Axone, the film is being critically received and widely acclaimed for depicting the racial discriminations faced by the people from the Northeast in Indian metros, an aspect that has assumed a special significance due to a spike of racist attacks and discrimination against people form the region in different cities of India as the panic around COVID19 grows. Nicholas Kharkongor, the director of the movie, made this connection too in an interview to Outlook calling the movie has come in the right time, as “the idea was to be able to tell the story of Northeast people’s experience of living in a big city.”
There is a kind of myth making going on in the media that migrant workers are leaving cities for their love of home. The question is what choice these migrant workers had. They did not start their journey from the cities out of love for their homeland and relatives. They had to leave their homes in the cities. We conveniently/unconsciously switch this compulsion to leave cities for a phrase ‘love for the home’. Those who had some means to stay deferred their journey.
To say that migrant workers are leaving cities for their love of home/natives is to absolve ourselves from looking at harsh conditions which forced them out of city boundaries and left them walking in extreme conditions or undertaking arduous train journey.
The state of Meghalaya has experienced many disturbances in relation to the issue of immigration. At the same time, there are historical demographic trends in Meghalaya which makes the case a little complicated. The spectre of the threat of illegal immigrants displacing the indigenous tribal population has been played out since the formation of the Statehood. Fear of being overwhelmed by non-indigenous population (non-tribal) is widespread throughout the State and any perceived threat to tribal sovereignty is vehemently opposed
Since the past couple of months I have been thinking a lot about home and ways in which it archives the passage of time. In one such afternoon of sluggish enquiry, I learnt about my great-aunt for the first time some forty years after her death when I discovered an old trunk in my house. The trunk was brought by her when she migrated from Sylhet to India (Assam) because of the partition of 1947. Coincidentally, the day I discovered this relic of the inglorious history turned out to be the anniversary of the country’s independence. It was on the 15th August 2018.
Some Q & A on NRC. Might sound repetitive and self evident . But people need to be told, because some know too little, some know it all wrong and some are deliberately being informed all wrong…
Bottom line is that there are complexities in this country that cannot be fit into ideological straightjacket or ready to serve linear narratives. Should the empathy for the stateless (although let us remember 40 lakh is a ‘draft figure’, yet to be finalised and there is no ‘official’ position on the ‘punitive measures’ to be taken) not essentially co-exist with empathy and concern for those coerced into sharing resources and habitats to waves and waves of immigrants? Or perhaps feeling for both( the one’s seeking a home and the one’s loosing their homes and fields) compromises one’s ‘politics’?
Debates on National Register of Citizens no longer remain confined to the borders of Assam (and North East). United Against Hate, an Indian Human Rights…
“What about the Kashmiri Pandits?” For well over a quarter century every public conversation on Kashmir has been dogged by that question. As a tiny Hindu minority in predominantly Muslim Kashmir (they constituted less than 5% in the 1990s) Pandits have had an extraordinary valence in the often-heated discourse around the conflict, and their “migration” from Kashmir in the early 1990s continues to cast a baleful shadow on the present.
We who come from the north-east of India to feel a sense of guilt for reading English books, watching Hollywood movies and soaps and not regional cinema, let alone popular Hindi movies and for hearing and singing English songs. I also found myself sometimes, defending the fact that cinema halls in Darjeeling and Sikkim did screen Hindi movies, which were widely watched and that south Indian movies were much awaited and enjoyed as well. But to much dismay, this still did not alter the attempts at fitting in well to engage in the cultural dialogue that existed among the lower classes in mainland India.
“So where does your son work?” I asked; ‘Hajirabad’, replied Ghanshyam Thapa, a Nepali elder from Bhutankhuti village falling under Bodoland Territorial Council (BTC). Confused initially, I said that it’s Hyderabad, in vain though. “Yes, that place – Hajirabad” replied Ghanshyam. Later it dawned in my mind that the apparent linguistic travesty of Ghanshyam Thapa inadvertently represented the stark reality of Bhutankhuti along with most of the villages of the region falling under Baksa district in Western Assam. Hajira in Assamese roughly translates in English as labour, hence as Hyderabad hosts a large number of migrants from northeast India, it becomes ‘Hajirabad’ to Ghyansam Thapa. Bhutankhuti is the last village in India before the Bhutan border; lying 21 km north of the National highway 31. A random interview in the households of the nearby villages, across the different communities would provide similar narratives of out migration.
Anthropologists Dolly Kikon and Bengt G. Karlsson collaborated with photographer Andrzej Markiewicz to trace the lives and lifeworlds of indigenous migrants who have travelled from the Northeastern frontier of India to the expanding cities of South India.
A photo essay on migrant workers of Delhi by Sadho Ram, a Jharkhandi migrant
Avner Pariat on migrations – legal and illegal