India – That shrinking space for dissent #Protest

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RIGHT TO PROTEST

April 27, 2013, Times Crest 

The government’s action against the Kabir Kala Manch in Maharashtra as a naxalite outfit shows us just why we need to defend our right to protest, writes Anand Patwardhan

On July 11, 1997, Ramabai Colony in Ghatkopar, Mumbai, had awoken to find its statue of Dr Ambedkar desecrated with a garland of footwear. As angry residents poured onto the adjacent highway, the state’s Reserve Police Force arrived and opened fire, killing ten. In grief, poet-singer Vilas Ghogre hung himself in his hut in nearby Mulund.

I had loved and recorded Vilas’s music over many years and tried to understand why a Marxist like him had reasserted his Dalit identity by tying a blue bandanna as he died. I explored class and caste and followed other poet-musicians like Vilas who used their art for emancipation. The 10th year of this journey brought me back to Ramabai Colony where a commemoration was in progress to honour the martyrs of Ramabai and Khairlanji. After the rape and massacre of Dalits in Khairlanji village in 2006, protests had flared across Maharashtra. The government cracked down, describing them as “Maoist inspired”. Three years later it gave Khairlanji village an award for being a model of peace (” Tantamukti Gaon” ).

On 11 July, 2007, the sense of outrage and injustice was palpable at Ramabai Colony. Many musicians performed. But the most electric of all was a young group from Pune, the Kabir Kala Manch (KKM). As Sheetal Sathe’s strong, clear voice rang out, the words piercing hearts and minds, I knew that the legacy of Vilas Ghogre would never die.

I began to follow the KKM, filming their public performances, speaking with Sheetal’s mother who despite her faith in the “goddess” tolerated the growing rational consciousness of the children she had educated. KKM lent support to a range of movements that had taken on the venality of the system, from Medha Patkar‘s non-violence to their own Mahatma Phule-inspired movement for intercaste marriage.

Atrocities like Khailanji began to make KKM more edgy. Ambedkar was now interwoven with Marx and the young believers challenged an older generation that had settled for crumbs from the high table. Yet nothing about the KKM was dogmatic and they remained internally democratic. Sachin the published poet, and Sheetal and Sagar, the accomplished musicians, saw to it that everyone got a chance to sing, write and perform.

In 2011, I lost contact with the group, but soon understood the reason. Deepak Dengle of the KKM had been arrested by the Anti Terrorist Squad (ATS), accused of being a Naxalite. A startled KKM went underground even as Sheetal’s mother insisted that her children would fight only with “song and drum”.

Police-planted articles began to appear in the media. Accusations against KKM drew on “confessions” obtained in police custody like the one by Deepak Dengle alleging that KKM attended a meeting where Maoists were present. Deepak subsequently withdrew his statement stating that it was obtained under torture. He was recently released on bail after the Bombay High Court held that alleged membership of a banned outfit could not constitute grounds for detention, that an actual crime or intention to commit one would have to be proved. Deepak, after his release, described how acid was used on his back during torture and how his family was threatened.

In 2012, a few citizens and I had formed a Kabir Kala Manch Defence Committee, fearing for the lives of those branded as Naxalites. We met the chief minister of Maharashtra and the home minister, who informed us that the charges against the KKM were not serious. Finally we were overjoyed when a lawyer friend informed us that Sheetal and Sachin had made contact and wanted to come overground. To prevent the police from claiming they had “caught” them, the surfacing was arranged outside the state assembly, in full public glare. Prakash Ambedkar and CPI leaders accompanied members of our committee as Sheetal and Sachin sang a song, declaring that their action was not “surrender”, but a “satyagraha” for the freedom of expression.

Eventually the ATS arrived to collect its quarry. We met the CM that evening and he promised to prevent torture. In court the next day, Sheetal, who is pregnant, was sent directly into judicial custody while Sachin was remanded to ATS questioning for two weeks. We learnt that although Sachin was not allowed to sleep for three days, there was no physical torture. Meanwhile, the volume of support for KKM was so sustained that the ATS switched off its fax machines. But they countered through the mainstream media that Sachin and Sheetal were indeed Naxalites.

Are they? I see them as fiery idealists who are fighting to make our society just and equitable. Does that distinguish them from Naxalites? The ATS seems confused. To me the distinction lies in the fact that the only weapon Sachin and Sheetal fight with is their poetry and song.

But in the worst-case, even if it were concluded that they made contact with a banned organisation, what bewilders me is the question of what the state wants from them now? They gave themselves up. They expressed the desire to sing freely again within the bounds of democracy. Other members from their group are still underground, obviously watching to see what the state does. What message is the state sending? That it prefers to brand them as Naxalites and push them into the forest rather than allow them safe passage?

Last week, Sheetal’s bail was refused. Neither she nor Sachin are accused of any act of violence. Are people who give themselves up going to run away? Surely our democracy needs their song.

The writer is a documentary filmmaker

 

13 responses »

  1. Pingback: Meena Kandasamy accepts award in the name of Sheetal Sathe and others #womenrights | Kabir Kala Manch- Defence Committee

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