Monday, July 1, 2024

Kherwal Bir: The Divine Warrior's Triumph (Extracted from the original work of Kherwal Bir written by Pt. Raghunath Murmu)

 





Once upon a time, in a land enveloped by dense forests and towering mountains; there existed a kingdom ruled by a benevolent and wise king named Manmi. The kingdom was a picturesque realm, where the lush greenery of the forest blended seamlessly with the majesty of the mountains. Wildlife thrived, and the kingdom's natural beauty was a testament to the harmony that existed under King Manmi's rule. He reign was characterized by justice, prosperity, and harmony. King Manmi was not only a ruler but a guardian of his people, ensuring that fairness and equity prevailed in every corner of his Kingdom. 

Manmi's subjects revered him, and the kingdom flourished under his humane governance. Farmers tilled their lands with confidence, knowing that their king would protect their rights and ensure they received a fair share of the harvest. The fields yielded bountiful harvests, providing ample food for everyone. Grain and vegetables grew in abundance, and orchards were heavy with fruit. The markets buzzed with activity, as traders and merchants exchanged goods, their faces reflecting the prosperity of the kingdom. The rivers ran clear and plentiful, their waters nurturing both the crops and the spirits of the people. Fishermen cast their nets into the pristine waters, bringing home catches that fed the kingdom. Villages and towns echoed with the sounds of laughter and song, as the people lived in peace and contentment, free from the worries that plagued neighboring lands. 

However, as time passed, the population grew, and with it came the inevitable challenges of poverty and want. The once ample resources began to dwindle, and the delicate balance that King Manmi had maintained started to falter. The strain on resources began to show, as fields that once overflowed with crops now struggled to meet the growing demand. Forests that had been teeming with game became less bountiful, and the clear rivers began to dry in places. 

Discontent started to brew among the people. The harmonious relationships that had defined the kingdom began to fray at the edges. Rumblings of dissatisfaction could be heard in the once joyful markets and village squares. People who had lived comfortably began to feel the pinch of scarcity, and whispers of unrest grew louder. Some blamed the changing times, while others questioned the king’s ability to manage the new challenges. Amidst this turmoil, the seeds of discord were sown, and the kingdom's golden era seemed to be coming to an end. 

The growing discontent threatened to unravel the fabric of the society that King Manmi had so carefully woven. Despite his best efforts, the king found it increasingly difficult to address the myriad issues arising from the population boom. The sense of unity that had defined his kingdom began to erode, and the specter of unrest loomed over the land. The peaceful coexistence that had been the hallmark of Manmi's reign was now at risk, as the kingdom stood at a crossroads, facing an uncertain future. 

Amidst this turmoil, a faction of the population succumbed to greed and malevolence. These individuals, who had once lived in harmony with their neighbors, began to feel that their desires and ambitions could not be met within the confines of a just and equitable society. They saw the growing scarcity not as a challenge to be met collectively but as an opportunity to seize power for themselves. These men and women, forsaking the path of righteousness, turned to the worship of dark witches and evil gods known as bongas. These bongas, ancient malevolent spirits, promised great power and wealth in exchange for human sacrifices and unyielding loyalty. 

The Danmis, as this sinister group came to be known, began to perform gruesome rituals in secret, seeking the favor of the bongas. They built hidden altars deep within the forests and dark caves where they conducted their macabre ceremonies. The air around these places grew thick with dark magic, and whispers of their evil deeds spread fear among the people. The Danmis sought power through these human sacrifices, believing that the blood and souls of their victims would grant them supernatural strength and the ability to control the elements. 

Driven by their insatiable hunger for power, the Danmis began to expand their influence. They infiltrated the highest levels of society, using deceit and treachery to turn friends into foes and neighbors into enemies. Their numbers grew as they seduced more individuals with promises of power and protection. Like a cancer, their malevolence spread through the kingdom, corrupting the hearts and minds of those who were once loyal to King Manmi. Fear and suspicion took root, replacing the trust and camaraderie that had defined the kingdom. 

As the Danmis' power grew, they became bolder in their actions. They launched a series of calculated attacks against the Manmi loyalists, using their dark powers to sow confusion and terror. The once vibrant and joyous kingdom was now overshadowed by fear and despair. Villages that had once been filled with laughter now echoed with cries of anguish. The fields that had once produced bountiful harvests lay barren, as farmers fled in terror or were captured by the Danmis. The rivers, once clear and life-giving, ran red with the blood of the innocents. 

The Danmis eventually overpowered the Manmi loyalists, capturing the kingdom and plunging it into darkness. King Manmi's palace, once a symbol of justice and prosperity, was overtaken by the Danmis and transformed into a fortress of terror. The royal guards, loyal to their king until the end, fought valiantly but were ultimately overwhelmed by the dark forces at play. The banners of the kingdom, which once flew high in pride and unity, were torn down and replaced with the ominous symbols of the Danmis' dark gods. 

The kingdom that had flourished under King Manmi's benevolent rule was now a land of shadows and despair. The once close-knit communities were shattered, and the people lived in constant fear of the Danmis' wrath. Night brought no respite, as the dark witches and evil gods prowled the land, demanding more sacrifices and spreading their malevolent influence. Hope seemed a distant memory, and the kingdom's golden era was now a tragic tale of lost glory and unrelenting darkness. The future seemed bleak, with the forces of evil holding the kingdom in an iron grip, suffocating any semblance of light and hope that dared to emerge. 

In the heart of an ancient forest, the Manmis, led by their valiant king, sought refuge from the ceaseless assaults of their adversaries, the Danmis. Yet, even amidst the dense foliage and rugged terrain, the shadow of danger loomed large. The Danmis, relentless in their pursuit, continued to hound the Manmis, capturing their finest warriors to offer as grim sacrifices to their malevolent gods, while enslaving those they could subdue. In the depths of this wilderness, where sunlight struggled to penetrate the thick canopy, King Manmi and his queen found solace in the birth of their son. Blessed by a visitation in the queen's dreams from Dharam Baba, a divine guardian manifested in the form of a majestic lion and lioness, the newborn was watched over with divine protection. They named him Kherwal, signifying the noble virtues he was destined to embody. 

As Kherwal grew, the forest became his classroom, and the spirits dwelling within its depths his mentors. From the tender age at which he first walked, he displayed a remarkable blend of strength and wisdom that belied his youth. Guided by the teachings of Dharam Baba and the wisdom of the forest, he honed his skills in both combat and strategy, preparing himself to confront the trials that lay ahead. With each passing day, Kherwal's reputation as a paragon of justice and valor grew. His presence brought hope to the beleaguered Manmis, inspiring them to stand firm against their oppressors. With the forest as his ally and the legacy of his ancestors as his foundation, Kherwal emerged as a beacon of hope in the darkest of times. Driven by a deep sense of duty to his people and guided by the principles instilled in him since birth, Kherwal embarked on a quest to liberate his kin from the tyranny of the Danmis. Armed with the courage of his convictions and the strength of his spirit, he ventured forth, ready to face whatever challenges lay in his path, knowing that he carried within him the legacy of the virtuous Manmis and the protection of Dharam Baba. 

As Kherwal reached the pivotal age of fifteen, a significant turning point in his journey unfolded through the prophetic dream of his mother. In her vision, Kherwal transcended the bounds of mere mortality, emerging as a divine instrument destined to vanquish the oppressors and bring peace to their land. This revelation, infused with the divine guidance of Dharam Baba, ignited a fierce determination within Kherwal, propelling him towards his fated destiny. Under the vigilant eye of his celestial protector and fuelled by the memory of his fallen father, Kherwal embarked on a relentless regimen of training. Every waking moment was dedicated to honing his skills, strengthening his body, and sharpening his mind for the inevitable clashes with the Danmis. The intensity of his preparation mirrored the ferocity of his resolve, as he channelled his inner strength into becoming the formidable warrior his people needed. 

With each passing day, Kherwal's prowess grew, and with it, so did his renown. His name became synonymous with hope among the beleaguered Manmis, a beacon of courage and resilience in the face of adversity. His unwavering leadership inspired others to rally behind him, forming a loyal cadre of followers who shared his vision of liberation. Among these devoted supporters stood Kajal, a steadfast ally whose unwavering faith in Dharam Baba mirrored Kherwal's own. Her skills as both a healer and a warrior proved invaluable to Kherwal's cause, providing crucial aid and support as he prepared to confront the forces of darkness. Yet, her contributions extended beyond the physical realm; she served as a pillar of moral support, offering encouragement and solace during the darkest moments of their struggle. Together, Kherwal and Kajal forged a bond rooted in shared purpose and unwavering dedication, bound by the common goal of freeing their people from the clutches of tyranny. As they stood on the precipice of conflict, their resolve unyielding and their spirits unbroken, they knew that the path ahead would be fraught with peril. But with Dharam Baba's guidance illuminating their way, they faced the trials ahead with unshakable determination, ready to confront their destiny and bring about a new dawn for the Manmis. 

As the sun rose on the fateful day of reckoning, Kherwal stood at the forefront of his followers, their resolve unyielding as they prepared to confront the forces of darkness that had plagued their land for far too long. With a determined spirit and the divine inspiration of Dharam Baba guiding his every step, Kherwal led his warriors into battle against the Danmis, their swords flashing in the dappled light of the forest. The clash of steel rang out through the ancient trees, mingling with the cries of combatants locked in mortal combat. The battle was a tempest of violence and chaos, with neither side giving ground easily. Yet, fuelled by Kherwal's unwavering determination and the fervent courage of his followers, the tide began to turn in favour of the Manmis. With each swing of his blade, Kherwal seemed to channel the very essence of divine justice, striking down his foes with righteous fury. His leadership on the battlefield became a beacon of hope for his people, rallying them to fight with renewed vigour and determination. Despite the ferocity of the Danmis' resistance, Kherwal's forces proved to be unstoppable. Their relentless onslaught battered the enemy's defences until, at last, victory was within their grasp. The Danmis, realizing the inevitability of their defeat, resorted to one final, desperate act of destruction, setting fire to the capital in a last-ditch effort to erase all traces of their rule. As flames engulfed the once-grand structures and lush gardens, a sombre pall descended over the battlefield. 

Yet, amidst the devastation, a new dawn emerged. For Kherwal's triumph was not measured in the material wealth of his kingdom, but in the liberation of his people from the shackles of oppression. The news of Kherwal's victory spread like wildfire throughout the land, igniting a wave of jubilation and celebration among the Manmis. The oppressive grip of the Danmis had been shattered, and in its place, a newfound sense of freedom and hope blossomed.In recognition of his valour and leadership, Kherwal was crowned king, earning the revered title of Bir. With Kajal, his steadfast companion and confidante, by his side, he ascended to the throne, their union symbolizing the restoration of harmony and unity among their people. 

Together, Kherwal and Kajal ushered in a new era of prosperity and peace, their reign marked by compassion, justice, and unwavering dedication to the well-being of their kingdom. And as the flames of conflict faded into memory, the legacy of their triumph endured as a testament to the indomitable spirit of the Manmis and the power of righteous courage to overcome even the darkest of adversities. The fields were replanted, the rivers were cleansed, and the people began to rebuild their lives. The legend of Kherwal Bir, the divine-inspired warrior, and his battle against the malevolent Danmis became a timeless tale, symbolizing the eternal struggle between virtue and vice, justice and injustice. In the annals of history, the story of Kherwal Bir and the Danmis is remembered as a powerful myth of moral superiority, deeply rooted in the cultural heritage of the Santals. It serves as a reminder of the universal practice of distinguishing between the in-group and the out-group, a sentiment that resonates with every tribe and nationality across the world. The tale of Kherwal Bir continues to inspire generations, underscoring the triumph of good over evil and the enduring power of righteousness. It is a story that transcends time, reminding all who hear it of the importance of integrity, courage, and the unwavering pursuit of justice.

Monday, February 6, 2023

UNESCO King Sejong Literacy Prize Training Program 2022

      2022 UNESCO King Sejong Literacy Prize laureates embark on study tour in Seoul

 

On the occasion of the 576th Hangeul Day, which commemorates the invention of the Korean alphabet (Hangeul) by King Sejong in 1446 and hosted by the Government of the Republic of Korea, two UNESCO King Sejong Literacy Prize laureates from India and the United Kingdom embarked on a cultural study tour in Seoul from 7 to 9 October 2022. 

Before 1446, Koreans used Chinese characters as the primary script to write the Korean language. Due to huge grammatical differences between Korean and Chinese and therefore the difficulty of mastering both languages, only people from the elite class were literate. The creation of Hangeul allowed Korean people to become literate regardless of their social status. Named after King Sejong the Great, the UNESCO King Sejong Literacy Prize is to reward the efforts of institutions, organizations or individuals for their contribution to the fight against illiteracy. 

The study tour was organized by the Federation of Korean Language and Cultural Center under the commission of the Ministry of Culture, Sports and Tourism of Korea. This was the first time the study tour resumed to be conducted since the outbreak of the Covid-19 pandemic. 

During the three-day trip, two representatives of the winning programmes from India and the United Kingdom participated in several cultural visits and activities with a focus on the impact of the Korean alphabet on the rich and diverse Korean culture. 

Mr Kadey Soren, Deputy Director of Kalinga Institute of Social Sciences, represented the institute’s winning ‘Mother Tongue-Based Multilingual Education’ programme, which tackles the challenges of poor retention of indigenous students in elementary schools due to classroom language barriers and teachers' incapacity to deal with multilingual and multicultural classrooms effectively.  

Mr Rafael Martins Galupa, Member of the Senior Management Committee of Native Scientist, represented the organization’s programme ‘Native Scientists’, which conducts innovative workshops to connect migrant children with scientists who share the same native language as the learners, allowing scientific subjects to be learned in their mother tongue, fostering both scientific literacy and language development. 

Mr Soren and Mr Galupa first visited Korean National Commission for UNESCO, where they presented their award-winning programmes and shared their experiences with representatives from the national commission. They later visited the National Hangeul Museum and participated in multiple events in the Hangeul week programmes. The two representatives were also invited to visit historic sites including Suwon Hwaseong Fortress and Changdeokgung Palace.

On 8 and 9 September 2022, the ‘Mother Tongue-Based Multilingual Education’ programme from India, the ‘Native Scientists’ programme from the United Kingdom and the ‘Madrasa Arabic Lessons’ programme from the United Arab Emirates were announced winners of UNESCO’s 2022 King Sejong Literacy Prize at the two-day hybrid international event celebrating International Literacy Day. This year’s International Literacy Day was celebrated under the theme of “Transforming Literacy Learning Spaces”. Three outstanding programmes from Brazil, Malaysia, and South Africa were also awarded with the UNESCO Confucius Literacy Prize during this year’s celebration.

UNESCO International Literacy Prizes aim to reward excellent and innovative programmes that promote literacy. The UNESCO King Sejong Literacy Prize was established in 1989 with the support of the Government of the Republic of Korea. It gives special consideration to mother language-based literacy development.


courtesy: 

https://www.unesco.org/en/articles/2022-unesco-king-sejong-literacy-prize-laureates-embark-study-tour-seoul  

 




Friday, May 6, 2022

GURU GOMKEY PANDIT RAGHUNATH MURMU

GURU GOMKEY PANDIT RAGHUNATH MURMU


The birth of Pandit Raghunath Murmu, often attributed to incarnation of shining Sun of mother tongue (Parsi Sin Chando Bonga) as only son of village headman Nandalal Murmu, of Dahardi village, also known as Dandbos in Bamanghati subdivision of Mayurbhanj district. He was bornon full moon day of Baisakh. Marked with Guru Kunami which add miracle as a beaming light for Santal community that grappling in darkness of uncertainty about language and cultural identity under the influence of outsiders and due to lack of awareness as well as lack of education in mother tongue. 
Raghunath Murmu, despite his reservations, continued his primary education in Haat Gamharia U.P. School, which is three kilometres from his village. His teacher was always chewing betel and spoke in a poor Odia accent. As his school environment hostile, he begged his father not to send him to school because the teacher did not teach in Santali. His father persuaded him to continue his studies only in Odia. Because there were no facilities or provisions for teaching in Santali's school. Since then, Raghunath Murmu has been thinking about how to create, learn and teach mother tongue “Santali”. He completed his ME and higher secondary education in Bahalda ME school and Baripada high school, respectively, after multiple failures.
In 1925, at the age of 20, he invented the "Ol Chiki" script for the Santali language while attending Baripada high school and lived in the Frazer hostel. After completing his schooling in 1928, he worked as an advocate's clerk at Rairangpur Court, then as a census clerk, then as an apprentice of a powerhouse in Baripada, then as a carpet maker in his village, where he rolled out very high-quality carpets, and finally as an instructor of the Industrial Institute in Baripada. However, due to a personnel issue, he was unable to continue. He stated his desire to leave his position, but the royal government did not want to lose such a skilled individual as Raghunath Murmu. As a result, he was appointed as a carpentry instructor at Badamtadia UP school, which is only 10 kilometres from his hometown of Dandbose. After that, Raghunath Murmu's aspirations and imaginations became a reality at Badamtadia UP school, thanks to mentor-cum distantly related uncle Sri Sauna Murmu, who was already a teacher, who gave him wholehearted support and collaboration. By founding the "Ol Samiti" organisation, he began to promote his invented Ol Chiki script among the population.
Samra Tudu (Bhutri village), Sunaram Soren (Hesla village), Sunder Mohan Hembram (Tarna Village), Sauna Murmu (Kandun Village), Badha Besra (Chunda Village), and Lakhan Majhi (Kaduani Village) became members of the "Ol Samittee" and began popularising the Ol Chiki script. The samittee then agreed to present a memorandum to the Maharaja requesting that Ol Chiki be recognised as a Santali language.
In the month of February 1939, Raghunath Murmu created a hand printing machine, which was shown at a Royal exhibition in Baripada and gained the attention of the than Maharaja of Mayurbhanj kingdom, Sir Pratap Chandra Bhanjdeo.
In order to communicate the message and system of communication to the ordinary people through the sign of writing, and to offer proof in support of his script if the King demanded it. In 1939, Raghunath wrote the play "Bidu-Chandan." This show became so famous that it spread like wildfire throughout Odisha, Bihar, and Bengal, creating a sensation and excitement among the public, leading to the conclusion that previously composed Santali songs can also be beautifully composed in genuine Santali language.
He invented the Ol Chiki script with the goal of providing education in Santal's native dialect and uniting Santals scattered over Bihar, Bengal, Odisha, and Assam. He is certain that the growth of the mother language will enable the preservation and promotion of culture and religion. He put in a lot of effort in the direction despite his professional obligations, but he ran into a lot of roadblocks, such as the CID filing a complaint against him for conducting meetings and gathering people in the name of displaying plays. However, with time, each hindrance on the route began to vanish on its own. Maharaja Pratap Chandra Bhanjdeo subsequently agreed to allow Olchiki-related activities to continue in the Kingdom without jeopardising Mayurbhanj's dignity.
In 1946, he was promoted from Badamtilia School to Rairangpur High School as Headmaster. He has done extensive research on the Santal community's religion and culture.
Raghunath Murmu, formerly known as Chunu, considers the mammoth challenge that lies ahead in completing the Olchiki mission. As a result, in February 1946, he took voluntary retirement. With the samitee, he began to strengthen Olchiki's efforts. At the Hatbaddra summit in 1946, the "Ol samitee" was renamed the "Adivasi cultural association."
MISSION OLCHIKI:
Raghunath Murmu set up a school in his village after retirement and began teaching "Olchiki" for three years straight. He then began travelling and promoting olchiki in Jamshedpur. He'd written numerous books over the course of a few years and was desperate to get them published. He was unable to produce any of his works due to a lack of a printing press. As a result, he appealed to Tata Company employees for financial assistance in purchasing a printing press. In Jamshedpur, he founded a group called "Kherwar Jarpa Samitee."
Finally, Mr Muniram Baskey and Sundar Mohan Hembram travelled to Culcutta to have the Olchiki Font moulded by the Swadeshi Foundry. From Culcutta, printing machines and types were delivered, and the "Chandan Press" was established in Karandi, Jamshedpur. Raghunath Murmu's first work, "Nel jong lagid ol," was published. Chandan Press has also begun publishing a monthly literary journal called "Sagen sakam." A primer book titled "Ol Chemed" was also printed in the press. The year 1946 is unmistakably associated with the printing industry in Olchiki.
Raghunath Murmu wanted to discover how the people of Odisha, West Bengal, and Bihar felt about the newly developed script. He visited a number of locations in Bihar and Bengal, seeking collaboration and assistance. People from all over the state came out to support Raghunath wholeheartedly after hearing him speak.
Raghunath felt the need to register an "Adivasi Cultural Association" when he returned to his hometown. As a result, the committee changed the by-laws and renamed the organisation "Adivasi Socio-Cultural and Educational Association," and the organisation was officially registered on June 1, 1964. Pir Pargana, Desh Pargana, and Ghat Pargana were elected by the association to ensure that societal norms and evidence were followed. As Parganas became a part of the organisation, its social and cultural value system was periodically revitalised by ASECA. Olchiki books were in high demand as the relationship grew stronger. To satisfy the demand, a new printing press called "Semled Press" was purchased.
Raghunath Murmu founded Olchiki School in 1965 to educate 50 students of all ages. As a result, the number of students interested in learning Olchiki grew year after year, and schools were formed in various regions of Mayurbhanj. Olchiki became popular in every household in Mayurbhanj as a result.
The branches of ASECA had been established in the state of Bihar and West Bengal and Social, cultural and educational activities through Olchiki was carried out.
His Contribution to Santali language and literature:
 
Raghunath Murmu was well aware that generating literature in a community's own language might help to protect and develop that language. Poems, short stories, dramas, grammar, and religious hymens were among his works. He spent his life working to improve the Santali language and literature. The following is a list of his published works.
 
1. Hor Sereng - poetry (1936) in Bengali script and further published in Ol Ciki – 1993
2. Bidu Chandan – Play (1942) in oriya, in Bengali – 1948, in Ol Chiki – 1987
3. Nel Jong Lagid Ol – 1946
4. Adivasi rag Andor – 1947
5. Kherwar Bir play written in 1952 (Bengali Script) and published in Ol Chiki – 1990
6. Dare Ge Dhon play written in 1950 and published in Ol Chiki -- 1985
7. Ol Chemed – 1946
8. Hital – 1893 religious’ hymens
9. Elkha – 1966 arithmetic
10. Ronol – 1976 grammer
11. Parsi Poha – 
12. Parsi Opad – 1992
13. Sido-Kanhu Santal Hul – 1997 (Historical play)
14. Lacture sereng – poetry 
15. Parsi Dare – 
16. Parsi Gajar –
Awards Conferred 
1. Mayurbhanj Adibasi Mahasabha crowned him with title of “Guru Gomke”
2. Mr. M.D. Julius Tigga, Education Minister of Bihar called him a great inventor and Dramatist 
3. Dhumkuria, Ranchi conferred D.Lit in 1951
4. Jaypal Singh Munda called him “Pandit and great humanist”
5. Charulal Mukharjee, great anthropologist called him “Priest of Tribes”
6. Late Ranjeet Singh Bariah, Ex-minister of Odisha called Raghunath Murmu as a “Great Orator with Charming Voice”
7. Prof. Martin Oran of California University described him in his book “Santal, A Tribe in Search of Great Tradition”, as “Spiritual Guru”.
8. Adibasi Society revered him as “Parsi Sin Chando” 
9. Odisha Sahitya Akdemy awarded him in 1978 with the title of “Founder of Language and Inventor of Ol Chiki”
 
After completing mission of spreading Ol Chiki successfully, Pandit Raghunath Murmu died on 01.02.1982.


Saturday, May 22, 2021

Kaati Enej

Introduction


The history of Kaati Enej (games) dates to the ancient Santal past. Kaati Games are an integral part of cultures and are among one of the oldest forms of human social interaction. Initially, Kaati Games are formalized expressions of play that allow Santal people to go beyond immediate imagination and direct physical activity. Common features of games include uncertainty of outcome, agreed-upon rules, competition, separate place and time, elements of fiction, elements of chance, prescribed goals, and personal enjoyment.

Kaati Games capture the ideas and worldview of Santal cultures and pass them on to the future generation. Kaati Games are important as cultural and social bonding events, as teaching tools, and as markers of social status. Kaati Games were often imbued with mythic and ritual religious significance. Kaati Games were used to teach spiritual and ethical lessons and also as a way to develop strategic thinking and mental skill for the players. 


Games

Kaati Enej is a game of quick reflexes and deft footwork. It requires a keen eye, strong limbs, and expert eye-hand-leg coordination. Pioneered by the Santals, it is traditionally played after the harvest season by teams each comprising minimum of 2 members and maximum is unlimited (Depending on the size of ground/no of players). Every player has a kaati or a semi-circular disc made of tamarind wood and a tarhi or a 6ft bamboo stick. All kaatis lie on the centerline of a rectangular court. Players try to propel the bamboo stick with their feet to hit the opponent's kaati. Every successful hit gets a score.


Types of equipment required

Kaati — A semi-circular disc made of wood

Tarhi — A 6ft Wild Bamboo Stick/pole

Players — Minimum of two and there is not the upper limit of players

Playing field — size of playing field is not determined 

Opponents — Challenger or opponents is must

Referee — The judge of the game is required


Significance of game

Kaati Enej/games is considered to be the only games Santal played since time immemorial. It is also considered as National Games of Santals. Playing kaati is staying attached to Santal culture and roots. Kaati games are having cultural, mythical, ritual, and religious significance. Kaati is the game of power displayed in several social and cultural interactions of Santal. Kaati games also seek a degree of strength and smoothness to hone skills. Playing kaati games require community involvement not only in playing but it starts with making Kaati and bamboo stick. Kaati is sometimes a match-making game among Santals.


Why Kaati Games is needed documentation

With much-hyped sports like cricket in urban and semi-urban areas and football in rural pockets, nobody incoming generations will know that games like Kaati ever existed. Kaati games are on the verge of extinction and rarely played in any instances among Santals. Games are not having much scope and popularity as it is not played.  There is an urgent need for documentation of Kaati games to prevent them from extinction.


                (Mr. Thakurdas Hansda wrote book on "Kaati Khel")


Monday, May 17, 2021

The Santal Dilemma - Religious and Political Identity

Adivasis appear to be amongst the world’s most misunderstood and exploited communities in the name of religious identity. Over the last few weeks, misinformation about Adivasis religions, coupled with impulsive reactions to recent events, has caused widespread rifts among the Santali community, blurring the line between religious freedom and political imposition.

Celebrity vs. Religion – The Case of Dagar Tudu and Mary Hansda

Amidst the ongoing election in West Bengal, Dagar Tudu, a Santali singer and actress has been campaigning for Narendra Modi’s party. This has triggered massive unrest amongst social activists and people from the Santal community as the Bharatiya Janata Party is considered a staunch supporter of Hindutva ideology. In response, the clarion call to #Boycott_Dagar_Tudu has spread like wildfire on social media. 


          (Dagar Tudu campaigning for BJP candidate at Raiganj. Photo: Facebook)

In a similar but unrelated event, last week, on the eve of Easter, a video song titled ‘Jesu SangeLadaiLenai Marangburu Saitan,’ (Jesu has once fought against Marangburu Evil) was produced by Sacred Grove Media and Mary Hansda. The song, which portrays Santal God Marangburu in a negative light, was recorded at Tirkey Studio and sung by Mary Hansda. It received widespread criticism from several Human Rights activists hailing from the Santal community for its purportedly derogatory comparison of Marangburu to Saitaan. In the wake of these protests, many have called for the singer’s arrest, while others have campaigned to boycott all her albums.


 
        (Mary Hansda singing the song defaming Marangburu. Photo: Facebook)

The cases of Dagar Tudu and Mary Hansda, and the overwhelming backlash they have received on social media, reveal the use of religion to amplify negativity and dissent among Santal communities in recent years. But the case of Dagar Tudu can be better understood through a quick examination of Santali political representation.

Adivasis and the West Bengal Election

In West Bengal, there are a total of 294 assembly seats out of which 67 seats are allotted to Scheduled Caste (SC) and only 16 seats are allotted to Scheduled Tribe (ST). Out of the 16 ST seats, BJP has allotted 10 seats to Santal candidates in the state. Hence, the calls for a boycott of actress Dagar Tudu in the wake of her ongoing political campaign of BJP candidates seem a prejudiced argument. 

At the macro level, it is often assumed that campaigning for BJP necessitates embracing the party’s right-wing ideology. However, at the ground level, a cadre from Santal communities are better connected to issues affecting the Santal community through campaigning and lived experience. But, the presentation of these issues at the assembly, should not be dependent on the candidates’ religious identity so much as prioritizing the availability of a platform to amplify the community’s needs.

Therefore, the presumption that anyone supporting the BJP party automatically upholds Hindutva ideology or right-wing agenda is thoroughly vague. And if this is true, then we should also encourage boycotting of all 10 MLAs from BJP in on the ongoing WB election. In a secular and democratic country like India, each individual has the right to participate or support political parties of their choice, irrespective of their religious background.

Fear mongering and communal dissent among Adivasis

Since the last two decades, Adivasi people have lived amidst the influence of dominant religions which have increased communal and religious intolerance among different Adivasi communities. 

However, even in the face of diversity, it is unfortunate that the fear of misrepresentation ends up destroying harmony among communities. Instead of fostering unity, fear-mongering undermines people’s ability to understand the concerns of others. Recent announcements of elections in 4 states and 1 union territory have led to more fear and declining respect for the traditional art and culture of different religious communities. 

Democracy is not merely about holding free and fair elections but also ensuring representation of all sections of societies. Democracy necessitates building tolerance for all forms of religious belief. 

However, contemporary governments have somehow failed to maintain the ethics of democracy but succeeded in dismantling the spirit of democracy in India on two broad accounts. First, they have destroyed secularism, and second, they have widened social and religious gaps among different communities. 


Diverse Ideologies within the Santal community

According to the Santal mythology, Marangburu is the creator of this universe. For years, there has been an ongoing dispute of ideologies between 'converted' Santals and those with their ancient religious beliefs. The 'converted' Santals vehemently oppose traditions and religion as they are influenced by many external and internal reasons. For instance, Assam’s upcoming election has fueled hatred among the Santal community. 

It is usually argued that social behavior among Tribal communities in India is so diverse, inconsistent and fluid that it is impossible to classify or treat it with any amount of consistency. But the existence of such diverse belief in ideologies among the Santal community begs a closer examination of its root cause. 

In particular, Adivasi people need to understand the whole politics behind the divide among communities by outsiders. The discipline of Anthropology defines and describes Adivasis and their religious and cultural practices, as 'primitive', and ‘uncivilized', laying the foundation stone for the communities to be colonized and marginalized. Thereafter, colonial authorities and European missionaries, coined the term “Tribe”, for their own ease. Thus, it is essential that we Adivasis reframe our knowledge on different aspects of our life. 

Accountability and Responsible Sharing

In his article titled “The Sacred Grove of Jharkhand Adivasis Where Trees Are Protected At Any Cost”, Ashish Biruli from Adivasi Lives Matter writes that “There are some major poojas that are performed at the Jaherthan” (the place where Santhals worship). However, this statement is wrong not only in its misnomers and misuse of terminology but also in its careless dissemination of misinformation about an already misunderstood community, on a widely followed public platform. 

The aforementioned rituals performed by Santal communities are known as Bonga, and are vastly different from the Sanskritized “Poojas” that Biruli writes of. Poojas, which linguistically connote Hindu tradition, are conducted by a priest from very specific varna, who chants mantras and provides instruction only on behalf of the immediate family who employs him. This is completely different from the more community-driven Santal tradition of Bonga, where rituals are performed by a designated Naike who is selected irrespective of varna – in fact, the concept of varna does not even exist in Santal society. In Bonga, the Naike chants bakhed (invocation) for the family, extended family, and all others present. Moreover, Santal communities must be cognizant that the term ‘Scared Grove’ is not synonymous with ‘Jaherthan’ nor is it limited to geographic areas alone. 

Dr. Sushree Sangita Mohanty, the Bhubaneswar-based anthropologist, explains that “Jahera, or Jaherthan can be linked to the Santal worldview that is grounded in several insights from evolving indigenous knowledge of the community to the wellbeing, adoption of skills, cultural practices, institutions, and the process of acculturation or integration. Jaherthan is not practiced by all Adivasi but specific to Santals. Jaherthan is also not the open place surrounded Shakwa trees mentioned in this article. Villages before formation need to be Tengen (Checked for an appropriation of place through specific rituals) and this is the case of Jaherthan. There are many aspects of Santal worldview regarding formation for Jaherthan and rituals attached. One needs to know or research well before presenting it to the wider world. 

In this case, Biruli’s careless or uninformed misnomers on a platform as widely followed as ‘Adivasi Lives Matter’ is irresponsible and spreads misinformation. Biruli is himself Adivasi, and his platform is one of few in the country that writes extensively about Adivasi issues, and careless misinformation on these few platforms does more harm than good for Adivasi communities, serving to increase misunderstanding and misconception about Adivasi lives and practices, in a way that is reminiscent of Colonial epistemicide and erasure. 



                 (Jaherthan Tengen at Sunderpur, Khurda District, Odisha. Photo: Kadey Soren)


In response to recent events, Udaynath Majhi, Ex-Indian Railway Services and social worker renowned in the Santal community, cautions against the politicization of religion. “Bidin/Sarna (followers of original Adivasi religion) should not be hated in competition with emerging Adivasi followers of other religions”, Majhi said. “Rather, where possible, we should work towards unity and focus on reintegrating those who have migrated to other religions, with our (Santal) traditions and rituals,” he underlined. 

In her recent article published at The Wire, Jacinta Kerketta emphasized, “Adivasi must understand their cultural, religious, life values and fight the evils in the society and surmount orthodox ideologies within and outside their communities.” Biruli, and public Adivasi figures like him, must be hyper-aware of the reach, significance, and impact of their public platforms, and must thus be more cautious, well-informed, and responsible in their representation of Adivasi culture and traditions. At a time when misinformation about religion is being wrongfully tied to democratic participation and political imposition, careless or intentional misinformation on public platforms only serves to further fuel growing disharmony between communities, be it in the name of religious identity, or otherwise.

On a macro-scale this can have devastating results within global communities, fostering hatred, conflict, and violence; in recent times there have been many such examples of non-democratic propaganda and mechanisms supported by world dominant religions, from Hindu nationalism in India to Buddhist repression of Muslim minorities in Myanmar.


Way forward
It is now more imperative than ever, for Adivasis to re-evaluate the collision of religious beliefs on democratic participation; it is important to check and responsibly represent how religions are “lived” by Adivasis and how they are organized in local communities. It is only through proper information and research that people will understand that Adivasi traditions, religious practices, rituals, and ways of living, support democracy in all respects. 
Adivasis across the length and breadth of India need to re-examine political imposition towards their faith. Opportunities within Adivasi religious groups to speak out, organize, and lead have helped people acquire civic skills that they could use in democratic participation. 
Hence, the enormous impression conveyed by the above-cited cases is that religions are inherently neither necessarily pro- nor anti-democratic nor even for religious freedom or against it. Every state of affairs must be thoroughly examined before we react.

Author
Kadey Soren is a Bhubaneswar-based development professional and the author of “Rethinking on Tribal Education in Mayurbhanj district of Odisha.” Soren belongs to the Santal community. 

Sunday, August 9, 2015




International Day For Indigenous People is being organised by ALL ODISHA ADIVASI FORUM