From The Diary of 1947 by Nirmal Kumar Basu, in Sandip Mukherji's Noakhali 1946, translated by Rinita Mazumdar.
During the genocide of Hindus Hindu women suffered most
Here is a description of pregnant Hindu women refugees during Noakhali mayhem during 1946. The excerpt is from Anadabazar Patrika, the most circulated Bengali language daily, published from Calcutta, India.
The most heart-wrenching stories are those of the women who are about to give birth. They are lying in the station and having labor pain. One can only imagine that there are beds on the floor of the refugee camp. There is a scarcity of midwives and several newborns died. Sometimes the new mothers need blood. On November 21 in February in the Faridgung area we got the news that in the previous 12 days more than 200 babies were born and most of them died without special care and there was little chance of saving the mothers.
-The following was published by the Public Relations Department of the Bengal Government]
“Last 15th December the article “Destruction of Noakhali” was published in Anandabazar Patrikaa. Mr. Chapalakanta Bhattachrya, wrote that last November 9 to November 21 in Faridgung 200 babies were born and all the newborns died right after birth. A detailed inquiry about this was made. In Chandpur camp, the public Head Department of the Special assistant Director had ignored during the publication of the article in the Faridgung area only 14 babies were born. Among them, 2 babies and one pregnant woman died. Yours Sincerely, P.S. Mathur, Director of Bengal Government Anandabazar Patrika, City Edition, 13th January 1947.
From the forthcoming book Noakhali, 1946: By Sandip Mukherjee, Translated and recreated by Rinita Mazumdar PhD. Subscribe below for access to pre-sale discounts and signed copies!
From Bengali Daily, Anandabazar Patrika July 5, 1947:
(This is still the largest circulated daily in Bengali and also supports an independent Television news channel which airs news in 5 Indian languages)
Allahabad (a city in Northern India) July 3, 1947:
Mr. Amiyo Mukherjee, appealed in the Kotwali police station in Allahabad that one Hindu girl from his family, named Anima Mukherjee, was abducted three months ago during the attack in Noakhali and was brought here under a Muslim name, Zohra. The Mukherjee household was burnt down during the attack on Hindus in Noakhali. The girl herself testified that she was abducted by a Muslim man named Siddiqui and was confined in his home. This girl would be produced in Court to testify. She wrote letters to a relative and appealed to rescue her. After killing her parents, the gang brought her to Howrah Station in West Bengal and then to Marrek Springs; there she was forced to put on a hijab and brought to Allahabad. She further testified that 8 people gang raped her. She was given a Muslim name after the man abducted her. The Magistrate gave further directions to the inquiry.
During the trial the girl was residing with a Hindu family under the directions of the Court, and was called by her given name, Anima Mukherjee. The man who abducted her was arrested in Uttar Pradesh (Anandabazar Patrika, July 5, 1947).
Cultural Hegemony & Untold Genocides by Rinita Mazumdar PhD
Noakhali, Bengal India, now in Bangladesh: 1946:
In 1946, the Muslim majority population of India (specially in the Punjab in North West and Bengal province in the East) demanded a separate state for Muslims. One of their methods to obtain a “Muslim homeland” was genocide of the Hindu population in West Punjab and East Bengal, which both had a Muslim majority and Hindu minority populations.
From the book, Noakhali 1946 by Sandip Mukherjee, that I translated and created. Noakhali is a province in Bangladesh (present) and was also a province in undivided India (East Bengal). Here there was a massive genocide of Hindus. Some examples are given here from the testimony of one of Gandhi’s “Peace workers” or volunteers who went there to bring peace and opened refugee camps for Hindus who were evicted by the Muslims and whose houses were burned down and all their property looted:
“We were making an inventory of the killed and missing and here we were told that a total of 5 Hindus were killed, and others were missing. We made a note of all of that in our list. The attackers were well organized and their work was divided. Some had the job of setting fire to Hindu homes, some of looting, some of killing and abducting the women. Those who refused to convert were set on fire. In the entire village there was no instance of Hindus killing Muslims. In Dattapara, we heard that Mr. Rajendralala Basu did use his gun and fired some shots from the second floor and killed a couple of the Muslims. In the case of attack on Chittababu’s house one Muslim died of police firing. In Karpara what we witnessed is that they are either fleeing or fled and not attacking the attackers. For they were small compared to the hundred Muslims. There were only 15/20 Hindu households. In some villages no more than three Hindus were left. Not a single wealthy Hindu household was spared. Most of the houses were either completely burned down or partially burned down. Only some very poor huts were spared. All the young and pretty Hindu women were abducted. After this no Hindu returned to their village. After Gandhi came here and there several relief camps were open, they tried to bring the Hindus back, but none returned till this date.
A few days before the attack on Hindus, there was a rumor that something like this would happen. The people, however, were not sure. The Hindus thought that if they unify, they will be able to resist even if the attack happened. Actually, in all places they resisted. So, a batch of 500 Muslims seeing all the Hindus united fled. About 46/47 concrete houses were destroyed. In one of the villages called “Mandartalli”, the most palatial house was called “Singha[1] house” or “Lion House”. About 100 people attacked that house. A young man named Nani Singh tried to resist and protect the women of the household. The attackers came into the Courtyard and looked for the women. Nani Singha took a long sword[2] and stood in the doorway and attacked about 5 people who tried to enter. He severed the neck of one Muslim and the others fled. They were not able to take anything. At night with the help of one Muslim gentleman, the family took a boat and fled. The boat reached them to Chandpur and took some of their stuff and the rest was in the house. Next day about 4.5 thousand people came and destroyed the house.”
Noakhali 1946 by Sandip Mukherjee
Undivided
Map of Undivided Bengal. In 1947 when India won independence from British rule, two states were born, India (Hindu majority, secular democracy), and Pakistan (Muslim majority, theocratic state). West Bengal became a state in India with Hindu majority and Muslim minority, while East Bengal became East Pakistan, with Muslim majority and Hindu minority. Then in 1971, East Pakistan broke away from West Pakistan (now Pakistan) and became an independent nation, Bangladesh after India and Pakistan went for a 14 day war.
Map of undivided Bengal in 1947:
Find previous articles of Dr. Mazumdar's series on Global Conflict by clicking here.
Shiva’s Dance in Albuquerque
Rinita Mazumdar, Ph.D. is one of the leading feminist scholars in the Southwest. Originally from India, Dr. Mazumdar earned her Masters from India and Canada in Philosophy and MSc in Psychology from the University of Phoenix. She received her Ph.D. in Philosophy from the University of Massachusetts in Amherst. Find her poetry collection, “Shiva’s Dance in Albuquerque” by clicking here.
Community Publishing Announces Live-Stream / Podcast Promoting New Mexico Arts & Small Business via Film Industry Professionals
ALBUQUERQUE, NM December 14, 2020 – The Albuquerque based media company, Community Publishing, is announcing the launch of a new hybrid Live-Stream / Podcast on Friday January 1, 2021 and every Friday thereafter. Sponsored by the leader in podcasting, Anchor FM, smARTalk will leverage the Film Industry Professionals in New Mexico to help promote the New Mexico Arts (of all mediums) community and small businesses by interviewing said professionals about their New Mexico based film projects. The show will be Livestreamed on Facebook and Twitter but will also be available to listen to as a podcast via Spotify, Google Podcasts and Apple Podcasts.
Film Industry Actors, Directors, Screenwriters and other Professionals will be interviewed in 2 segments where they will discuss their specific project and their experience in New Mexico. Smaller micro-segments will feature New Mexican visual artists, musicians, writers and entrepreneurs. A veteran of the TV industry, the show’s host, Alex Paramo, will be pushing his guests to reveal social issues that they are passionate about. “To have an insightful, entertaining and meaningful conversation, I will be focusing on social causes that these folks are committed to working on. A great many folks you see on-screen have dedicated their time and resources to innovative and important social projects and that is what we will focus on.”
The premiere episode will feature City of Albuquerque, Cultural Services Deputy Director Hakim Bellamy. Mr. Bellamy is also Albuquerque’s Inaugural Poet Laureate, Author and Emcee. The micro-segments will feature local small business owner Mike Silva of Rude Boy Cookies, Chris Brennan of Reviva, Author Audrey McNamara, and Painter Lynnette Haozous. smARTalk Production Manager Colleen Elvidge states, “We want this show to be as representative of New Mexico culture(s) as possible. In leveraging the film community filming in New Mexico – Netflix, Universal Studios – we are aiming to shine the spotlight on the incredible group of talented artists of all mediums that are unique to New Mexico.”
Community Publishing is locally owned and operated out of Albuquerque, New Mexico. Founded in 2015, Community Publishing publishes multimedia books & blog articles from artists of all mediums. The independent media company is focused on providing a platform for diverse content from creators of traditionally underrepresented communities. #####
En la conversación con la actriz y directora uruguaya hablamos del teatro en pandemia, del teatro comunitario y la propuesta de seguir haciendo arte juntos entre vecinos fortaleciendo los lazos, manteniendo la memoria, forjando la identidad y haciendo de esto una celebración.
La artista plástica Alejandra Di Lorenzo nos habla sobre el arte visual en esta pandemia. Las nuevas tecnologías para ver arte, la importancia de los técnicos y gestores en el arte y, aunque ve que la facilidad de ver arte desde las casas democratiza el arte también advierte sobre la importancia de aprender sobre arte, visitar los espacios (museos, galerías y centros culturales) y aprovechar las clases que se suelen ofrecer. Encuentre más información sobre as artista visitando:http://alejandradilorenzo.blogspot.com/
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La pandemia del Covid-19 ha resaltado con crudeza inequidades que muchos hace tiempo planteamos deben ser revertidas, o aun mejor eliminadas. Entre quienes más han sufrido esta pandemia están los artistas dado que en prácticamente el 100% de los casos son autónomos y por lo tanto no tienen otra fuente de ingresos más que el producido por sus presentaciones en vivo o la venta de sus obras. Con el cierre de salas de espectáculos y galerías muchos fueron forzados a implementar modalidades virtuales para compartir sus trabajos así como dar clases. Esto no es nuevo, no es producto únicamente de una reacción ante la pandemia pero sí fue debido a esta que se impuso como única forma posible en la situación de confinamiento en el que se encuentra la mayor parte de la población mundial. Esta serie de entrevistas se enfoca en las vivencias de diferentes artistas, de diferentes formas de arte y en diferentes países pero con evidentes puntos en común y las ganas de proponer un futuro más equitativo, en particular el acceso a las condiciones para producir y apreciar arte, el acceso a la belleza. – Sebas
Sea este espacio también un tributo a los técnicos que ayudan a que las obras puedan ser apreciadas con la calidad que se merecen.
El Cantante
Conversamos con el cantante Martín De León sobre cómo lo encontró la pandemia en plena gira, la importancia de los técnicos y el público en vivo el cual, dice, puede hacerlos cantar horas.
Los inicios de Martín se remontan a los años 70 en Buenos Aires, con el movimiento café-concierto, junto a Miguel Saravia (su primer patrocinador), Opus 4, Cacho Tirao, Vinícius de Moraes, Maria Creuza, entre otros. En 1975 llega a Estados Unidos, contratado por el Café Latinoamericano de Manhattan. Actuó junto a Facundo Cabral, Ginamaría Hidalgo y el maestro Sabicas. Para obtener más información, haga clic aquí. Find more information and previous articles from Sebastian Pais here.
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Aqui estoy de nuevo compartiendo en Community Publishing esta entrevista al amigo Federico Peixoto sobre su película documental “Tlacuilos” sobre la historia del graffiti en Centroamérica.
Please help support Independent Media by subscribing below. This is a free subscription which will entitle you to free giveaways, books information, book previews, merchandise giveaways, event news, book signing info and more! Thank you. Community Publishing is from the community for the Community!
Curated by Mary Ann Gilbreth, Ed.D., Department of Teacher Education, Educational Leadership and Policy, at the University of New Mexico. This collections includes the work of her students from several of her Reading Methods Classes, promoting cultural diversity in the classroom.