Mallarika Sinha Roy – författare

The Naxalbari movement marks a significant moment in the postcolonial history of India. Beginning as an armed peasant uprising in 1967 under the leadership of radical communists, the movement was inspired by the Marxist-Leninist theory of revolution and involved a significant section of the contemporary youth from diverse social strata with a vision of people’s revolution. It inspired similar radical movements in other South Asian countries such as Nepal. Arguing that the history and memory of the Naxalbari movement is fraught with varied gendered experiences of political motivation, revolutionary activism, and violence, this book analyses the participation of women in the movement and their experiences. Based on extensive ethnographic and archival research, the author argues that women’s emancipation was an integral part of their vision of revolution, and many of them identified the days of their activism as magic moments, as a period of enchanted sense of emancipation. The book places the movement into the postcolonial history of South Asia. It makes a significant contribution to the understanding of radical communist politics in South Asia, particularly in relation to issues concerning the role of women in radical politics.

Among the most significant playwrights and theatre-makers of postcolonial India, Utpal Dutt (1929-1993), was an early exponent of rethinking colonial history through political theatre. Dutt envisaged political theatre as part of the larger Marxist project, and his incorporation of new developments in Marxist thinking, including the contributions of Antonio Gramsci, makes it possible to conceptualise his protagonists as insurgent subalterns. A decolonial approach to staging history remained a significant element in Dutt's artistic project. This Element examines Dutt's passionate engagement with Marxism and explores how this sense of urgency was actioned through the writing and producing of plays about the peasant revolts and armed anti-colonial movements which took place during the period of British rule. Drawing on contemporary debates in political theatre regarding the autonomy of the spectator and the performance of history, the author locates Dutt's political theatre in a historical frame.

Among the most significant playwrights and theatre-makers of postcolonial India, Utpal Dutt (1929-1993), was an early exponent of rethinking colonial history through political theatre. Dutt envisaged political theatre as part of the larger Marxist project, and his incorporation of new developments in Marxist thinking, including the contributions of Antonio Gramsci, makes it possible to conceptualise his protagonists as insurgent subalterns. A decolonial approach to staging history remained a significant element in Dutt's artistic project. This Element examines Dutt's passionate engagement with Marxism and explores how this sense of urgency was actioned through the writing and producing of plays about the peasant revolts and armed anti-colonial movements which took place during the period of British rule. Drawing on contemporary debates in political theatre regarding the autonomy of the spectator and the performance of history, the author locates Dutt's political theatre in a historical frame.

The Naxalbari movement marks a significant moment in the postcolonial history of India. Beginning as an armed peasant uprising in 1967 under the leadership of radical communists, the movement was inspired by the Marxist-Leninist theory of revolution and involved a significant section of the contemporary youth from diverse social strata with a vision of people’s revolution. It inspired similar radical movements in other South Asian countries such as Nepal. Arguing that the history and memory of the Naxalbari movement is fraught with varied gendered experiences of political motivation, revolutionary activism, and violence, this book analyses the participation of women in the movement and their experiences. Based on extensive ethnographic and archival research, the author argues that women’s emancipation was an integral part of their vision of revolution, and many of them identified the days of their activism as magic moments, as a period of enchanted sense of emancipation. The book places the movement into the postcolonial history of South Asia. It makes a significant contribution to the understanding of radical communist politics in South Asia, particularly in relation to issues concerning the role of women in radical politics.