Tag: Bhubaneswar

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Poetry

Found in Translation: Ashwini Mishra’s poems

Five poems by Ashwini Mishra have been translated from Odia by Snehaprava Das

Ashwini Mishra 
RIDING THE EARTH: THE LAST DAY

Farewell! 
A final goodbye!
The prologue to an epic of an endless rest
Has to be something
Extra special.

Gathering up all the strength
Of his senses 
He strove to know the people
Around him.
He spoke fondly to them
‘Let you all be there in my heart
Forever,
May my world keep shimmering
With the glow of this endearing bond.’
He rode each passing day
That galloped on -- 
Like a well-fed, robust horse,
He rode on, 
His feet securely stuck in the stirrups 
His hands gripping the rein hard.
 In an instant he could
 Gallop around the earth
 Cradling time under his arm. 
The river, the ponds 
And the rainclouds brought water
For his parched throat,

Towards the end of the journey 
He called one by one his folks 
Whom he held dear to his heart.
 Some of them sounded assuring,
 Some promised to come.
 A few fulfilled their promises too
 And came --
Still, there was a disturbing emptiness
Somewhere within.

Where has disappeared
The knot of love that had held  
So strong in the days of past?
It was as though that knot 
Had loosened and shredded.   
Worn out like a weary page 
In the mindscape,
Like someone that had once 
Played a major role,   
And had moved away from the centerstage,   
To stand by the stage-wings
Distanced and dispassionate!

SWORD  

 I had never wanted
To wield a sword, a dagger or a goad.
I had always wanted to tuck plumes
into the hair,
To draw a lotus on the palm,
To play the notes of spring breeze
For the ears of the 
Blazing summer noon.
I had wanted to be a dreamer,
To let my eyes close 
At the touch of the delicate petals 
Of exotic blooms!
But you did not let that happen.
My loved ones,
My folk I held close to my heart,
Fell at the merciless blows
Of harsh and hostile words
Your canons shot.
Your anger, your cruelty,
Weighed heavy on me
And a thunderstorm brew inside me.
Unnoticed by others. 
In the end,
My compelled hands
Reached out to the scabbard
Lying abandoned under 
The smuts of time
To draw the sword out.
 
THE CLAY LAMP

A clay lamp can always guess
How long the ghee and 
The wick in it will last.
It is a living thing 
How brief might its lifespan be.
It can, like all living beings,
Battle the wind and the darkness
In its struggle to survive
In an unenclosed space
That is vulnerable to 
The assault of hooves of animals
Or the misty spray of the dew.
 It knows that 
 The moment the curtain rises,
 Revealing the stage
All set for the entry of light,  
The first act of the play will end  
And Its role will be over    
Even before the makeup is 
Rubbed off the face or the artificial tint
On the hair fades.
The hand that had lit it 
May turn impassive, too!
  
  A woman, her heart and hands 
  Focused on the act,
  Keeps lighting up the clay lamps,
  Not knowing for sure 
  How long their light would last
  Or when the flames would die.
 The idol of the goddess    
  That glittered in the light of 
  The lamps she lights 
   Never steps down to help her 
   When the flames char her body.
   There is not a soul in sight
   When her flame dies,
   Except a few burnt insects.
  
 GAZA
You neither have a chest 
Nor arms now 
To embrace those who once saw
You as their own
Like you did before.
The natives and the foreigners, 
Who trod your soil, 
Now take a turn either to your left
Or to your right and move on.
No longer the chirrups of birds
Come sprinkling down 
Either from your sky, or your trees.
There are vultures everywhere
Scavenging on the tender human flesh
Getting fat and heavy.
The sun, the moon and the stars 
In your sky are 
Blown away into thousand pieces now.
You may dig up some of them  
Graved under your ground.
The Death in your sea breeze
And in your explosive garb
Haunts living humans 
To turn them to corpses.
Like a farmland ladened with crops,
Skeletons are heaped in your streets.
Houses and buildings where life dwelt 
Are mounds of shattered concrete.
Wreckage of kitchenware, 
 And of home appliances
 Lie on the desolate roads 
 In pathetic scatters.
A book satchel slings from the 
Severed hand of a dead child.
The thirst for war is not quelled yet,
New strategies are deliberated upon
To pursue newer missions of death.
New weapons must be hoarded 
In the arsenal 
To launch an attack on the netherworld 
After this world is razed to ruins.  

WHIP 

The whip that once basked proud in
The love of the kings and the feudal lords  
And danced in elation on 
The defenseless back of the oppressed, 
Now lies worn and weary 
In a niche in the royal palace or 
Behind the glass doors in the shelf 
Of a museum, 
Coated in dust and dirt.
The obsequious tanners,
Who were far below the 
Aristocracy,  
Polished this tool of tyranny  
 Bright with oil, 
 And it jumped crazy 
On their haggard backs, 
Drawing crooked lines 
Of livid blue and red.

How wide is the chasm between 
Sage Dadhichi who gave his bones 
For forging a thunderbolt 
To kill demon Brutrasura*,
And the stingray that gave its tail to 
Shape a whip 
That performs its brutal dance
On the back of innocent humans? 
Even today,
The barges of history and legends
Voyage across the pages 
Of text books taught in the classroom,
Their sails fluttering 
On their proud masts. 

*Brutrasura was killed by Indra with a weapon made with Sage Dadhichi’s bones as per mythology.

Aswini Kumar Mishra has 13 poetry collections to his credit. He has been translated widely into English, Hindi, Bengali, Tamil and other Indian languages. He has authored a fiction in English, Feet in the Valley (Rupa Publications, 2016),  His poems and essays have appeared in several literary journals including Indian Literature, Kavya Bharati, Wasafiri, M.P.T, The Little Magazine, Samakaleen, Konark, Rock Pebbles and Vahi etc. A recipient of several awards, he currently lives in Bhubaneswar and can be reached at cell phone +919438615742, +918456953936. His email id is:  mishra.aswini53@gmail.com

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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Categories
Review

Tales of Secrets and Darkness

Book Review by Bhaskar Pariccha

Title: Keep It Secret

Author: Snehaprava Das

Publisher: Black Eagle Books

Snehaprava Das, a former Associate Professor of English, is a noted poet and translator. She has translated many Odia works into English and published five poetry collections. Her translations have received several awards, including the Prabashi Bhasha Sahitya Sammana, the Jibanananda Das Award, and the Fakir Mohan Anubad Sammana.

Keep It Secret is a collection of ten short stories. The relatively lengthy narratives are equally grounded in reality and fantasy. In the author’s view, these narratives strive to traverse the delicate, ephemeral boundary that exists between reality and illusion. They delve into the inner jungle to uncover the secrets that are meticulously hidden behind a facade of pretense and the artifice of a pleasing and socially acceptable exterior.

Engaging with her stories provides a rewarding experience. These tales encompass a diverse array of themes, including life and death, the supernatural, the real and the surreal, peculiar coincidences, and the intricacies of human relationships.

 In the Preface, Das provides a rationale for her stories, which contributes to their uniqueness. Citing Regina Pally, a distinguished psychiatrist and therapist based in Los Angeles, Das states, “Most of what we perceive occurs non-consciously and effortlessly, and according to her, this process can be described as a ‘survival instinct’.” This may lead the guilt-ridden mind to interpret and shape a future aimed at compensating for past wrongs. This ‘survival instinct,’ which entices individuals to assume and perceive various things, can even distort the true impact of actual events, creating multiple and bizarre interpretations of a single incident that may approach the surreal.

She bases her stories on the presumption made by Freudian scholars: “From error to error, one discovers the entire truth, observes Freud. Some of the stories aim at exposing the errors man is forced to commit, lured by compulsive emotions, which leave life irrecoverably difficult, and could at times prove fatal in that self-destructive process of discovering the truth. Some stories attempt to study the complex and shifting patterns of human relationships that hang precariously balanced between trust and distrust, and to observe the reaction of the characters while confronting the secret of that relationship, which was kept closely guarded till the end. The experience of that confrontation could be subversive in that specific moment of anagnorisis.”[1]

Some stories may not always offer a seemingly logical, definable, or happy ending.

Das’s short stories possess a cerebral quality, posing a challenge for discerning readers to fully appreciate her offerings.

.

[1] ‘The other Freud: Rethinking the philosophical roots of psychoanalysis’ by Parker & Donald Lewis

Click to access Parker_2022_The_other_Freud_rethinking_the_philosophical.pdf

.

Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and Resilience, Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Categories
Bhaskar's Corner Tribute

Bidyut Prabha Devi – The First Feminist Odia Poet

By Bhaskar Parichha

Bidyut Prabha Devi

Bidyut Prabha Devi (1926 – 1977) is celebrated as one of the most prominent female poets in Odia literature. Hailing from Natara village in the Kendrapara district, she was the second daughter of the esteemed writer, Nimai Charan Das, and Rekha Devi.

Raised in a traditional family in Bamphisahi, Cuttack, she received most of her education independently, attending Ravenshaw Girls’ School until the ninth grade. Inspired by her father and notable Odia poets like Nanda Kishore Bal and Kunja Bihari Das, she began her journey into poetry in 1940.

Her first collection, released in 1944 when she was merely 18 years old, featured patriotic poems that celebrated the cultural and natural heritage of Odisha. It highlighted her early ability to create vivid imagery and convey emotional depth, drawing from her rural background and the literary traditions of Odia.

Her 1950 collection, Utkal Saraswata[1], was recognised as a significant contribution to education, being included as a poetry textbook at Utkal University. In addition to poetry, she also wrote for children, for which she was awarded by the Government of India in 1955, acknowledging her impactful contributions to children’s literature.

Bidyut Prabha’s poetry explores the challenges faced by women, societal limitations, and the theme of empowerment, weaving together both personal and universal experiences. It embodies her feminist viewpoint, tackling matters such as gender inequality within a conservative framework, all while preserving a lyrical and approachable style.

She authored numerous plays, although specific titles are not extensively recorded. Her theatrical pieces frequently conveyed social messages, resonating with her socialist and feminist principles. Her writings were recognized for their clarity and moral depth, rendering literature accessible to younger audiences. Some of these later works are less documented but showcase her reflective and philosophical nature.

Influenced by socialist principles, her poetry examined social disparities and advocated for the marginalised. Her self-taught approach was characterised by clear and evocative language, rendering her work both relatable and profound.

Bidyut Prabha’s writings were revolutionary for their era, especially in their focus on women’s issues within Odia literature. Her son, Sachidananda Mohanty, a distinguished educationist and litterateur, has translated her works, thereby preserving her legacy.

Writes Sachidananda Mohanty[2]: “In recent decades, feminist historiography in eastern India has paid welcome attention to issues of education, creativity, and sisterhood across linguistic barriers. It has recognised women’s pivotal role in shaping the public space at the intersection between feminist history and literary creativity. Scholars like Judith Walsh, Tanika Sarkar, Malavika Karlekar, and others have brought to our attention forgotten life-narratives of literary women of the region who have created a tradition of their own.  Bidyut Prabha Devi, recognised as a major female voice in pre-modern Odia poetry, belongs to a poetic tradition represented by an illustrious sisterhood, comprising Reba Ray, Kuntala Kumari Sabat, Haripriya Devi, Debahuti Devi, Nirmala Devi, Tulasi Das, and Brahmotri Mohanty, among others. 

“While Bidyut Prabha may be known in Odisha, her feminist poems, based on her deep understanding of domesticity and patriarchy, have not been sufficiently read outside the state. Even in Odisha, her ‘romantic poems’ are widely anthologised at the cost of the more powerful compositions that address the woman’s position and identity in terms of the entrenched power structures in society.”

According to Mohanty, Bidyut Prabha’s feminist poetry stands out distinctly from the prevalent ‘Advice-for-Women’ genre in the region. She bases her work on her own life experiences and resonates with the growing feminist consciousness in Odisha, which is championed by literary feminists and social reformers like Sarala Devi[3], who played a pivotal role as a mentor to Bidyut Prabha. This journey was marked by its transnational influences. Sarala Devi had a strong connection with poet Annada Shankar Ray, a key figure in the Odia Romantic movement.

Her impact on Odia literature is significant, particularly as one of the earliest notable female poets in a predominantly male literary environment. Her contributions are rooted in her capacity to merge lyrical elegance with social critique, enhancing the inclusivity, reflection, and cultural relevance of Odia literature. Her work continues to serve as a foundational element for feminist and regional narratives in Odisha.

She was married to Panchanan Mohanty. Following health challenges in 1966, her literary output took on a spiritual dimension, shaped by her connection to the Sri Aurobindo Ashram, Pondicherry. Unfortunately, she took her own life.

Bidyut Prabha Devi’s poetry, deeply rooted in feminist and socialist ideals, continues to motivate and inspire, with her centenary of birth being commemorated in 2025 as a representation of women’s empowerment in Odisha.

. 

[1] Odia Literature

[2] A literary sisterhood, Vol. 65, No. 6 (326) (November-December 2021), Published By: Sahitya Akademi

[3] Sarala Devi (1904-1986) – Odisha’s first Satyagrahi, first female legislator and first feminist writer.

.

Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and Resilience, Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Categories
Poetry

Found in Translation: Aparna Mohanty’s Poetry

Five poems by Aparna Mohanty have been translated from Odia by Snehaprava Das

Aparna Mohanty 
STAR

A tiny star watched me
As I groped my way in a blinding darkness
Nudged to tears. 
It sparkled white   
Exactly the way my mother’s face did.
The tiny star was about to climb down
When I saw it and waved, stopping it.
I knew it could easily understand
My unvoiced pleading.
So, I closed my eyes and beseeched,
“Go back! This is no place
For a star that holds such 
 Pure whiteness in its soul.
 See, how pride and ego here
Hiss and howl  
Cloaked in a guise of false modesty.
 ‘Selfishness’ is brokering deals 
 In the trade-fair of power 
 Pretending redressal and help.
 Truth is ineffectual here,
 So is love!
Go back, dear
My little lodestar 
Because I can’t bear to see them
Smudge your serene whiteness, 
Defile you and seat you  
On a dazzling platform of deceit, 
And announce
‘Here is one of our bright ancestors 
We borrow our light from!’”

IN JUST AN INSTANT

Do not hold her 
in your devouring desire.
Hold her in your soul
Let the woman be safe.

Do not take her as a prize won, 
Treasure her with love.
Let the woman be happy.

Make her not a commodity.
Treat her as a virtue.
Let the woman feel elevated.

Just as much—
Assure her of 
Security, happiness 
And elevation,
A vast world of love and compassion. 
Free from terror and savagery, she 
Thrives on just that much assurance!
Wombs await great souls
And there is a promise of  
A healthy, wholesome future 
That carries pictures of a million hearts 
Steeped in love.

Just for once,
Unfetter a woman’s body
From the scaffold of lust   
And put it on the altar of worship.
You will then see
How in more than half of the world,
Shrines of love will come up in
just an instant. 

FEAR 

Too many restraints,
Numerous forbiddances. 
“Do not sit here
Do not laugh like this  
Don’t ever dare enter the forest
To taste the mangos, 
There the tiger sits stalking,   
 Fear the tiger!”

I wonder if ever my movements
Were easy and unrestricted
Like nature.
I wonder if the constraints
Were ever chosen by
An individual autonomy.  
 I am a soul deprived, and
Defined in obedience.  
I drag myself on by your will  
Slouching under the load of your 
Approval and disapproval.
I lie burning on an untimely pyre
At every intersection of the streets, 
At every city center,  
Where animal-howls echo
day and night. 
Who knows better than you
The trick of championing self-interest
Through a pretense of love?
You lock me in your embrace 
To mould me in a pliable shape,
Render me spineless, 
Leaving no strength in 
My arms to protest.
You gift me a heart that wallows 
In fear and defeat every moment. 
Why do you hold my 
Easy growth in check?
What are you afraid of? 
Do you fear that the arms of 
All the Dusshasanas* 
will be attracted 
once I let my hair loose?
Do you fear that the spear will pierce
the chest of many a Mahishasura* 
once I let my clothing drop?
Do you fear that many a ‘Lanka’ of gold
will burn to cinders 
once I step beyond the 
‘Lakshaman Rekha’?
    
*Dusshasana was Kaurava from Mahabharata who disrobed Draupadi, the wife of the Pandavas. 
*Mahisasura is an Asura or demon who was killed by Durga
*Lakshman Rekha(line) in Ramayan was the circular border drawn by Lakshmana to keep Sita safe. Once she stepped beyond the border, she was kidnapped by Ravana. 
 
THE WOMAN IN THE LAST ROW

The woman sits in the last row
lost in some strange 
unhoped for possibilities. 
Light and shadow 
play hide and seek on her face
like scenes shifting alternately between
a verdant paddy field of Bhadrav* 
and a gloomy Ashwina* sky.

The lines of mirrors in her front  
never catch her reflection
inside their gilded frames.

Neither has she the time nor the wish
to adjust her image in varying postures 
at every little maneuvering of her body,
She just sits there lowering her face,
her eyes downcast,
speaking to herself,
playing with herself,
contented in her own company.
The woman 
who sits at the extreme back row  
could hold anyone’s hand and
pull that person to
the delicate loneliness of her playhouse.   

And, when the meeting disperses 
amidst accolades and applauses,
the great ones stand up
weaved in blandishments 
like mountains tangled in the 
creepers of Malati*
raising their proud heads. 
Not a single glance is flicked 
at the last row.
No one would know when
the woman in the last row
had disappeared,
stealing the silence from there.  
 No one might believe
a river flowed there 
just a while before.

*Bhadrav—August-September
*Ashwina – September -October 
*Malati – a creeper with pink and white flowers

A SONG FOR THE LITTLE GIRL 

The day my little girl
Climbed the steps to her green age
And reached out to pluck 
The loveliest flower of Phalguna*
And the sweetest berry of Chaitra*,  
I cried out “Don’t” from below,
Stopping her.
She heard me and came down
To where I stood.
Since that day, questions 
Like the swelling waves 
Of an unseasonal flood 
Crash at the edges of her eyes --
Why such prohibitions, why?
 And I thought, why indeed…
 My movements would be 
Held in check.
Why must always pain and forbearance  
 Come in my lot?

I am a mother, after all
Like all mothers, 
The spells of Sravana*-showers 
In her eyes 
Swept me away in its current…
But, will it do if I let myself be tossed away
In the rushing flow
 Of her questions?

I am not a little girl like her. 
I am rather trapped perpetually
In the role of a culinarian
That cooks on a holy hearth to 
Feed the custodians of morals.
So now,
It is the time to cut and dress my little girl,  
Cook her to a savoury dish 
Of her father and her husband’s choice
And serve them on a gold plate! 

 *Phalguna – February-March
*Chaitra – March-April 
*Sravana – July August

Aparna Mohanty(1952) is a conspicuous voice in modern Odia poetry. Her poetry, with its feminist overtone, boldly asserts the significance a woman’s role in the family as well as in the society. They strongly defend the woman against the derogations perpetrated on her by a male-dominated society and defy the societal restraints imposed on her that curb her freedom. Aparna Mohanty has received several accolades for her contribution to Odia literature including the prestigious Odisha Sahitya Akademi Award.

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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Categories
Poetry

Found in Translation: Sangram Jena’s Poetry

Five Odia poems by Sangram Jena have been translated by Snehaprava Das

Sangram Jena
 RETURN

Is there ever a return? 
Do the years left behind, 
Or, water flown away in the river,
Return ever?
Do parents who had quit the world 
years before come back?
Or, the erstwhile beloved
married now to another man? 
What are the things that return 
after having gone?  
Doesn’t the sun that depart every evening
return on the next? 
Perpetually, endlessly? 
Is returning a reality 
or, an illusion of one? 
And, wrapped in it, 
life moves on
from the crib to the crematorium. 
   

                ROCK* 

What did he stumble on?
The unobtrusive block of stone
that lay on his way,
the sacred scriptures, the hearsay 
all carried the story that 
the sinning Ahalya was redeemed 
at the touch of his holy feet;
When Indra had touched her that day,
what was that touch?   
Was it a pretence? A betrayal?
  
It matters little whose touch is it
if there is trust in love! 
A pretense of love is sometimes 
More intimate than a relationship 
that has no life in it!
What promises of redemption the world
That labels love a sin, held out for her?     
She was neither a wife nor a beloved 
after she was transformed 
from a rock to a woman;
Hadn’t it been better
to have remained a rock 
and lived the rest of the life 
holding on to the memory 
of a handful of those ecstatic moments!
 
*Refers to the story of Ahalya in Ramayana

IT IS NOT THERE WHERE YOU LOOK

It is not there where I look!
May be, what appears to be where 
is never there in reality,
Like the face that is not there in the mirror,
Or, the pain in the body, 
Will the words that need to be said
Ever be there in written letters? 
Does the meaning dwell in the words?
Does the sun sit behind the mountains,
Or the sea ends at the skyline? 
Actually, what appears where
Is never there! 

SEARCH

There is no point in searching.

A river flows while 
You keep searching words. 
As you look for the right colours,  
the painting fades. 
The sun drops into night
as you grope for the morning

and a moon comes up while 
you chase the dark.

The petals wilt and drop
before the search for fragrance ends.
The poem is lost 
before the right images are found. 
While you seek the sea,
The horizon shifts further.
The feet are lost 
Through the search for a ground underneath.
The thread of the kite snaps
In the quest for a sky.
The clouds dissipate 
While craving the rain,
And the body dissolves 
While you look for the shadow.

Ther is no point in a search.

Life fritters away quietly 
As you keep browsing. 

WHAT DO YOU THINK?

Life does not flow
the way you expect. 

Do you think morning does not arrive
Till the crows’ caw?
Does the kaash not bloom 
after the river recedes?

Do you think butterflies never circle 
The flower after the petals drop?   
Does no one look up at the sky
After the moon goes into hiding?

Do the frogs stop croaking
When the rain goes away?
Can the night be omnipresent
With its darkness?
Can everyone find the way
When there is light?

Doesn’t your shadow stay back
After you leave?
What do you think?

Sangram Jena (1952), is an eminent poet, translator, critic and editor. He writes both in English and Odia and has published more than 70 books. Translation of his poems have been published in several Indian languages including English, Bengali, Hindi, Tamil, Assamese and Marathi. His poetry in English have been published in many magazines in India and abroad. He has translated Classics of World Poetry into Odia and classical, medieval and contemporary Odia Poetry into English. He has received many awards including Sahitya Akademi Award (National Academy of Letters, New Delhi) for translation, a Senior Fellowship from the Department of Culture, Govt. of India and served as a jury member of National Selection Committee (New Delhi) for award of ‘Saraswati Samman’. He edits two literary journals, Nishant in Odia and Marg Asia in English. He has served as Vice-President, Odisha Sahitya Akademi. He lives in Odisha, India.

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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Categories
Poetry

Found in Translation: Soubhagyabanta Maharana’s Poetry

Five Odia poems by Soubhagyabanta Maharana  have been translated by Snehaprava Das

SUNSET: A SYMBOL 

To bridge the agelessly waiting gap
Between an unvoiced luminosity and a vibrant darkness
Sunset is a magic silence, 
An indulging over the wispy interlapping   
Of light and shadow.

It is an ancient oil-painting 
On the old drawing sheet of the sky by a 
Bohemian, invisible artist who fills the earth 
With a spectrum of the melody of 
An unforgettable twilight.  

Sunset is the gentle thump of 
Disembodied dancers’ feet, tripping  
To the rhythm of witch-chanting
On a phantom, ashy-pale stage.

A lifetime that had glowed like a fake sun
In the crimson smile of the earth 
Slowly turns black, 
And on the black canvas of the sky
Painted in scatters are millions of sparkling stars.

Sunset is a Truth, 
A promise of a melodious, bright morning  
That the sun dreams of 
Slumbering in the palanquin of the night.

SILENCE BETWEEN WORDS

Like a lone, saffron-robed monk 
The silence hiding between the words, waits 
Keeping awake in secret, 
Hoping to get free
from the mysterious chains of mystic incantations.

The bewildering crowd of thoughts stuck between
One word and another,
Before even the mystery of the meaning is unraveled
Confuses the interpreting.

And the silence is left alone,
Weeping, elegizing the loss -- 
A dumb witness to the unwarranted death of words.  

Because the silence does not reveal itself
In happiness, 
A sorrow lives permanently in the palpitations
Of the poet’s heart
To bring the un-wilting flowers of poetry
Molded from the poet’s blood into blooming
in their vivid, picturesque charm.

In the unshackled voice of the poet
words and silence seek a nerve center,
in a sensitive, ultimate moment of love
to melt into each other. 

Who else other than a poet could gauge
The depth of the silence hidden 
In the koel’s song 
To bridge the gap between life and death?  

A VILLAGE THAT WAS: SKETCHING NOSTALGIA  

No one was there waiting eagerly 
To meet my shadow, 
No one to lament the loss of a village 
That was there once.
The smell of love in the wet mud
Has faded with the passage of time.
The melody of spring in the soft breeze,
The shadow of a rainbow on the face of water 
Have disappeared too.

The day when I left the village, 
A fleeting cloud played hide and seek
In my book-satchel.
The fragrance of the lotus in the village-pond
That wished to caress fondly
The vibrance of childhood on my face 
Missed me.
The name of that village lives in me. 
A village crowded with forests of Mahula 
And throbbing with the song of Adivasis  
Dancing in the shadows of the Sal -- 
The village where rings the rhythm of my birth-cries 
in a straw-thatched hut --
the name of that village, has melted into my breath.
  
A deep sadness pricks me though
That just as I understood the village
I lost my way to it,
 Before I could trace the lotus-pond
And inhale its fragrance.
The smoke the factories emitted 
Choked me midway,
As I went on narrating the nostalgia 
I was left with just myself.
Alone.
While I searched for dreams 
Painted in rural shades,
I lost my own self in the pale horizon
Of a smoky, grey sky.  

DECLARATION

I gathered the ardour of that missing warmth
From the ashes of a decadent sun 
To charge the cold blood that run in my veins.
I gathered the exotic smell of blinking stars
To add years to my life.

My skeletal frame that resembles
some ancient sculptor has a voice.
It can speak, and it can hide 
from the eyes of the world
the pain it writhes under,
lest someone use its vulnerability
and sign a sworn statement for befriending 
its invisible blood, flesh and sinews.  

In every corner of my body that is caged,  
In the prison of the elements,
Love sojourns.
And the intimate voice of my shadow-self 
Has reached up to the planets and beyond. 
 
The primeval tale of my century-old wait
Has sheltered in the feeble gaze of my eyes
May be, I am designed to stand as 
The enemy of Time.
It was perhaps designed so,   
That my victory march, with the bugle blowing 
Will be declared a glorious success 
Against a different backdrop. 

RELATIONSHIP: ANOTHER HORIZON 

It feels odd at times 
To play the hero in 
The brief interlude between 
Ignorance and innocence.
There are times when a relationship 
Founded on poisoned, defiled trust
Tastes sweet.
In the dark sanctum of bitter animosity,
 A beguiling god assumes a friendly form
 And embraces to overwhelm you
 with his gratifying blessings.

 Only a fake hero would nurture   
 The overpowering urge to 
 Flaunt himself in vain glory on the 
 Dazzling stage of civility.
 It is he who fosters a brazen wish   
To draw a line on the water,
And to wish for the moon  
In a moonless night-sky. 
 True friendship is where 
The sapling of love grows
Its green foliage  
To reach a lofty height 
And brings life to fruition.
It’s like a faint streak of light 
That illumines a blind alley at night. 

A heart bathed in that love
Becomes more sacred than a shrine,
More craved than the potion of immortality. 
It is the comfort an orphan child enjoys,
Sleeping inside a cozy culvert
In the chilly night of the month of the Pausha*. 

*December- January
Soubhagyabanta Maharana

Soubhagyabanta Maharana (b.1951) in the  Bolangir town, Odisha, is a prominent bilingual poet, critic and translator of Odia and English.  He is an awardee of Odisha Sahitya Akademi for poetry in 2010 along with many prestigious literary awards. He has to his credit nineteen poetry collections  and  six essay collections on modern Odia poetry.

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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Categories
Bhaskar's Corner

Can Odia Literature Connect Traditional Narratives with Contemporary Ones?

By Bhaskar Parichha

From Public Domain

Odia literature is characterised by a profound tradition of classic narratives, with notable examples such as Fakir Mohan Senapati’s timeless Chha Mana Atha Guntha[1].  This literary corpus is further enhanced by an array of mythological and folk narratives that hold significant importance in the cultural legacy of Odisha.

These narratives persist through time because they reflect universal human experiences, encompassing themes such as land, power, family, and morality, all while being intricately linked to the historical context and cultural identity of the region. They serve not only as stories but also as reflections of society, having been shaped and refined over the years.

Readers are consistently attracted to these literary works for reasons similar to those that draw us to the writings of Shakespeare or the epic narrative of the Mahabharata: their themes are enduring, and the insights they provide remain pertinent. Similarly, publishers and curators, even at the national level, often revisit these classic tales, a trend that is entirely justifiable.

However, it is the transition to contemporary matters that strikes a significant chord. Odia literature has been progressing, albeit perhaps not as prominently or visibly as certain other Indian literary landscapes. Modern voices are addressing current issues—urban isolation, the influence of technology, caste relations, and environmental deterioration. The change is evident, yet it remains less pronounced than it has the potential to be.

What accounts for this? There may be multiple reasons.

The literary tradition of Odisha is profoundly embedded in its heritage. Classic literature is not only revered and taught but frequently eclipses modern works. Both publishers and readers exhibit a conservative inclination, preferring established texts. This trend is not unique to Odia literature; for example, Tolstoy remains a central figure in Russian literary discourse. As a result, this inclination obstructs the acknowledgment of new authors.

Modern Odia literature faces considerable challenges in its distribution. In contrast to Bengali or Tamil literature, which benefits from larger urban readerships and established translation networks, Odia books often struggle to reach broader audiences.

While digital platforms are making significant strides in this domain, the overall development is still sluggish. Without a strong market, numerous authors may opt to concentrate on more conventional themes that are viewed as more commercially viable.

The demographic composition of Odisha is primarily rural, where numerous readers find a stronger connection with stories that delve into village life or ethical dilemmas, as opposed to genres like cyberpunk or themes focused on existential angst. Although there are urban Odia authors, their readership is frequently limited in range. As a result, contemporary themes may seem alien to those who maintain a deep bond with traditional cultural settings.

The literary language of Odia typically possesses a formal tone, significantly influenced by its classical roots. This can lead to a conflict with modern terminology and global themes, posing challenges for writers who wish to innovate without jeopardising their connection to the audience. In contrast, languages such as Hindi and Malayalam readily incorporate colloquial expressions, which thrive in contemporary literature.

Nonetheless, modern Odia literature is dynamic and progressing. Short story writers are exploring a variety of topics including religion, science fiction, feminism, leftist ideologies, and climate change. Prominent authors such as Sarojini Sahu, Satya Mishra, Rabi Swain, Sadananda Tripathy, Jyoti Nanda, Bhima Prusty, Janaki Ballabh Mohapatra, Ajaya Swain, Biraja Mohapatra, Sujata Mohapatra and young writers like Debabrata Das  are actively investigating these contemporary themes. Publications like Kadambini, Rebati, and Katha are offering platforms for these creative narratives.

Despite this, the main obstacle remains the need to improve visibility. Social media and over-the-top (OTT) platforms have the potential to revolutionise this landscape—just picture an Odia adaptation of Black Mirror[2]!

There is an immediate need for greater investment in Odia storytelling to effectively bridge the gap between traditional and modern narratives.

.

[1] Six acres and a Third, a novel by Fakir Mohan Senapati(1843-1918) published in 1902

[2]Black Mirror is a British dystopian science fiction television anthology series that started in 2011 and is still on the run.

.

Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and Resilience, Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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Categories
Poetry

Found in Translation: Bipin Nayak’s Poetry

 Five Odia poems by Bipin Nayak have been translated by Snehaprava Das

WITHIN 
                           
An equestrian within me 
Mounts an unbridled horse
And plays a violin.
A boatman inside me 
Crosses an imaginary river
Again, and again  
In a non-existent boat.
                             
Within me, there is a wayfarer
That refuses to 
Travel the trodden road
And takes a turn.
                              
A lake ripples in me, 
Waiting futilely
To lose itself in the sea,
And a waterfall  
Leaps noisily from above 
To wet the rocks.                            
                                                       
A cloud floats within me,
All of a sudden,
Flashes a lightning smile
And goes back to sleep.
                            
In me, a cowherd
Returns home in the twilight
Painted in the colours of sunset      
And lights a kerosene lamp.
                       
A camel inside me
Sags under a sack-load of salt,
But trudges across the sands
Dreaming of a lush meadow. 
  
A mother in me conceives words,
Bleeds in labour, 
Nourishes the vulnerable words 
With love and care
And watches them grow…                  
                                                                          
PAPER BIRD
                                                       
My woes pull your neck longer.
My beloved words become the air 
To stuff your insides. 
I forge your wings from  
The crumpled paper of my dreams,                           
And mold your beak with my kisses,
Paint you in the colour 
Of my solitary nights….
Trim you with 
All my fears and frustrations.  
Because I could not 
Make a paper-boat of you
To sail in the muddy puddle,
I lift you up  
To fly across 
The monsoon sky.
When you climb a little higher 
Into the air
And are drenched out of shape,
I, a naked child, 
Stand here in the rain, look up and cry! 

THE MAKING 

I pick a few bones of my hardest grief,
Scoop some blood 
Oozing red to create.
                                                                                    
I fix a face of smoke or a patch of weepy cloud    
Mold a nose from the wafting breeze.  
I fix a pair of eyes, like day and night,
There in the face.
In one of them, I put a tornado, 
A bird in the other.
With flowers of joy and grief,
I shape the lips.
The body I try to make 
Out of a river that hides under it,
A fire and a perpetually vain desire 
To reach the sea or a desolate jungle.                                   
I design the limbs from a  
Lingering surge of green.                                  
All these efforts 
Are but only to replicate 
What has been made before.
I set afloat 
Because it has been set to drift
Much before…
And because it has sprinkled  
A cosmic fervour across 
A secret sanctum inside me,
To bring a god to life, 
I worship it! 
I keep trying to create and re-create inside me
Because it has made me much before that!  

            
A SKY AS I AM

I have set out to paint a sky of my own --
A sky that is exactly as I am! 
And for that I have picked up
Some nomadic dreams, a sunset, 
I have collected the blood of flowers,
The tune of a stream that has flown away,
The chirping of orphan birds,
The layers of moss spread over
A decrepit piece of rock-writing.
I have scooped up 
A handful of ash from the debris of
Perished time,
And a wild storm that had retreated 
After having blown me away.
I took out the wet melody from a violin and
the primeval music of the insect,
throbbing inside the grass.
From the reminisces stuck in the sinews 
I have gathered a few scattered sighs,
 And from the darkness, the mysteries of nights,
 I have got warmth from dreams,
 Sin from pollen grains.
 With these elements beside me
 And a canvas in shreds, 
 I sit down to paint a sky of mine
A sky that is exactly as I am!      

LET THEM SING  

Let them sing a song.
I do not mind
If my wound heals them,
Or my tears make them glow,
And my blood paints them crimson.

My quick breathing flits about, but
I do not mind if someone plays a flute
Blowing into the holes of my bones 
And sings through the lips 
Borrowed from me.
 
Let them sing, why must I mind it?
The lips are not mine. Nor is the song!

 

Bipin Nayak

Bipin Nayak (1950), a bold and engaging voice in the literary scenario of modern Odisha, is a trend setter who explored new possibilities for Odia poetry. One of the most significant postmodernist and minimalist poet in Odia, Nayak is a believer in the artefact of words than the meaning and medium. For him poetry is an aesthetic exploration through the fragile, fluid words which could be liberated from its conventional canons and connotations. There is a distinct undertone of metaphysical too in his poetry that hovers over the slim divide between the real and the surreal. Bipin Nayak is a pioneer in Odia auto-fiction writing. His ‘Jatra ra Ketoti Pada’[1], an unprecedented experimental work, that challenges the conventional style through a blending of prose and poetry and does not conform to any traditional literary genre. Besides being the recipient of the prestigious Odisha Sahitya Akademi award the poet has received several accolades for his contribution to Odia literature. Significant amongst them are the Bishuba Jhankar Purashkar, Akhila Mohan Kabita Sammana, Sachivalaya Lekhaka Parishada Sammana and Sammana from Kalinga Sahitya Samaja. He has been widely published in Hindi, Bengali and also in English and has adorned the pages of Indian Literature, Kavya Bharati and other prestigious journals. His major works include Swarachitra (The Painted voice) that fetched him the Odisha Sahitya Akademi award, Nija Nija Barnabodha Apustaka, Sadaja, Bidagdha Bichara, Band Ghara ra Basna.         

[1] Translates to ‘how many steps are there in a journey’

Dr.Snehaprava Das, is a noted writer and a translator from Bhubaneswar, Odisha. She has five books of poems, three of stories and thirteen collections of translated texts (from Odia to English), to her credit. 

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Categories
Excerpt

A Perpetual Struggle

Title: Cyclones in Odisha: Landfall, Wreckage, and Resilience

Author: Bhaskar Parichha

Publisher: Pen In Books

Chapter 10

 A Perpetual Struggle

“Humans and nature can never be friends! Nature will never hesitate to starve you in the drought, drown you in the rain, burn you in the sun, and kill you with an earthquake, a hurricane or a disease; and as such, nature should always be seen as an enemy not a friend.”
― Mouloud Benzadi

 Cyclones exert a significant influence on the economy and agricultural sector of Odisha, leading to considerable disruptions and enduring challenges for the region. Agriculture serves as a fundamental component of Odisha’s economy, accounting for approximately 26% of the Gross State Domestic Product (GSDP) and providing employment for around 85% of the rural populace. The occurrence of cyclones frequently results in severe crop damage, exemplified by the 1999 Super Cyclone, which led to the loss of nearly 2 million tons of rice and devastated approximately 18.43 lakh hectares of farmland. More recent cyclones, such as Fani in 2019, inflicted damage on about 60% of the paddy crop and had a detrimental effect on vegetable production.

The fishing industry, crucial for the livelihoods of local communities, also suffers significant setbacks due to cyclonic events. Damage to fishing infrastructure and interruptions in fishing operations result in decreased catch and income for fishermen, thereby intensifying the economic difficulties faced by coastal populations.

Cyclones inflict extensive damage on infrastructure, including roads, electricity, and housing. This destruction not only affects immediate livelihoods but also obstructs long-term economic recovery. For instance, Cyclone Amphan in 2020 caused widespread infrastructural damage, impacting millions of consumers and resulting in prolonged power outages.

Job Loss

The devastation wrought by cyclones leads to job losses, particularly affecting daily wage laborers and roadside vendors, who are often the most susceptible to economic disruptions. The reduction in employment opportunities further exacerbates poverty levels in a state that is already economically disadvantaged.

Research indicates that cyclones adversely affect local economic growth, with studies revealing a significant decline in the growth rate in the years following such events. For instance, after the catastrophic cyclones of 2013 and 2014, the growth rate plummeted to 1.8% in 2014-15, a stark decrease from 9.3% in the preceding year.

Cyclones result in flooding, soil salinization, and erosion, which significantly undermine agricultural productivity. Coastal areas, where a majority of agricultural activities are concentrated, are especially susceptible to these effects, resulting in diminished crop yields and heightened food insecurity. Farmers are compelled to adjust to the evolving climate and the rising occurrence of cyclones. This adaptation may involve altering planting schedules, implementing multiple cropping strategies, and enhancing irrigation systems to alleviate the impact of cyclones on their livelihoods. The financial challenges associated with recovering from cyclone-related damage can be daunting for farmers, many of whom do not possess sufficient insurance coverage. This economic pressure can perpetuate cycles of poverty and obstruct agricultural advancement in the region.

Ongoing Struggle

The ongoing struggle of the people in Odisha against the backdrop of cyclones is a complex interplay of psychological trauma, economic hardship, and the need for improved disaster management. While strides have been made in preparedness and response, the experiences of survivors underscore the necessity for continued support and infrastructure development to mitigate the impacts of future cyclones.

Resilience to cyclones involves implementing a range of strategies to minimize the impact of these natural disasters on communities and infrastructure. This can include building stronger and more resilient infrastructure, such as storm-resistant buildings and flood barriers, as well as developing early warning systems and evacuation plans. Investing in disaster preparedness and response training for communities can help them cope better with the aftermath of a cyclone. By taking proactive measures to increase resilience to cyclones, communities can reduce the loss of life and property damage caused by these powerful storms.

Incorporating nature-based solutions such as mangrove restoration and coastal vegetation can help absorb the impact of cyclones and reduce erosion. Building codes and regulations can also be updated to ensure that new construction is more resilient to extreme weather events.

 Promoting community engagement and participation in resilience-building efforts can help foster a sense of ownership and responsibility among residents. This can include educating communities on how to prepare for cyclones, providing resources for emergency supplies, and establishing communication networks to disseminate information during a crisis.

Resilience to cyclones requires a multi-faceted approach that involves collaboration between government agencies, non-profit organizations, businesses, and local communities. By working together to implement these strategies, we can better protect vulnerable populations and infrastructure from the devastating impacts of cyclones.

Livelihood Loss

The economic impact of cyclones is profound highlighting the broader economic devastation faced by many in the fishing and agricultural sectors. Initial estimates indicated that thousands of fishing boats were lost, and agricultural land became salt-encrusted, rendering it unusable for years. This dual loss of livelihood and resources has compounded the stress for displaced communities.

Survivors of Cyclone Fani, which struck Odisha in May 2019, have faced severe mental health issues, including stress disorders and depression. Many individuals expressed feelings of despair and anxiety about their future, struggling to cope with the trauma of the cyclone’s destruction. Mental health experts have emphasized the need for immediate interventions to address these issues, as the fear of future cyclones continues to haunt the affected communities.

Mental health professionals have been mobilized to assess the psychological impact of the cyclone. A study conducted a month after Cyclone Fani found that approximately 42.9% of participants exhibited probable PTSD, while 36.7% experienced severe anxiety and 16.5% showed moderately severe depression. Additionally, suicidal thoughts increased by 14% among the affected population. These findings underscore the urgent need for targeted mental health interventions.

Efforts are being made to enhance community-based mental health support. This includes training local volunteers to identify individuals in need of psychological assistance and providing them with referral support. Such grassroots initiatives are crucial for ensuring that mental health care reaches those who may not have access to formal healthcare services.

Despite these interventions, challenges remain. Many survivors continue to experience sleep deprivation and anxiety due to the trauma of the cyclone and the ongoing fear of future disasters. The presence of mosquitoes in temporary shelters has further exacerbated sleep issues, highlighting the need for improved living conditions during recovery.

Moreover, the long-term psychological effects of such disasters necessitate sustained mental health support beyond the immediate aftermath. Historical data from the 1999 supercyclone indicates that without adequate post-disaster psychological support, issues like PTSD can persist for years.

Government’s Role

Cyclones in Odisha lead to devastating impacts on local communities, including loss of life, destruction of homes, and significant economic losses. The recurrent nature of these disasters has resulted in long-term challenges, such as food insecurity and displacement among vulnerable populations. The state government has been working on improving cyclone preparedness and response mechanisms to mitigate these impacts.

Early warning systems play a crucial role in reducing the impact of cyclones on the East Coast of India. These systems involve the use of advanced meteorological technology to track and predict the path and intensity of cyclones, allowing for timely evacuation and preparation. Additionally, coastal defense infrastructure such as seawalls, breakwaters, and mangrove restoration projects can help mitigate the impact of storm surges and erosion caused by cyclones.

Initiatives to prepare and build resilience within the community are also essential in reducing the impact of cyclones. This includes educating the public about cyclone preparedness, conducting drills and simulations, and providing access to emergency supplies and shelters. Building resilient infrastructure, such as cyclone-resistant housing and public buildings, can also help minimize the damage caused by cyclones.

Despite these measures, the East Coast of India remains vulnerable to the devastating impact of cyclones. Continuous research into cyclone behavior, climate change adaptation strategies, and the development of innovative technologies are crucial in improving the effectiveness of measures to reduce disaster risk. Strategic planning at the national and local levels is also necessary to ensure that resources are allocated effectively and that policies are in place to address the long-term impacts of cyclones.

Climate Change

In recent years, there has been a noticeable increase in the frequency and intensity of cyclones in the region. This trend is believed to be linked to climate change, which is causing rising sea levels and warmer ocean temperatures. These changes create more favorable conditions for cyclones to form and intensify, posing a significant threat to the people of Odisha.

Climate change has a profound effect on Odisha’s disaster preparedness plans in a variety of ways. The increasing temperatures and sea levels are contributing to more frequent and severe disasters such as cyclones, floods, droughts, and heat waves. This necessitates more robust and frequent evacuation drills, shelter maintenance, and emergency response planning. The prevalence of water and vector-borne diseases like malaria and dengue fever is worsened by climate change. Consequently, the health sector must incorporate climate change considerations into health policies, enhance disease management, and implement measures to mitigate the impact of heat waves.

Changes in monsoon patterns and more frequent cyclones result in widespread food and nutrition insecurity. Disaster preparedness efforts should prioritize ensuring access to nutritious food and promoting sustainable agricultural practices. The rise in sea levels due to climate change and the increased intensity of storms pose a threat to coastal infrastructure, including cyclone shelters and evacuation routes. Regular maintenance and improvement of these structures are essential to minimize the impact of climate change.

Raising awareness about climate change and being prepared require ongoing community involvement and capacity building. This involves training volunteers, promoting safe migration practices, and increasing media coverage of climate change issues. Climate change can negatively impact economic growth and exacerbate poverty. Disaster preparedness strategies need to address these economic risks by encouraging sustainable industries, renewable energy, and climate-resilient infrastructure.

Given the changing impacts of climate change, Odisha’s disaster preparedness strategies must evolve to ensure effective response and mitigation measures. This requires ongoing investment in disaster preparedness and response measures, as well as efforts to address the underlying causes of climate change. By taking proactive steps to mitigate the impact of cyclones and adapt to changing climatic conditions, Odisha can better protect its coastal region and ensure the safety and well. Financial investment in measures to reduce disaster risk and adapt to climate change is essential for the East Coast of India. This includes funding for the development and maintenance of early warning systems, the construction of resilient infrastructure, and community preparedness initiatives.

Investment in research and development of new technologies and strategies for cyclone mitigation is crucial in building a more resilient and adaptive East Coast community.

As climate change continues to influence weather patterns, the frequency and intensity of cyclones in this region may increase, further highlighting the need for effective disaster management strategies and resilient infrastructure to protect the vulnerable populations of Odisha. In the face of a cyclone, communities must come together to prepare and respond to the impending disaster. Early warning systems and evacuation plans can help to minimize the impact of a cyclone, saving lives and reducing property damage. In the aftermath of a cyclone, communities must work together to rebuild and recover, showing resilience in the face of adversity.

Political Accountability

The impact of cyclones on political dynamics in Odisha has been significant, particularly following the devastating 1999 Super Cyclone. This event not only caused immense human suffering but also reshaped the political landscape and public sentiment towards various parties. The destruction prompted widespread criticism of the government, particularly regarding its preparedness and response to the disaster. Many survivors expressed dissatisfaction with the lack of support and infrastructure improvements in the years following the cyclone, leading to a sense of betrayal among the electorate.

In the years following the cyclone, political parties in Odisha, especially Biju Janata Dal and its leader Naveen Patnaik have faced scrutiny over their handling of disaster relief and infrastructure development. Although the BJD asserts that significant advancements have been made in the reconstruction initiatives, numerous inhabitants of regions impacted by the cyclone have indicated persistent challenges, including insufficient compensation and a shortage of cyclone shelters. This dissatisfaction has affected electoral choices in later elections, as those who survived the disaster frequently perceive a lack of attention from political figures who pledged assistance but did not fulfill their commitments. The political narrative in Odisha has continued to evolve, especially in light of more recent cyclones like Fani and Phailin. The BJD had maintained a significant foothold in the state, leveraging its disaster management initiatives as part of its campaign strategy. Opposition parties have capitalized on public grievances, framing their campaigns around issues of local pride and accountability in disaster management.

NGO’s Role

Non-Governmental Organizations (NGOs) play a crucial role in disaster mitigation and recovery efforts in Odisha. NGOs sensitize local communities about disaster risks and preparedness measures through awareness campaigns, mock drills, and training programs. They build the capacity of communities, especially vulnerable groups like women, children, the elderly, and the disabled, to cope with and recover from disasters. NGOs collaborate with the government in preparing disaster management plans at the district and state levels.

During disasters, NGOs are involved in rescue operations, providing temporary shelters, organizing health camps and setting up communication facilities.  They work closely with the government in relief distribution, ensuring equitable access to food, water, sanitation, and other essential supplies for affected populations. NGOs focus on protecting vulnerable groups and providing special care for pregnant women, lactating mothers, children, elderly, and disabled persons during emergencies.

In the recovery phase, NGOs support the rebuilding of damaged houses and public infrastructure and restoring the livelihoods of affected communities. They promote the use of disaster-resilient construction techniques and make rehabilitation efforts disability-friendly.  NGOs help in reviving local economies by providing livelihood support, forming self-help groups, and establishing market linkages.

NGOs coordinate their efforts with the government through dedicated coordination cells at the state and district levels. They advocate for inclusive and equitable disaster management policies that address the needs of marginalized sections of society. NGOs also collaborate with the private sector through CSR initiatives and public-private partnerships in disaster management.

The Government of Odisha recognizes the critical role of NGOs in building community resilience. The state has involved NGOs in its disaster management framework, leveraging their grassroots presence, flexibility, and innovative approaches to complement government efforts in protecting lives and livelihoods from disasters.

Media Coverage

The historical context of cyclones in Odisha is characterized by significant events, particularly during the late 20th and early 21st centuries. The Super Cyclone of 1999 stands out as one of the most devastating. This disaster prompted substantial reforms in the state’s disaster management approach, leading to the establishment of the “Odisha model” for disaster preparedness.

The evolution of media coverage regarding cyclones in Odisha has been notable, especially in the aftermath of catastrophic occurrences like the Super Cyclone. Reports increasingly focus on the state’s preparedness initiatives, including early warning systems and community-managed cyclone shelters, which have played a crucial role in significantly lowering casualties in recent cyclones compared to earlier incidents.

The relationship between media coverage, public awareness, and government preparedness has been instrumental in shaping Odisha’s response to cyclones. The proactive strategies adopted by the state, along with community engagement, have established a framework for disaster management that reflects a transition from reactive to proactive measures in addressing climate-related challenges.

Public Perception

In the wake of the 1999 disaster, the Odisha government launched a “Zero Casualty” initiative aimed at reducing fatalities in future cyclones. This strategic shift is evident in media narratives, which increasingly highlight the state’s proactive efforts, such as the implementation of early warning systems and community-based disaster preparedness programs. During Cyclone Fani in 2019, for instance, media coverage underscored the successful evacuation of more than 1.2 million people, illustrating the effectiveness of the state’s preparedness strategies and garnering international recognition for its response efforts.

Media narratives have progressively included discussions regarding climate change and its effects on the frequency and severity of cyclones. Reports indicate that climate change is expected to intensify the challenges encountered by Odisha, with predictions of more powerful cyclones in the future. This evolution signifies an increasing recognition of the wider environmental factors associated with cyclonic events and has led to demands for more effective climate adaptation measures.

The public’s perception of cyclones in Odisha has significantly transformed over the years, shaped by a blend of historical experiences, governmental actions, and improvements in disaster management practices.

Changing Paradigm

Odisha encounters several significant obstacles in upholding its high standard of disaster preparedness. Despite the establishment of extensive cyclone shelters and evacuation routes, the state’s power, communication, and transportation infrastructure are still at risk. Disruptions of these systems can lead to widespread consequences during disasters. The continuous challenge lies in investing in underground power lines and disaster-resilient infrastructure. A considerable portion of coastal housing in Odisha remains vulnerable to cyclone damage. The transition of at-risk families from straw huts to disaster-resilient homes is an area that demands sustained attention and investment.

The success of Odisha’s disaster preparedness efforts heavily relies on the mobilization of local communities and volunteers. Ensuring the maintenance of this level of preparedness and response capability along the state’s extensive coastline poses an ongoing challenge that necessitates consistent training and drills. With the escalating frequency and intensity of cyclones due to climate change, Odisha must consistently enhance its early warning systems, evacuation strategies, and disaster management approaches to proactively address evolving threats.

Despite the significant progress made by Odisha, disaster preparedness is a continuous process that demands unwavering commitment, innovation, and allocation of resources to tackle emerging challenges effectively. Sustaining the state’s prominent position in global leadership in this domain remains a persistent priority.

Odisha’s disaster management paradigm has evolved from a relief-centric model to a comprehensive, proactive, and integrated framework that emphasizes risk reduction, community participation, and efficient response mechanisms.

About the Book

Cyclones in Odisha presents an in-depth exploration of the complex dynamics surrounding the storms that have impacted the coastal region of Odisha. It delivers a thorough examination of their frequency, the catastrophic effects they inflict, and the remarkable resilience exhibited by the communities in the aftermath. The book investigates the underlying factors that contribute to these extreme weather phenomena, analyzing the geographical and meteorological conditions that render the area vulnerable to such formidable storms. The book explores the devastating power of cyclones and their profound impact on the state, carefully chronicling the extensive destruction caused. It also highlights the remarkable resilience of the communities affected, showcasing their determination to rebuild and thrive in the face of adversity. The roles of governmental bodies, non-governmental organizations, and various stakeholders in facilitating recovery and reconstruction efforts are also examined. The text assesses the effectiveness of disaster management strategies and initiatives, shedding light on both successes and shortcomings in addressing the needs of the affected communities. By scrutinizing the diverse approaches employed, it offers critical insights into how the impacts of future cyclones can be mitigated and managed more effectively. This groundbreaking book is the first of its kind to explore the entirety of severe weather events, serving as an invaluable resource that offers a thorough overview while equipping readers with crucial insights for future preparedness.

About the Author

Bhaskar Parichha (1957) is a senior journalist and author of six books, including ‘Unbiased: Writings on India’; ‘No Strings Attached: Writings on Odisha’; Madhubabu: The Global Indian’; and ‘Biju Patnaik: A Biography’. He has also edited three anthologies of essays entitled ‘Naveen @ 25: Perspectives’; ‘Bhubaneswar @ 75: Perspectives’ and ‘Essential Odisha: Portrait of a State’. He is a bilingual writer and lives in Bhubaneswar.

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Review

The Story of an Indigenous Medical System

Book Review with Bhaskar Parichha

Title: Ayurveda, Nation and Society: United Provinces, c. 1890–1950

Author: Saurav Kumar Rai

Publisher: Orient Blackswan

The ayurvedic revivalist movement significantly influenced medical nationalism in the United Provinces[1] during the late 19th and early 20th centuries. This period saw a concerted effort to re-establish ayurveda as a legitimate and valuable medical system in the face of colonial dominance and the growing influence of Western medicine

 The revival of ayurveda was intertwined with the broader nationalist movement in India. Proponents of this school sought to assert an indigenous identity, positioning ayurveda as a symbol of cultural pride and resistance against colonial rule. This was particularly important as the demand for swaraj (self-rule) intensified, necessitating a projection of India as a modern and scientifically progressive nation.

The formation of groups like the All India Ayurvedic Congress in 1907 created an opportunity for the practitioners to come together, exchange insights, and push for the acknowledgment of their stream in the broader national conversation. These meetings encouraged dialogue on blending ayurvedic and wHindu

estern medical approaches, positioning the indigenous school as a legitimate alternative to the colonial healthcare systems.

In a way, the proliferation of ayurvedic literature in various languages during this period helped democratise access to its content. This literature aimed to transform ayurveda from a specialised knowledge system into a shared cultural heritage, reinforcing its relevance in contemporary society. The revivalist discourse often emphasised the scientific basis of ayurveda, thereby aligning it with modernity and progress.

Fascinatingly, the ayurvedic revivalists critiqued colonial medical practices, often blaming external factors, particularly the ‘Other’, for health crises affecting the Hindu population. This narrative not only served to unify the community around ayurveda but also reinforced a sense of collective identity against colonial narratives that marginalised indigenous practices.

Also, the movement led to the commercialisation of ayurvedic medicine, with an increase in its products and practitioners. This economic aspect played a crucial role in embedding ayurveda within the social fabric of the United Provinces, making it a part of everyday life and health practices

It is in this backdrop that this book holds significance.  Ayurveda, Nation and Society: United Provinces, c. 1890–195o by Saurav Kumar Rai explores the historical and socio-political dimensions of ayurveda during a transformative period in India.  It is part of the New Perspectives in South Asian History series by Orient Blackswan. Saurav Kumar Rai is Research Officer, at Gandhi Smriti and Darshan Samiti, New Delhi.

Says the blurb: “Ayurveda enjoys a growing global appeal, and is often touted as ‘true’ and ‘time-tested’ by contemporary political actors, governments, social groups, practitioners and NGOs in India. With ‘indigenous’ healing systems enjoying increasing state support today, an examination of the socio-political aspects of medicine, in particular Ayurveda, and its role in nation-building is critically important. Ayurveda, Nation and Society, the latest in Orient Blackswan’s ‘New Perspectives in South Asian History’ series, captures the late nineteenth and early twentieth century growth of ‘medical nationalism’ through the Ayurvedic revivalist movement in the United Provinces, and observes the ensuing change and continuity in the attitude towards ‘indigenous’ medicine in independent India.”

This study investigates the emergence of medical nationalism as reflected in the ayurvedic revivalist movement within the United Provinces, focusing on its role in the nation-building process. It offers a critique of the social dynamics of the era, drawing attention to the caste, communal, class, and gender biases that permeated ayurvedic discussions. The author contends that advocates of ayurveda played a significant role in the reconstruction of both tradition and society, frequently attributing health crises affecting the Hindu male demographic to external ‘Others.’

The book contextualises ayurveda as an indigenous medical system, delving into its complexities during the late 19th and early 20th centuries. It examines the involvement of the Indian National Congress in the ayurvedic movement, illustrating how political groups harnessed this school of medicine to foster national identity. The author further explores the influence of print media and organisational initiatives in shaping ayurvedic discourse and rallying societal support. Additionally, the commercialisation of ayurveda is analysed through its print and pharmaceutical markets, investigating the impact of economic factors on health practices. The narrative also encompasses the period surrounding India’s independence, evaluating the evolution of ayurvedic practices during this pivotal transition.

This book stands out as an important resource for those looking to deepen their knowledge of health and medicine during colonial India, attracting both scholars and general readers who are curious about the development of ayurveda and its relevance today.

[1] Present day Uttar Pradesh and Uttarakhand in India was called United Province during this period

Bhaskar Parichha is a journalist and author of Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

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