Between 2011 and 2015, journalist Ashutosh Bhardwaj lived in India’s Red corridor, reporting on the Naxalite-Maoist insurgency. In his book The Death Script: Dreams and Delusions in Naxal Country, he writes about his time in the Naxal heartland, presenting the prevailing conditions in all their complexity. By using narrative non-fiction and multiple point of views, he offers intimate glimpses of the perspectives of different people he met, and highlights the dominance of death in their way of life. In an interview with Firstpost, Bhardwaj discusses what life is like inside the Dandakaranya forest, why a solution hasn’t yet emerged, the possible impacts of the COVID-19 pandemic on the insurgency, and more. Tribal responses to the insurgency range across the spectrum — some want to revive the Salwa Judum and actively, violently remove the rebels from their lands, while others earn the title ‘mukhbir’ because of a loss of identity, and essentially become collateral damage. There are also the ones who join the rebels, primarily because they see it as a battle for ‘jal, jungle, aur jameen’. In tribals responding to rebels, what role does gender play? The Maoists have always tried to bring a large number of women into their fold, and women constitute some 40 percent of their armed cadres in Bastar. Soon after their arrival in Bastar in the 1980s, they had sensed that their ground army of Adivasis couldn’t be built without the equal participation of women. They initiate special drives to induct women cadres, celebrate Women’s Day on 8 March. In an area where basic nutrition is not easily available, the Maoist rulebook provides for special food rights for women cadres. Their focus on women is among the major reasons that has enabled their dominance in Bastar for so long. Without the overwhelming support of Adivasi women, they would have found it very difficult to convert the forest into a revolutionary base. In this sense, the Maoists are strikingly different from another major insurgent zone, Kashmir. Kashmir also has a long running insurgency, but perhaps not a single woman cadre in any of the multiple outfits operating in the Valley over the last three decades. A militant organisation is as much characterised by its capacity to inflict violence, as by its constitution and composition. While several guerrillas carry the ‘red flag on red fort’ dream, there are also those who are not fuelled by that ideological passion. Besides someone joining the rebels to escape patriarchy, or due to being thrashed by the police and being treated unfairly by the rigid, hierarchical Indian system, the act also seems to stem from their search for an alternate society and way of life. As they feel empowered to imagine a better life, what then is the lived reality for such an individual? The lived reality barely matches the dreams and expectations. The society they had aspired for, they soon realise, will take several generations to bring about. Always on the move in the jungle, battling with death and diseases, living with the fear of a police attack and an untimely death, they fight a battle for posterity, for an ideal that may forever remain a distant dream and may perhaps never be fulfilled. Their life, thus, seems to remain trapped in an escapable irony. However, this is only my perception of their life. It may very well be erroneous. Perhaps they find their lives extremely fulfilling and meaningful. You talk about the importance of the oral tradition, as many communities of the forest use stories where they treat Hindu deities with irreverence, to push back against the proposed hegemony of the city. In as much as the Maoists have created an alternate society within the forest, what does their art and culture look like? An underground guerrilla movement trying to raise an army and secure its ground in the wilderness cannot easily focus on creating or promoting works of art. The CPI (Maoist) has a cultural wing called Chetna Natya Manch that brings out occasional journals, produces street plays, poems and songs to woo villagers and invigorate their cadres. These performances, mostly undertaken by the younger cadres who don’t participate in armed activities, highlight the threat caused by the state and the market, and urge the adivasis to join the cause of the revolution. The cadres also enact major fake encounters by security forces to inform the villagers about the killings of Adivasis. [caption id=“attachment_8649011” align=“alignnone” width=“640”]
All photos by Ashutosh Bhardwaj, taken during his December 2019 trip to Abujhmad.[/caption] You tell the stories of couples like Korsa Joga and Varalakshmi, and Akash and Hemla, walking away from the revolution for the simple pleasures of domesticity, and instead finding unhappy endings. There is also Tejaswi, born inside the forest to guerrilla revolutionaries whose yearning for a child was greater than the ideals the revolution had inculcated in them. How is love perceived by the insurgents? Besides being an act of rebellion against the rebels, what role is love playing in this climate where violence and death are so foregrounded and dominant? The codebook of the Maoists says that love and marital life must conform to the requirements of the revolution. Marriages are allowed within the Party, but the couples are rarely deployed in a squad, and often find themselves in distant platoons. They are expected to remain ‘comrades’. However, being a basic requirement of human life, love and the consequent desire for a family often becomes a tempering factor that contests and challenges the Maoist’s ideals. When a guerrilla enters into a forbidden love or, on rare occasions, decides to have a child, it unsettles the entire squad. Such Maoists often give up their weapons, renounce the cause they had been fighting for and leave the Party to begin a new life. Love, thus, severely dents the ideal of revolution. You share the story of the policeman who has backup outside when he goes with his family to watch a movie, and of how, once inside the jungle, you understood why every player in this situation is always in a constant state of alertness. You explain the state of conflict spies and informers live in, and the dejectedness and loss of identity that many surrendered cadres experience. Inside the forest, there’s also the instance of five-year-old boys squeezing the life out of birds as a form of entertainment, a toy. Living and fighting as they are without the legitimacy and validation of the term ‘war’ or even ‘conflict’, how is the participants’ mental health being affected? As a result, what type of worldview do you see developing in younger generations? Any comment on their mental health cannot be definitive; it can only be indicative. Considering that the lives of all the participants – policemen, Adivasis and the guerrillas – are always in peril, one could surmise that they might develop some cynicism, indifference for the world. The younger generation of guerrillas, perhaps, don’t share the optimism of the generation of the 1970s and 1980s, who believed that the revolution was not so distant. The cadres who have joined in the last decade seem to be fully aware that they will die fighting this lonely battle in the jungle. Since most of them are Adivasis who have barely stepped out of the forest, they remain unaware of the world outside. Several of them wonder about basic things, like a fan or cooking gas. They denounce ‘capitalist America’, but don’t even know where it is, or what it is. They are taught about Marxist ideology, but don’t know what the status of Left politics is in India, let alone the world. They, thus, seem to be living in a bubble of their beliefs and ideals. However, one cannot easily make the above proposition without noting that a large number of those who live in cities and metros, India’s humungous middle-class, perhaps also remain ensconced in a fanciful world of their beliefs. In one chapter, comrades watch videos of corpses being brutalised. In another, tribal women sob for their dead, even as they witness their post-mortems happening. In the forest, where letters are permanently buried away, a dead body seems to be the chosen mode of communication. How then might the act of preserving their dead through memorials, which “is a tradition, perhaps an addiction, in Bastar”, be a way of reclaiming agency and narrative? A culture can, perhaps, be gauged by the conversation it holds with its deceased. Bastar has always had an intense and intimate bond with its dead. The Adivasis erect memorials for them; in some communities, women playfully perform somersaults over the corpse of an elderly person in the hope of taking their next birth in his family. The memorials perform a different function for the Maoists. Such monuments erected in red bricks enable the guerrillas to stamp their presence in the jungle and keep their memory alive. It also instils a faith in cadres that their place is secured in the annals of history even after their death. For the Maoists, then, preserving their dead becomes an act of constructing and sustaining their narrative.
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