. The cuckoo calls from the tree. Modhu doesn’t hear. He is sound asleep. The cuckoo grows increasingly desperate. Coo. Coo-oo. Coo-oo-oo. Modhu sleeps, he doesn’t hear. His wife Modina lies awake; she doesn’t hear either. But Mafiz hears the cuckoo trilling in this spring dawn. He is not unromantic. He breaks into song: Oh, why do you call to me so early in the morning, oh, little cuckoo of my life? Modina doesn’t hear Mafiz’s song. Mafiz exits his home and gazes at the three-way intersection, the road that people take to reach town. Mafiz doesn’t see anybody taking that road. He walks. He places his foot on the threshold of Modina’s yard and, in a muted voice, calls out, “Brother, Modhu, have you gone to Dhaka?” Modina shoos cows. “Hyat! Hyat, hyat!” “Hey, girl, why are you shooing me?” Modina picks up a wooden stool and throws it at Mafiz. Mafiz sniggers like a jackal and leaves. As he goes, he says to himself, “No matter how many times you cut me, or hit me…” Modhu wakes up hungry. Modina serves him rice and eats as well. Not freshly cooked, steaming rice. Old rice, with water added. As he eats, Modhu asks, “Isn’t there anymore panta-rice left?” Modina bites her tongue in shame. Which means that there is no more panta-rice left. No more, meaning that in Modina’s judgment, because she herself has eaten too much, the panta has been finished before her man’s hunger has abated. Hence, Modina’s shame, hence, her biting of the tongue. “Now I need to go to Dhaka.” Modhu needs to go to Dhaka for pertinent reasons. Modina asks, “Isn’t it hard to drive a rickshaw?” Modhu knows that this is Modina being tender. Modina knows that driving a rickshaw in Dhaka city is grueling. But working the fields was hellish torment, and the wages were poor—merely sixty takas a day. One day in the month of Joishthya, Modhu had almost died while weeding the jute fields belonging to the Mondals. There was no water in the fields, there were no clouds in the sky, Modhu’s back was burning to ashes from the sun, his throat was parched wood, he was desperately thirsty, he was running for water, the solitary plains had become the deserts of Karbala, in the distance, Bacchu Mondal’s new tin shed glinted in the sunlight, there was a new tube-well near the outer yard of the house, Modhu was running towards it, stumbling on the clods of earth in the hoed field, shouting “A drop of water for me, please!” But before he had reached the tube-well, Modhu had tumbled onto the ground, his eyes had rolled back into his head, he foamed at the mouth. Modhu almost died that day. No more, meaning that in Modina’s judgment, because she herself has eaten too much, the panta has been finished before her man’s hunger has abated. Hence, Modina’s shame, hence, her biting of the tongue. So Modhu traveled beyond Kalai, Mokamtala, Bogra, Sirajganj, across the Jamuna Bridge, to the city of Dhaka, two hundred miles away. There he pulls a rickshaw, earns a hundred takas a day, counts that money each night, again and again, can’t settle on one place where he can hide this money. This is how, day after day, for fifteen straight days, Modhu drives a rickshaw. In Kawran Bazar, twelve of these drivers live in a windowless room; with them live twelve thousand mosquitoes; the mosquitoes sing, suck the blood of all the Modhus, and the Modhus all sleep like the dead. At the crack of dawn, when the tired mosquitoes are each an immobile drop of blood, the Modhus wake up; nature calls them. They not only feel the thunderclouds rumbling in their bellies, they hear them as well. They go out in a group, pull the tabans covering their asses over their heads, and they show their naked dark asses in a row as they hunker down at the edge of the Kazi Nazrul Islam Avenue, or some of them in front of the Hotel Sonargaon gate. They wipe their asses with newspapers because there is no water; not only is there a lack of water to clean themselves, the Modhus don’t have water to bathe. For fifteen days straight, Modhu doesn’t wash himself; sometimes the odor of his own body makes him want to vomit, especially when the sun is strong and Dhaka’s skies and air cease to be. This is how it is, day after day, night after night. But what happiness, what success! When Modhu returns to Modina after fifteen straight days, there is at least fifteen hundred takas in his waist pouch. Which means that for at least a month, he neither thinks of Dhaka nor speaks of it. Modhu goes to Dhaka city. The watered rice is finished, there is no more rice left in the house, Modina sits emptyhanded by the derelict stove. A cuckoo trills in a tree; Modina doesn’t hear it, but Mafiz does. It has never happened that a cuckoo sings and Mafiz hasn’t heard it. When Modhu crosses the three-way intersection of the highway and goes towards the upazila town, Mafiz peeks from behind the house. He spots Modina sitting by the stove doing nothing and he begins to joke around. “Brother, Modhu, are you off to Dhaka?” Modina turns her head. Joyous, Mafiz says, “What’s up, Modina?” “What’s your deal?” Modina scolds Mafiz in a solemn manner. “You’re hankering for a beating?” “If you beat me with your own hands,” Mafiz says as he grins with all his teeth and comes forward fearlessly, “my life would be a treasure.” “Go home.” Modina is even more serious. “Do you want a job, Modina?” Mafiz coaxes her. Modina isn’t willing to listen to anything. She threatens Mafiz, “I’m telling you, go.” Mafiz tries to get angry and says, “I’m here to do you a favor without being asked, and you want to shoo me off like a cow?” Modina asks in a serious manner, “What favor?” Mafiz responds with mystery. “You’ll get money, wheat. Want a job?” “What job?” “Shooing goats,” Mafiz says and chuckles. Although he hadn’t intended to laugh. Modina is furious. “Go away, you bastard. You can’t find someone else to joke with?” Mafiz moves fast to try to control the damage and speaks in a very businesslike manner. “Not a joke, Modina, for real! No actual work involved, just shooing cows and goats.” “Explain clearly, what sort of job is this then?” Mafiz explains it clearly. “Haven’t you seen those trees planted on either side of the highway? Those trees need to be guarded so that cows and goats don’t chew them up. That’s the job. They’ll pay cash, they’ll also pay with wheat. You sell the wheat to buy rice. And with the money, you buy beef, tilapia…!” “Stop, stop.” Modina stops Mafiz and suspicion rolls across her eyes and face. She narrows her eyes, creases her forehead, and interrogates him. “Why would anyone give me this job when there are so many people around?” “Why, I’ll arrange it for you. I’ll grab the Chairman’s hands and feet and I’ll beg…” Mafiz pauses for no reason. He can’t find anything else to say. But his plan and his words are quite clear. Still, Modina wants to hear more about this job guarding trees and the means to getting it even more clearly. “Go on, why did you stop?” Mafiz laughs and says, “I will grab the Chairman’s hands and feet and beg: Uncle, give this job to Modina, you won’t find a girl as nice as Modina even if you look and look…” Modina howls with laughter. A cool breeze wafts across the ditch and disappears. From the branches of the koroi tree, a cuckoo calls. Mafiz glances towards the tree and looks at the cuckoo. Then he gazes at Modina’s face and says in a melancholy manner, “Do you know what the cuckoo is saying? Mafiz says, “The cuckoo is crying. It’s crying and asking, Where did my own little cuckoo bird go?” “What?” There is a smile on Modina’s face; she knows what Mafiz is about to say. Mafiz says, “The cuckoo is crying. It’s crying and asking, Where did my own little cuckoo bird go?” Modina laughs again. Her laughter enrages the cuckoo in the koroi tree. Mafiz speaks the cuckoo’s mind, “Why do you laugh like that Modina?” “What is it to you if I laugh?” Modina asks cocking her eyebrow like a flirt. “My ribs shatter to bits and my soul wants to fly away,” Mafiz says. Modina laughs, shimmying her whole body. Mafiz looks at the tree but the cuckoo is gone. It has been raining all day in Dhaka; as he pedals his rickshaw Modhu is pretty much taking a shower. After getting drenched all day, all the warmth had left his body. Modhu cannot fathom where his body is finding so much heat in the evening. He feels cold, his head hurts, and soon he begins to shiver. He rolls around on the floor in the dark room, and like a child, he moans, calling out to his mother. It isn’t raining in the village of Modhupur; the moon is visible in the sky and a cuckoo is singing in the branches of the koroi tree. Mafiz stands by Modina’s window, grasping the grill and whispering, “Modina! Oh, Modina!” Scared, Modina scrambles into a sitting position, and spits on her own chest to dissipate her fear, and Mafiz whistles in the air saying, “It’s me, Mafiz!” The power has gone out in Dhaka city. In the box-like room where Modhu rolls on the ground by himself, shivering and moaning, the darkness of hell has descended: Modhu thinks he is dying. In the village of Modhupur, through the gaps in the branches of the koroi tree, slivers of moonlight land on Modina’s window; outside stands Mafiz, like a ghost, and inside is Modina. Modina’s teeth can be seen white in the shadow of moonlight, her eyes are shining, and she is pretending to be angry with Mafiz, telling him she was going to complain to Modhu when he came back, and Modhu would grind Mafiz’s bones into powder and apply it to his body. Modina purses her lips in laughter as she talks, and Mafiz says that Modhu wasn’t coming back to Modhupur anymore, he was going to die in Dhaka. Mafiz tells Modina, “Our fortunes were written together. You have no choice but me, Modina.” Modina slides her arm through the window grill and shoves Mafiz in the chest. “Go home, you stray cow.” Mafiz grabs Modina’s hand in the blink of an eye and says, “You don’t know this, but I know it for sure, Modina. I have you written in my fate and you have me.” Modina feels that Mafiz has lost his head. As Mafiz goes back to his own house, he dreams that Modhu has died in Dhaka. “He’s dead, that bastard Modhu is dead,” says Mafiz, willing Modina’s husband to die as he walks home. Right then, in Kawran Bazar, Dhaka, Modhu is freezing and shivering, and he is calling out to Allah, saying, “Don’t take my life, Khoda. Let me live this time around. I’ll never come back to Dhaka in this lifetime.” The next morning Modhu recovers from his fever; he sees that there is no more rain, the sky is a shining blue, and the buildings are all smiling. Modhu forgets his promise to Allah, and that very afternoon he goes out again with his rickshaw. He recalls the bone-shaking fever from the night before and laughs to himself. That morning, Mafiz places his foot on the threshold of Modhu’s yard and calls out in a low voice, “Brother, Modhu, are you back from Dhaka?” But Mafiz knows very well that if Modhu is supposed to be back fifteen days later, there are still three more days to go. Two days before the day that Modhu is supposed to return to Modhupur, he drops off a passenger in the inner side of Gulshan-2 and goes to grab a cup of tea at a roadside stall. He takes two sips of his tea and turns around to find his rickshaw gone. At first, Modhu doesn’t believe it. He thinks maybe someone has hidden his rickshaw nearby as a prank. But no, it isn’t that simple. The rickshaw has disappeared, meaning seriously disappeared. Modhu goes to the rickshaw owner and describes the situation. The owner points towards Modhu and orders his people, “Tie up that fool.” Before the ones under order had begun the work, the owner himself landed a kick in Modhu’s belly. “You fucking nobody, where’s my rickshaw?” A grunt emerges from Modhu’s mouth, he doubles over and grabs his mouth with one hand. One of the owner’s followers runs over and, almost astride Modhu’s shoulders, he grabs Modhu’s hair, shaking his head and demands, “Say it, you son of a bitch, to which of your fathers did you sell off the boss’s rickshaw?” The boss screams, “First, do him over real good.” Modhu is made over almost into a corpse, and thirteen hundred and twenty five takas, meaning all his earnings, are taken away from him before he is handed over to the police. The police take Modhu to the station and hit him some more in the hope of getting some money, but they quickly realize that not only will no one show up with any money for his release, the owner and his men had already beat him so much that he might very well die in the police station. In which case, the newspapers will start writing about death in police custody, and all those poor-loving human rights organization folks will drum up a furor. The police think about all this hassle and push Modhu out of the station. Modhu can’t walk; he falls onto the street in front of the police station and moans. The police feel inconvenienced and annoyed at this; they load Modhu into the back of a pickup truck, and drive around the city, along this street and that, and they focus their flashlights here and there looking for a convenient spot in which to dump him. As they search, one of them has an idea. “Well, then,” he says to his colleagues, “whose fault is it that we’re going through all this trouble?” They drive the pickup truck with Modhu in the back to the Begunbari house-cum-garage of the rickshaw owner and roar at him, “You, pal, have murdered the suspect before handing him over to the police!” The rickshaw owner doesn’t seem perturbed by the roaring police; he goes inside and quickly returns with ten thousand takas. He tucks it into the hand of one of the policemen and says, “There’s no more cash in the house, saar. Just manage the thing, please.” One of the policemen grows angry. “Is this a joke!” The rickshaw owner doesn’t quite understand what his anger means; still, out of habit, he goes back inside and returns with another ten thousand takas. Then he gets a louder scolding, and a policeman even utters the words, “under arrest.” Therefore, the rickshaw owner goes back inside again, and when he is late in coming back out, the policemen look at each other with suspicion. But before they lose their patience, the rickshaw owner reemerges with a page from his check book. He says, “Saars, an accident just happened. It is my fault, but I don’t want the guy to die. Here, I’ve written out one hundred thousand.” The policeman stops him midway and says, “Pal, you want to survive, then show up at the station tomorrow morning with five hundred thousand in cash. We don’t do checks-fecks.” The rickshaw owner says, “What arrangements for the body?” A policeman answers, “That’s the big trouble right now. What to do with this dead body, we’ve been going around all night…pal, that five hundred thousand won’t cut it. We’ll have to take care of the journalists; we’ll have to take care of the human rights people. Make it six lakhs and be at the station by nine a.m.” But Modhu isn’t a dead body yet. On the floor in the back of the pickup truck, he lies flat on his back with his neck at an angle, peering at them like a weak, sick kitten. There is still a spark of life in his dying eyes. It was the end of night when Modhu was carefully laid down behind a bush in a corner of the Suhrawardy Gardens, from the police pickup truck. Silence descended once the mechanical noise of the pickup truck disappeared in the distance. The silence reigned for a few moments; then suddenly, someone blew on the mosque microphone, and in a voice deep like thunder, began the chant of Allahu Akbar. When the quivering notes of the azaan floated to Modhu’s nearly numb ears, his eyes opened slightly. In the distance, he saw a light tremble. He tried to move one of his hands but couldn’t. He tried to move his legs but couldn’t. Modhu tried to make a noise with his mouth; he forced himself to say, Allah! But Modhu’s voice didn’t echo in the wind. Modhu would die and Mafiz would have Modina forever—this is what is written in Modina and Mafiz’s destinies. Modina doesn’t believe it but Mafiz’s faith doesn’t have an ounce of doubt. But why Mafiz counts the days till Modhu’s return is something only he knows. Two days before Modhu is supposed to come back, which was fifteen days after his departure, Mafiz, once again, stands by Modina’s window and says that Modhu will not return. He is going to die in Dhaka; and because when poor people die that far away, their bodies never make it back, Modina will never see Modhu again. When Mafiz is telling Modina all this, Modhu is rolling back and forth between consciousness and unconsciousness on the floor of the pickup truck in the streets of Dhaka. Modina protests the ill-omened, cruel words from Mafiz by scratching his chest and neck until he bleeds. But when Mafiz groans in pain, she covers his mouth with her hand and says, “Oh, does it burn?” When Mafiz sulks and wants to leave, Modina grabs his shoulder again and says, “Come tomorrow! The day after, he’ll be back home!” The next night, before the cuckoo sings in the koroi tree, three ghosts come to Modina’s house. They had whispered to each other as they came down the road that Modhu was gone. “Let’s go and eat Modhu’s wife.” These ghosts only eat people of the female gender; from age eight to fifty-eight, wherever they find a woman at an opportune moment, they eat her. These famous ghosts live in the upazila town; they came to the village of Modhupur after verifying and ascertaining the information that Modhu is absent, and truly they find Modina by herself in Modhu’s house, and when they find her, they begin to eat her. They take turns in eating Modina. After the first ghost, the second ghost, then the third ghost, then the first ghost again. While they eat Modina in turns, at some point, Mafiz shows up. Modina sees Mafiz and whimpers in the hope of getting some help, but one of the ghosts grabs hold of her nose and mouth so hard that not only any noise, even her breath cannot emerge from her. In addition, another ghost grasps her throat with five and five, ten fingers; Modina thrashes around, groans, her tongue lolls out, her eyes want to bug out. Seeing which, Mafiz, a single person, attacks the three ghosts; two of whom pick him up and slam him down on the ground; a grunt emerges from Mafiz’s throat, his eyes go dark; one ghost picks up a half-brick and smashes it down on Mafiz’s head; his skull opens up with a crack, and this encourages the ghost, so he begins smashing the brick down into Mafiz’s skull again and again. Right then, the cuckoo trills in the koroi tree. Ghosts don’t know what it means when a cuckoo sings in a spring evening. ∎ 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:

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 AUTHOR AUTHOR AUTHOR 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. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 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 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 Profile Kenya 22nd Apr 2024 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. ∎ 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:

Interpreting Rossana Rossanda & Ernest Wamba-dia-Wamba to answer: what allows emancipatory politics to start, and what prevents it? | · BOOKS & ARTS Essay · Political Theory Exhaustion & Emancipation Interpreting Rossana Rossanda & Ernest Wamba-dia-Wamba to answer: what allows emancipatory politics to start, and what prevents it? Artwork by Mon M for SAAG. CONSIDER THE militant who wakes up exhausted. Every day and night in the streets, perhaps marching back and forth with painful restraint, perhaps building barricades in spontaneous moments of affinity with those whose rapid “learning processes” have demonstrated the rationality of slowing and obstructing the police. Sore muscles the next day arguing in meetings and studying the classics for guidance. Despair at the emptying of the streets, the guilty capitulation to apathy, and the devastating disintegration of the organization. Consider what intervenes between politics as event: the knocking of doors, the apocalyptically slow process of persuasion, the daily strain to survive one’s own declining fortunes, the sheer emotional intensity of attempting to maintain fidelity and hope in the empty and seemingly endless interval. We know such exhaustions. Alongside these exhaustions which punctuate the lives of those who have dedicated themselves to politics at an everyday, grassroots level, the residents of the United States as a whole seem to have entered a state of exhaustion. It is in no small part provoked by the series of drastic political shifts that are marked by the fluctuating fortunes of the parliamentary system and its parties, parallel to the ebb and flow of social movements outside state boundaries. This exhaustion seems to be a broad phenomenon—caused by an affective investment in the outcomes of elections and the trajectory of social movements. But in fact, we must think of exhaustion in a different, highly specific way if we are to understand its contemporary political centrality. Exhaustion, in fact, has something like the status of a historical condition, a status that is a consequence of the termination of emancipatory politics. In this sense, exhaustion shifts from the moment which marks the termination of a political sequence to what appears to be the very impossibility of politics. Contrary to the popular opinion which dictates that “everything is political,” politics is not always taking place—politics, by which I mean specifically emancipatory politics, is an exceptional phenomenon. It does not happen with frequency. Just as it has to appear, it also fades away. Exhaustion shifts from the moment which marks the termination of a political sequence to what appears to be the very impossibility of politics. Of course, to understand any of this, we have to specify what politics means in the first place. In embarking on this task for the present moment, I want to pay tribute to two comrades who left us last year: the Congolese philosopher Ernest Wamba-dia-Wamba, and the Italian Communist Rossana Rossanda. Together they help think through the questions the militant faces in every moment of political action, even in what seem to be unremarkable and everyday practices: what is an emancipatory politics? What allows it to take place—and equally, what prevents it? The problem of emancipation animates the whole history of politics and political thought—but somehow, its place in our thinking and its relationship to social analysis often remains obscure. This slipperiness of emancipation presents a crisis for political thinking today. It is not difficult to see that a resurgence of authoritarian populism, the breakdown of the existing political system, and the approach of ecological apocalypse, all require concerted and creative theoretical efforts. But alongside the catastrophe of the present is the parallel emergence and disappearance of unexpected social movements—like those that recently peaked in the extraordinary mobilizations against racism and police violence. Our capacity to theorize our reality will be limited by our ability to formulate a vantage point of emancipation. This vantage point is not one which we could step out of history to assume, but rather is one which appears in particular moments, and ultimately recedes. We also cannot simply take contingent aspects of any particular social movement to represent the intrinsic characteristics of emancipation. Horizontalist forms of organization, for example, though there is certainly no reason to dismiss them out of hand, nevertheless do not automatically guarantee a movement’s emancipatory character. It is possible for such organizational practices to foster broad and egalitarian popular participation, in a way that appears to “prefigure” an emancipated society. But it is just as possible that they will devolve into proceduralism, endless meetings, debilitating indecision, and the reassertion of the same old hierarchies and stratifications that characterize existing society. In this sense, perhaps counterintuitively, instead of embracing specific forms of movement democracy as good in themselves—which, more often than not, brings us back to abstract and ahistorical norms—we have to situate them within political sequences. It is within these sequences, and only within these sequences, that they take on a political meaning. Our capacity to theorize our reality will be limited by our ability to formulate a vantage point of emancipation. Such a vantage point of emancipation is different from any social analysis that serves as a guarantee for a particular political program. In my book, Mistaken Identity: Race and Class in the Age of Trump , I declined, much to the chagrin of certain critics, to explain the relation between the categories, now so frequently paired, of “race and class.” It seemed to me that to describe the relationship between two abstractions—which are only articulated in concrete and specific historical circumstances—would be a logical error. Instead, I concerned myself with the articulation of struggles against racial domination and class exploitation in emancipatory social movements. I briefly alluded to the vast literature on the social and historical construction of race, and at the same time, in archival work on the history of the 19th and 20th century workers’ movements for Viewpoint Magazine , I attempted to describe the social and historical construction of class, by reviving the method of “class composition.” At the time, it seemed to me that the erasure of class in “identity politics” had neutralized the revolutionary character of movements against racial domination. Since then I have been reminded that struggles founded on class can also be neutralized, as the history of the workers’ movement makes clear. It seems to me now that emancipation is foreclosed by any foundation, whether “identitarian” or “materialist,” and that the axes of political struggle cannot be aligned by an empiricist social analysis, but only from the vantage point of emancipation. I have further been led to understand that my description of the depoliticized moment of the present requires further explanation. I do not mean neutralization as the search for an already neutral domain, or the evasion of conflict, as in the canonical account of Carl Schmitt. His diagnosis of “the age of neutralizations and depoliticizations” is grounded in a general theory of “the political,” while I am concerned with the singular events of “politics.” My theory ends up diametrically opposite to the jurist. What I mean by neutralization is a force which renders opposition ineffective. It is distinct from the potentially moralistic idea of co-optation, which presumes some authentic belonging of the object. Opposition is neutralized not through appropriation, but through the formulation of an effective reactant and the transformation of each element into a new compound. Neutralization is restricted, while depoliticization is expansive. Neutralization comes from the top. It contains and redirects opposition into the harmonious diversity of the system. Exhaustion, then, is part of a constellation that includes neutralization and depoliticization. In order to distinguish this theory from preceding accounts of neutralization and depoliticization, it will be at the center of our inquiry. Emancipation Ernest Wamba-dia-Wamba’s work is not widely known in the “West,” despite the important influence he had at University of Dar es Salaam in Tanzania and the Council for the Development of Social Science Research in Africa in Senegal. His writings form part of an essential global dialogue on emancipatory politics. Wamba offers an indispensable statement on emancipation in his discussion of Lenin’s proposition that politics happens “under condition”: The political attitude is not accommodating; the state of affairs in the world does not have to remain so because it is so. People may live differently than they live. Politics is not expressed through the spontaneous consciousness. It is an active prescriptive relationship with reality and not a reflection or representation in consciousness of invariant structures (economic structure or level of development or the state). Politics is a creative invention. Let us do something about the situation! characterizes a political attitude. And so Wamba beautifully condenses a number of points on which to elaborate. Wamba emphasizes, drawing on Sylvain Lazarus, that “people think,” and that without this point of departure we inevitably end up in an elitist politics. Consequently there is a sense in which politics is thought—but thought is not, in some dualist framework, separate from reality. People’s thought is part of reality, and this is a materialist and egalitarian proposition. It rejects the idealist and elitist notions that “theory” is disconnected from people’s thought, and that only the party or the state can think. Emancipatory politics, then, based as it is on the “active prescriptive relationship with reality,” is not the expression of a social foundation. And because it starts from the premise of people’s equal capacity for thought, it is a mass politics—not a populist politics in the sense of “the people,” but simply generic “people.” Because emancipatory politics starts from the premise of people’s equal capacity for thought, it is a mass politics. Not a populist politics in the sense of “the people,” but simply generic “people.” But even once we have affirmed that people think, we are forced to reckon with the fact that something is not always being done about the situation. In other words: is politics always happening? Wamba notes that the existence of a social movement does not automatically imply the existence of politics; the latter requires a “subjective break,” the development of an antagonism to the whole political order which “is revealed through militant forms of thought… and not through the movement of history.” Thus Wamba argues: Emancipative politics does not always exist; when it does, it exists under conditions. It is, thus, precarious, and sequential: it unfolds until its conditions of subjective break disappear. When people lose the consciousness of subjective break by ceasing to be involved in political processes, emancipative politics disappears. The completion of a sequence of progressive politics does not lead automatically to another. In the absence of emancipative politics, the state problematic or the imperialist influence prevails in the treatment of matters of politics. To reduce every political capacity to a state capacity is to abscond from politics. Politics is not the political order of institutions. This much is already determined by the affirmation of people’s thought. But just as significantly, it does not always exist. When it does, it appears in sequences with a beginning and an end, and advances categories specific to its situation. But there are also modes of politics which are not emancipatory: the single-party, party-state model of state socialism, and the multi-party parliamentary mode. Let us put the term “democracy” in suspension for the moment, because the equation of democracy with multi-partyism and parliamentarianism naturally absorbs it into the state. “The multiparty system is a form of the state and not independent of or antagonistic to it,” Wamba writes. “Legal and constitutional dimensions, separation of powers, recognition of freedoms of association, expression, religion, etc., are structural traits of the state. They do not identify a mode of politics which has to be grasped through its subjective dimension.” Politics is not the political order of institutions. This much is already determined by the affirmation of people’s thought. But just as significantly, it does not always exist. In other words, politics in parliamentarism is reduced to voting. But it is only from the viewpoint of mass organization, Wamba proposes, that it is possible to speak of movements for democracy in Africa. The imposition of Western models of liberal democracy continues a fundamentally colonial relation which does not reflect the capacity of African people to constitute their own politics. “What are the conditions in Africa,” Wamba asks, “for emancipatory politics to exist?” He adds: Our starting point must be: in Africa too, people think and this is the sole material basis of politics. We must investigate the internal content of what they actually think. It is through an analysis of these forms of consciousness that we will grasp the forms of political consciousness characterizing the antagonism with the existing overall socio-political order. To fail in this task would be to “abscond from politics, reducing politics to a state capacity.” This, then, is our basic framework for understanding depoliticization. In line with Wamba’s reasoning, Michael Neocosmos provides important developments in his aptly named Thinking Freedom in Africa . Depoliticization is “the inability to maintain an affirmation of purely subjective politics” when “state politics reassert themselves because of the gradual linking of politics to social categories.” This problem, Neocosmos elaborates, is tangled up with the rare and sequential character of politics. How do we understand a political sequence? Along these lines, Neocosmos proposes, the end of the national liberation sequence in Africa 1960-75 need not be understood in terms of the “failure of nationalism” but as “the saturation of the politics of national liberation and their gradual exhaustion as pure politics.” Conventional wisdom on historical revolutionary sequences of the 20th century revolves around a fundamental, flawed dichotomy: either the beautiful soul which remains unsullied by their dark side, or the sensible pragmatist who understands that every attempt to change the world ends in disaster. But one can both reject the nihilistic conclusion that no politics ever took place in a completed political sequence, and understand the consequences of the end of the sequence in terms of the risk of depoliticization. This is a pervasive problem which we encounter with the exhaustion of the great political sequences of the 20th century, even of the great socialist revolutions. This is how exhaustion becomes a historical condition and results in what we described above as the seeming impossibility of politics. The sequence of revolution which stretched across Eastern Europe, Africa, Asia, and Latin America in the 20th century proposed not only the overturning of the existing societies but also the transitional processes of socialist construction which would yield an entirely new kind of world beyond capitalism. But now we are in no such historical phase—and the affective experience of exhaustion is tied to this condition. Nowadays, everywhere, there are attempts to disavow histories of the attempts to construct societies beyond capitalism—often with the easy narrative of “totalitarianism.” Such views simply repeat a traditional kind of fear of the masses which sees every collective body as a threat of mob conformism. This worldview seeks to defend representative, but essentially oligarchic institutions in which the educated elite protects a formal democracy which conceals the real dictatorship of capital. Anti-democratic views of this kind are in fact at the center of the dominant “democratic” ideologies which accuse every attempt to change the world of being fundamentally “totalitarian.” Theories of the political mired in this oligarchic sensibility, even if they appear on the left—such as it exists today—ultimately rely on teleological conceptions of history. Unable to comprehend the novel political declarations and actions which gave rise to the historical revolutionary sequences, they also cannot allow for the rare and exceptional emergence of politics in the present. Exhaustion, in this sense, is understood through what Lazarus has called the “method of saturation”: affirming that politics “took place,” while also noting that its existing categories and sites, which constituted a “historical mode of politics” have come to an end. In particular, we have to grapple with the saturation of the long sequence of the 20th century revolutions which revolved around the revolutionary working-class party seizing the state. Exhaustion, in this sense, is... affirming that politics “took place,” while also noting that its existing categories and sites, which constituted a “historical mode of politics” have come to an end. These are the conditions of depoliticization. But one need not lay blame on the historical figures who frequently reached a scale of human achievement unimaginable to us, to simply recognize that emancipatory politics is precarious and sequential. Exhaustion How does the condition of exhaustion operate on the concrete level of movements and the state? Here we can follow our second departed comrade, Rossana Rossanda of il manifesto , the dissident group pushed out of the Italian Communist Party in 1969. In 1983, reflecting on the long, turbulent sequence of political upheaval in Italy of at least the preceding two decades Rossanda identified two fundamental political problems: the dissipation of social movements outside the state, and the consequences of left-wing parties attempting to enter the state. Of course, the situation in Italy, characterized by perpetual strikes and a mass Communist Party approaching the seat of power, is not the same as the ones we know in the United States. Nevertheless, the juxtaposition of the rise and fall of the Bernie Sanders campaign and the mass protests against police violence demonstrates the ongoing salience of Rossanda’s reflections. The Sanders campaign, of course, attempted to pursue a social-democratic program within the parameters of the bourgeois state— subsequently followed by the eruption of social movements outside the state. This dynamic, even if in a drastically different form and context, sheds light on the problem of the relationship between party and movement—or to put it another way, between the political (parliamentary) forms of the existing state and the social (extraparliamentary) basis of autonomous mobilization. For Rossanda, in the aftermath of the crest of the European workers’ movement the very form of the party, manifested in the Communist Parties, was in crisis. Already in 1968, from Paris to Beijing “the party-form was put into question” in no small part by the independent initiatives of workers. This occurred without the guidance of parties and unions, and alongside an unprecedented level of protest by youth and students which had an uneven but frequently fecund relationship with factory struggles. This crisis of the party-form was a critique of its fundamental political model; it was, Rossanda wrote, “the refusal of any delegation of power, whether it be a party or state, henceforth treated as ‘other’ in relation to the new subjectivity of these social agents.” During this particular crisis, the working class was engaged in the “refusal of work” rather than following the lead of unions in pursuing a minimal program of delegating the negotiation of new contracts to the labor bureaucracy. The student movements, meanwhile, helped realize the potential of the workers’ movement to pursue an independent path by advocating for autonomy and cultural transformation. The process of getting these votes within the limits of the existing political system determines the party’s framework and ideology, and this takes priority over the political demands of its working-class political base. But while the “new social movements” outside the party provided a vitality to the independent movements of the workers, they also relied on the mass organization of the working class that was inextricable from the political party, even if the latter operated as a force of containment. This contradictory relationship, also witnessed in the May 1968 revolt in France, was exacerbated when the parties confronted the implications, throughout the 1970s, of actually entering into the capitalist state. What could they achieve within the very bourgeois form not only of the political party itself, but parliamentary politics as a whole? Rossanda pointed to the simple fact that in Western societies representative democracy is a structure within which parties must attempt to get votes. The process of getting these votes within the limits of the existing political system determines the party’s framework and ideology, and this takes priority over the demands of its working-class political base. For this reason, whatever tactical potential there might have been in participating in elections, it was nevertheless the case that a very different kind of working-class political power would have to emerge in order to overturn class society. Within this structure, contemporary socialists have aspired to reproduce the history of the mass working-class political parties: garnering votes, aspiring to enter the state. In short, despite the fact that the very notion of a Communist Party entering the state seems unimaginable, when and if they succeed, contemporary socialists will eventually confront the problem of the form of political power that will be required for structural transformation. It wasn’t just the party that was in crisis. Extraparliamentary social movements had a prospect of overcoming bureaucratic ossification and reorienting the parties in a revolutionary direction. But movements were also in crisis. Movements leave an “active sedimentation” in society and its institutions “at the molecular level,” as Rossanda put it. They are that part of society which “transforms itself, calls for change, assembles and gathers people together.” Yet the movement, Rossanda reminds us, “does not last”; its “dramatic and destructive ebbs are as important as the sedimentations it creates.” Movements leave an “active sedimentation” in society and its institutions “at the molecular level,” as Rossanda put it. They are that part of society which “transforms itself, calls for change, assembles and gathers people together.” Yet the movement, Rossanda reminds us, “does not last”. There were, furthermore, important historical shifts at work as Rossanda was writing. Until the mid-twentieth century, Rossanda argued, movements “arose from sudden bursts from the margins of society” but were then “predisposed to become a party or merge with an existing party.” In this sense they provoked a transformation in the state which also generally represented their absorption into the existing institutions. Yet the new movements of the 1970s did not operate according to this logic. They “tended to express subjects and needs that the dominant social bloc, namely the parties and the state, could no longer absorb in a timely manner without abnegating itself.” The movements did not institutionalize themselves, either by building new institutions or by entering existing ones, either because they were not capable of achieving this or simply did not aspire to, and without articulating a project or alternative, they “withered,” and the existing power structures solidified in response. In Italy the parties were incorporated into the increasingly repressive state—the Italian Communist Party itself playing a leading role in repression of autonomous movements—and capital succeeded, by the late ‘70s, in breaking the power of labor. Even if the parties and unions had operated as a force of containment and absorption into bourgeois parliamentarianism, their mass membership also functioned as a political anchor, so their crisis was also the crisis of the movements. As they went on the retreat, movements fell prey to a general social anomie and atomization. Here I must beg your patience in referring to a dense and lengthy passage which provides the key formulation: A diffuse politicization remains, skeptical in regards to the left if not openly hostile, as does an intense depoliticization, a kind of active negation. The “movements” are no longer “movements” (which would suggest that they are only movements insofar as they retain the implicit hope for a way out or transfer to other “forms of politics,” or a certain trust in the permeability of the institutional network which has disappeared today). They are becoming fevers, “latencies,” partial cultures or subcultures, acting creatively but molecularly, contradictorily. Rossanda is pointing us here to the molecular level of depoliticization: not the macroscopic, historical scale that is the condition resulting from the end of a historical mode of politics, but the immediate, on-the-ground level of practical activity of the movement’s participants. What she calls the “diffuse politicization” of the movements is oppositional to the existing society. But in their fragmentation, the movements no longer move from the margins into the institutions. As Rossanda had argued of movements in the first half of the 20th century, this shift into the institutions had a dual character: the existing institutions neutralized these oppositional bursts from the margins, while at the same time also necessarily being transformed by them. While the autonomy of the emerging movements may have circumvented this neutralization, they also did not find a new way to compel the institutions to resolve the problems raised by their revolt, refusal, and demands. Now the movements came to exist as latencies alongside the sturdiness of the institutional order, and this order appeared to take on a despotic permanence. Rossanda’s insight into the complex relations between class and party, party and movement, remain crucial for socialists today who ask themselves: how should we organize? Endings & Beginnings In this essay, I have meant exhaustion in three senses. The first, at the level of the immediate practical activity of the militant, is the waning of the political capacity for commitment or the devolution into factionalism. The second, at the level of the political sequences within which militants act, is when an existing historical mode of politics comes to an end and a new one is not yet apparent. The third, at the level of history, is the condition which results from the seeming impossibility of political sequences of a scale and depth comparable to the 20th century revolutions. Does exhaustion constitute a period of history, an “age”? Periodization is tricky. All periodizations are schematic. It is extremely complicated to determine how the logical relationship between categories is aligned with a certain period of time, especially for events so tumultuous that they constantly defy interpretation. Though this may seem counterintuitive, periodization at its best does not exactly identify periods, within which every phenomenon expresses the totality in a particular stage of development. Rather, it provides specific and distinct descriptions of uneven and structurally interrelated processes, which have moments of rupture and discontinuity. There are thus interwoven threads throughout these periods, untimely divisions and amalgamations. Those of us living through a period between sequences which announce shared reference points for a global political subjectivity can choose between being faithful to the emancipatory project and the various forms of capitulation to exhaustion. In trying to revive politics, exhaustion overwhelms us: the closure of revolutionary history, the unavailability of the forms, resources, and means which might be utilized in its continuation, an unhealthy relationship to past failures. With this we are all exhausted. What we are left with are simply various forms of pseudo-politics. In trying to revive politics, exhaustion overwhelms us: the closure of revolutionary history, the unavailability of the forms, resources, and means which might be utilized in its continuation, an unhealthy relationship to past failures. There are three such pseudo-political sensibilities: adjustment, which claims to advocate for adjusting the existing reality, but actually enjoins us to adjust ourselves to it, on the basis of convenient normative principles (democracy, even socialism); personalization, the reduction of politics to individual behavior and identity, determined by a range of categories to which a person might be said to belong; and pragmatism, which dictates that since it will not get better, you must unencumber yourself of principles. In the interval the choice is not easy. Perhaps more dangerous than resignation in the face of exhaustion is to perform the rituals of depoliticization. Consider how these sensibilities are practiced. First, adjustment appears in the condescending rejection of any organizational process which does not have the state as its object. It generally means that an aspiring bureaucracy closes ranks and insists that all other political practices should be dropped every few years when, as Marx put it long ago, the people are permitted to decide which member of the ruling class will misrepresent them in parliament. Experiments, necessary for any process of organizational invention, are ridiculed and dismissed in comparison to an ideal model which exists nowhere in reality, but which we are assured is the only practical solution. The stubborn repetition of norms, both political and social, guarantees the despotism of the model. Walter Benjamin recounted what he called a Hasidic saying (but which he actually heard from his friend Gershom Scholem), that when the messiah comes, the world will be just as it is now, “only a little bit different.” From the perspective of adjustment, it will not be even a little bit different. Second, personalization operates the reduction of politics to interpersonal relations, resulting in factionalism and conformism. Factionalism and conformism are not unusual in the history of politics, even emancipatory politics, but today they happen without the processes of total social upheaval that framed them historically. As a result, individuals and groups act like states without achieving any substantive change, enforcing unwritten laws with informal social punishments. In the place of the aspiration for structural transformation there is the centering of politics on the person, on the person of the adversary, whose offensive proclamations and style of speaking may provide the opportunity for a self-satisfied disgust, insofar as our experiences and self-designations are seen as spontaneously political rather than themselves the construction of political procedures. Third, pragmatism is the most widespread sensibility among intellectuals, from the media to the academy, who adopt political language but drain it of any idea, and laugh at those who have the courage to believe that a truly political idea is worth defending. As Alain Badiou puts it, the imperative of capitalism, “get rich!,” today translates into: “Live without an Idea!” Even in the pages of our most traditional newspapers, no less than in what Byung-Chul Han calls the “shitstorms” of social media, we can read condemnations of oppression and privilege, we can see debates over the abolition of our society’s most violent institutions, we can rejoice at the toppling of the latest petty tyrant with the misfortune of being randomly exposed. Yet if we were to don the fabled sunglasses of They Live! , we would read, in bold and colossal type: “Live without an Idea!” These sensibilities correspond in certain respects to different political tendencies, but they also fuse and intermingle in various ways. In social movements, forms of organization, whether they are bureaucratic or horizontalist, frequently revolve around the persons who lead or represent the movement. Competitions between factions, the decisions about which persons will occupy the positions of leadership, displace debates over strategy and program; activists are required to perform lengthy confessions of their privilege instead of recruiting new members (who are almost universally repelled, entirely justly, by such religious procedures); and purges and expulsions are performed to cleanse and redeem the community, instead of fostering environments which encourage free and open discussion. If we were to don the fabled sunglasses of They Live! , we would read, in bold and colossal type: “Live without an Idea!” All depoliticization leads back to the state, and its rituals, no matter how molecular, only enforce its hegemony. In periods of the intensification of opinion, of the back and forth which is not genuinely political, the greatest temptation is withdrawal—to maintain the conviction that a genuinely emancipatory politics is necessary, to recognize that it has taken place in the past, but then to conclude that it will not take place again. It is difficult to dictate to others whether it is better to enter the fray of opinion or withdraw into the isolation of one’s bunker. And indeed, I have no political prescription to make. I am unable to conclude with a clarion call, to rally new energies to a resurgence of politics. But this is not because I view emancipation as illusory, inherently flawed, or doomed to failure. In reality, it has been exhausted, in a way that perhaps we are still unable to fully comprehend. In the absence of events which inaugurate a thorough break with the existing order, I can only try to remain faithful, to the extent that my energies allow, to the emancipatory statements that Wamba articulated: that people think, that they may live differently than they do, and that politics is the creative invention which says: let us do something about the situation! And the questions which immediately follow these statements are: what are the conditions for emancipatory politics to exist? What are the militant forms of thought which make it possible for masses of people to make a subjective break from the existing state of things? What are the sites of politics which allow us to take a distance from the state, and how do we prevent politics from being reduced to the state when a political sequence comes to an end? The energies for fidelity, however, do not remain stable in our turbulent reality. A kind of ordinary steadiness, perhaps, can be drawn from Rossanda’s analysis of the organizational processes underlying these conditions. If depoliticization overwhelms us, it is not a matter of historical necessity, but of everyday relations, of the way we organize our relations to each other in the process of organizing politically. From the working class to the new social movements, from unions to assemblies, there is the patient work of building collectivities that last and the sober analysis of the exigencies of organization. And once again, many questions: what will fill the empty space left in history by the party? How can movements avoid neutralization while still compelling the transformation of existing institutions? What can prevent movements from being consigned to the margins, where they watch power solidify and harden? I remain convinced by these insights, but it would be a mistake to pretend that we have answers to the questions that follow. False certainties do not result in correct actions, and we gain little from arranging our ideas in such a way as to give ourselves the gift of optimism. Exhaustion, perhaps, is not eternal; we have no evidence to conclude that it is. But as capitalism, in its automatic and impersonal nihilism, accelerates its exhaustion of the planet, and the rituals of depoliticization foreclose the declaration of any political idea, there appears almost to be a nobility in withdrawal. And yet, this appearance is illusory, because one of the few truly meaningful questions in an otherwise meaningless and mediocre existence is this: what can we do about the situation? Answering that question means reckoning seriously, and disturbingly, with exhaustion. Time will tell—but not too much time—if we are up to the task. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Essay Political Theory Emancipatory Politics Rossana Rossanda Ernest Wamba-dia-Wamba Congo Italian Communist Party Tanzania Senegal Carl Schmitt Lenin Sylvain Lazarus Marxist Theory Michael Neocosmos Il Manifesto Bernie Sanders 1968 Workers Movements Depoliticization Affect Historical materialism Walter Benjamin Movement Organization Movement Strategy Revolution Histories of Revolutionary Politics Temporality 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. 10th Mar 2021 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:

WRITER Meena Kandasamy Meena Kandasamy is an anti-caste activist, poet, novelist, and translator. Her poetry collections, novels, and essay collections include Touch , Ms. Militancy , The Gypsy Goddess , When I Hit You , Exquisite Cadavers , The Orders Were to Rape You: Tamil Tigresses in the Eelam Struggle, and most recently, Tomorrow Someone Will Arrest You . In 2022, she was elected as a Fellow of the Royal Society of Literature (FRSL), UK, and awarded the PEN Hermann Kesten Prize. She holds a PhD in sociolinguistics. WRITER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

With the rise of militant insurgencies in Khyber Pakhtunkhwa, the Pakistani state now finds itself in a double bind. Following brutal crackdowns on the PTM at the hands of the state, it is not state-supported groups but Ulusi Pasuns that have emerged at the vanguard of resistance against militancy. THE VERTICAL Swat Youth Vanguards Manzoor Ali With the rise of militant insurgencies in Khyber Pakhtunkhwa, the Pakistani state now finds itself in a double bind. Following brutal crackdowns on the PTM at the hands of the state, it is not state-supported groups but Ulusi Pasuns that have emerged at the vanguard of resistance against militancy. On August 2, 2022, Aftab Khan Yousafazai, a young software engineer from Khwazakhela, a village in Swat, Khyber Pakhtunkhwa, returned home. For the young engineer, who grew up during possibly the bloodiest recent chapter of militancy-driven conflict in northwestern Pakistan, the return could not have come at a more inauspicious time. Yousafzai had been away studying software engineering in Abbottabad, another district in the mountainous North. Having finished his degree, he planned to spend leisure time with his family and friends while awaiting his results. The retreat proved to be short-lived, however. Less than a week after his arrival, on August 9, 2022, grainy videos of an injured police officer and other people in the captivity of Taliban in the mountains of Upper Swat surfaced on the internet. The videos triggered fear and panic in the region, as well as the rest of the country, where memories of a brutal insurgency in the scenic district were still fresh. Having seen bloodshed as a child—the district descended into chaos under the Taliban’s reign of terror from 2007-2009—Yousafzai was no stranger to militancy. At its peak, the crisis displaced two million people from the district during a huge military operation to quash the insurgency. The resurgence of militants was unnerving for someone already traumatised by the horrors of Taliban rule. His family and friends were equally distressed, exchanging feverish voice notes and messages with Yousafzai regarding the best course of action. Like many of his ethnic Pashtun peers, who had come of age in the wake of the War on Terror amidst a conflict that shattered—and continues to do so—lives and livelihoods in the border region of Pakistan, Yousafzai had latched for hope onto the Pashtun Tahaffuz Movement (PTM) in his varsity days. The PTM and its outspoken leader, Manzoor Ahmad Pashteen, represented the collective anguish of a population caught up between militant insurgencies, military operations, and their bloody aftermath. The young Pashteen took centre-stage in Pashtun nationalism and delivered a scathing critique of Pakistani state policies in the Northwest. He had an immediate, widespread appeal among the youth of the region whose sentiments found a vociferous advocate in him. The Pakistani state came down hard on the PTM, and as a result, it became a common umbrella for all those who had had enough of the state’s oppressive tactics in the name of security. Yousafzai and his friends kept their distance from the movement despite vowing support for it to avoid arrests and controversies attached to the PTM. With the resurgent Taliban threatening peace in his valley once again, however, the time for indecision ended for him. The young men felt the need to demand an immediate response to such dire circumstances. It was in this state of mind that Yousafzai shared a Facebook post calling for the public to attend a protest in Kabul Chowk against the return of the Taliban. On August 12, 2022, locals turned up at the venue in decent numbers. A few days later, Yousafzai and his friends named their nascent movement Swat Ulusi Pasun or Swat Public Uprising. “We want to have nothing to do with either the military or the militants. Only the masses are suffering in this war,” Yousafzai told me in an interview recently. What started as sporadic militant attacks in the summer of 2022, soon surged into a pattern that suggested a second militant uprising in Swat, as the district witnessed kidnapping for ransoms, murders and roadside bomb attacks throughout September. Swat Ulusi Pasun ’s largest gathering congregated on October 11, 2022, when thousands of people returned its call to protest in Nishat Chowk of Mingora, the largest city in Swat. Among those in attendance were the PTM chief Manzoor Ahmed Pashteen, as well as leaders of several mainstream political parties. Since then, the Swat Ulusi Pasun- inspired peaceful protests have been sweeping large parts of northwestern Khyber Pakhtunkhwa province, where the Tehrik-e-Taliban Pakistan, or the Pakistani Taliban, are carrying out attacks with renewed vigour. Motivated by the PTM’s peaceful opposition to militancy and military operations, large gatherings of tech-savvy youths have travelled across large swathes of territory in the province and its restive tribal belt. Wherever there is a major militant attack, youths take to the street in protest and, most of the time, pillory the military and its leadership for the resurgence of the Taliban with provocative slogans. “No one could fight back a peaceful public resistance,” said Yousafzai. Soon after their inception, these protests began to include individuals from institutions such as the police—they, too, were threatened by the Taliban’s activity. In January 2023, a massive suicide blast at the mosque inside the heavily-guarded compound of Peshawar Police Headquarters killed more than 80 and injured 250 others. This attack prompted members of the police force to protest as they, too, blamed the state for its failure to provide security to people. On February 1, several police personnel gathered outside the Peshawar Press Club to protest the militancy and even went to the extent of chanting slogans against the military for its alleged double dealings with the militants. Such protests have happened in the wake of terrorist attacks in Swat, Lower Dir, Bajaur, Khyber, Waziristan, and Peshawar—districts in the Khyber Pakhtunkhwa province—where large numbers of residents took to the streets to raise their voices against growing incidents of militancy. The rising tide of peaceful resistance in northwestern Pakistan is yet another chapter in the battle against terrorism in the region. In the initial phases of Taliban militancy, Pakistani authorities forced local elders to raise militias or lashkars to combat the onslaught of militancy in their villages and towns. One morning in October 2008, reporters in Peshawar were called to the Badaber police station in Peshawar city’s outskirts for an unusual press conference. We were made to sit inside the cramped building of the police station, waiting for the arrival of Abdul Malik, Mayor or Nazim of the Adezai Union Council. He was detained earlier in August on suspicions of having links with the Taliban after an attack on a police patrol in his village. Mr. Malik was to renounce his links with the Taliban in the press conference upon his release. The wait for Mr. Malik’s arrival took many hours as police personnel tried to reassure the anxious reporters that he was not in their custody and would be presented as soon as an intelligence agency handed him over to them. It was only around noon when Mr. Malik was brought to the police station in an unmarked car. A bulky man with a salt and pepper beard, Mr Malik briefly chatted with reporters and denied having any links with the Taliban but did not open up about his detention. The press conference ended abruptly as Mr Malik left the building surrounded by police security. A few weeks later, he set up the Adezai Aman Lashkar , or Adezai Peace Militia, to combat militancy in the area. Soon after, another lashkar was set up in Bazidkhel village by a local elder Muhammad Faheem, who was engaged in a deadly war in the Khyber agency—a tribal area bordering Afghanistan—with the militant outfit Lashkar-e-Islam . A similar pattern of arming the locals to fight militants was used across entire swathes of the tribal belt and Khyber Pakhtunkhwa province. However, militants’ retribution against the lashkars was harsh. Abdul Malik was killed in a suicide attack in 2009, while bullet-riddled bodies of Mr. Faheem and some of his close associates were recovered from a vehicle in June 2012 in mysterious conditions. The peace militias in other parts of the tribal belt and the rest of the province also did not fare well. Hundreds of tribal elders associated with these anti-Taliban militias were eliminated in ruthless, targeted killings, IEDs, and suicide attacks. The severity of militant rage against lashkars could be gauged from the fact that barely a month after Yousafzai and his comrades set up the Swat Ulusi Pasun, on September 12, 2022, militants killed Idrees Khan in a remote-controlled bomb blast. He was the former head of a peace committee in Swat. On September 16, another former peace committee member was shot dead in Charbagh Tehsil. This was the situation that gave rise to several avatars of Ulusi Pasuns or Public Rising. Youths like Yousafzai had not only witnessed the horrors of militancy but also seen the militants exacting brutal revenge on those who sided with the state. Besides the nonstop violence, however, they had also seen a massive public outpouring of support for PTM’s anti-war rhetoric across Khyber Pakhtunkhwa. This is what inspired them to pursue peaceful resistance. Amidst the state’s crackdown against the PTM, arresting its workers and leaders, and the attendant media blackout of its protests, the emergence of Ulusi Pasuns have provided alternate platforms for people to raise their voices against Talibanization. They are PTM multiplied, local platforms for disgruntled youths—armed with mobile phones and using social media for mobilisation—to rally around their resistance to oppression at the hands of militants and the state. For Yousafzai, this journey for public mobilisation has been full of twists and turns. Unlike most educated youths who try to land a government job soon after graduation, he found himself centre-stage in the biggest youth uprising against systematic violence in Pakistan. Before sending that Facebook post calling for a protest against the Taliban in his native Swat, he had applied for two government jobs, expecting calls for interviews. This seemed unlikely now. One night in August, he was detained for several hours and released after a public outcry against his detention. Soon again, he was arrested a second time, spending 16 days behind bars on charges of disturbing public peace and bailed out by a local court. Yousafzai recalls receiving threatening calls from the Taliban labelling him as a stooge of the Pakistani intelligence. “I argued with the caller on the phone saying the Ulasi Pasuns have nothing to do with intelligence and after all, we are only demanding a peaceful life, right to education and work for our children.” Yousafzai is currently heading the Swat Ulusi Pasun and coordinates activities of similar volunteer organisations, which he has helped organise at the tehsil level. He coordinates these activities through WhatsApp groups, with an eye on the direction that Taliban militancy may take. However, his political activities have also created ripples in his own family life. His father, currently in the United States, is not happy with Yousafzai’s political campaigning and wants him to give up his advocacy and return to a normal life. Despite opposition and pressure from his family to return to “normalcy,” Yousafzai remains steadfast in his commitment to finishing what he has started. ∎ ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Protest at Kanju Chowk on May, 5, 2023. Courtesy of the author. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Reportage Swat Khyber Pakhtunkhwa Pakistan Pashtun Tahafuz Movement PTM Manzoor Ahmad Pashteen Pashtun Nationalism Kabul Chowk Swat Public Uprising Swat Ulusi Pasun Aftab Khan Yousafazai Taliban Militancy Insurgency Police Action Community Building Internet Platforms Social Media State Violence Peaceful Resistance State & Media Student Movements Student Protests MANZOOR ALI is a Peshawar-based journalist with Dawn . He has contributed reporting to Life and Thyme , Al Jazeera , TRT World , New Internationalist , Radio Free Europe/Radio Liberty , Himal Southasian , Roads and Kingdoms, and Foreign Policy . Reportage Swat 24th Feb 2024 On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct