Friday, 24 June 2016

जर्मन जर्नल में प्रकाशित रिपोर्ट



                            जर्मनी के 'श्वेतरे' शहर में आयोजित कार्यक्रम की रिपोर्ट जर्मन जर्नल में ।
                                         (जर्मन रिपोर्ट का अंग्रेजी अनुवाद: योहान्नेस लापिंग)

The future of Indian Adivasis presented in a literary form
By Theodor Rathgeber

During its annual meeting at Protestant Academy Villigst, 27 –29 May 2016, the India Literarure Forum focused on Adivasi literature. Through cooperation with Adivasi Koordination in Germany, a poet and a publisher were invited for this meeting. It turned out as a memorable meeting.

Literature by, with and on Adivasis can be quite a complex issue, provoking a lot of discussions. Language being a central tool, hardly any of the indigenous languages of India is known beyond the local sphere. Or even when, like in the case of Santali, there might be five different scripts in which it is used. What to do then? Read out in public the scripted texts!

Jacinta Kerketta, belonging to the Oraon community of Jharkhand, read from her poetry book “Glut”, which was published in this May by Draupadi Publishing, Heidelberg. After a considerably long period of almost exclusively oral tradition, she now comes as one of the few persons of literature among the Adivasis who stepped into modernity, using Facebook, making her own blog, and now having published her first book. Indigenous peoples of India count between 80 and 90 millions. As Jacinta Kerketta would not have reached out to as many in her mother tongue Oraon, she chose her second major language Hindi to get attention beyond her local spheres. The quality of her poems proves that this was the right decision. Participants in the literature meeting listened with rapt attention to her extraordinary, visual poetic expressions about Adivasi lives. Her imagery carries ideas about Adivasi lifestyles in harmony with nature, and at the same time its destruction in consequence of ruthless exploitation of natural resources by outsiders. There is no romanticizing of resistance, and even distortions and violence in Adivasi households are not left out. But every now and then, there are signals of hope in her poems. Jacinta Kerkettas poetry proves deep understanding and reflection and a powerful representation of the various issues, as in the Indian context one would hardly expect from such a young person. This is why she wanted her photo to be printed in the book.

Here poetry book was also published in English by Ruby Hembrom, belonging to the Santal community (counting alone about eight million). Her publishing house is named “adivaani” (“voice of the first”) and was founded in 2012. Its focus is on literary documentation and publication of the Adivasis, in order to show and prove their creative potential – against all traditional  stereotypes. Everyday life in India is full of such preconceived notion, as she told in one episode of her publishing life: When contacting a printer for getting a manuscript printed with a black cover, the printer was surprised and mentioned that black might be too difficult a colour for indigenous peoples. Why not better take something beautifully coloured?

Both guests were received with great interest and given vivid applause on several occasions.

"अंगोर" - उपसाला यूनिवर्सिटी स्वीडेन के प्रो. हायंस की जर्मन में आई समीक्षा



                                        ( जर्मन समीक्षा का अंग्रेजी अनुवाद - योहान्नेस लापिंग )

Review in “Südasien 2/2016”, p. 98

Jacinta Kerketta, Glut – Angor. Gedichte Hindi und Deutsch
[Title details as in book]

This is a bilingual edition of poems by one of the most important poets of the younger generation of Adivasis: thus the German translation can be directly compared with the Hindi text, by those who know the language.

In recent years, Hindi turns out as the central media for communication in Adivasi literature, which otherwise is quite multi-lingual. Jacinta Kerketta is one of the most important young authors of this literature. Her collection of poems in this volume is more melancholic than struggle oriented, but it is an important and impressive example of Adivasi literature in Hindi. Her verses give expression to sadness about the loss of land and culture as it is experienced by Adivasis. The “fragrance of the flowers” is contrasted with the “stench of machines”; “rain” is contrasted with “tears of blood”; “household and farm life” with “progress”; the whisper of a dry leaf with all the “book words” – which refers to the bookish knowledge and language of the “others” in the “jungle of concrete”, trying to finish with Adivasi culture.

On the other hand, the author considers sharing of ember [“Glut”], as reflected in the title of her book, as deeply meaningful and an expression of Adivasi solidarity that is kept alive: you borrow ember from your neighbour to light a fire in your own house – this is happening every day, and it is a symbolic representation of traditional village life all over India. However, the ovens in Adivasi villages have gone cold, and rice seeds are sprouting from the mud of which these ovens are made. People die of hunger or kill themselves in agony. Yet, among all these visual presentations of desperation in the face large scale mining, exploitation of man and displacement in a world that is perishing, there emerge also images of resistance. Mother goes out, but instead of “basket and digging hoe”, she is carrying “bow and arrows in her hand.”(p.57)

The German translation matches well with the intentions of the original text. There are some minor inaccuracies, leading away from the original. But on the whole the translation is intimately close to the original text, in terms of syntax and contents, and it avoids taking to many liberties….

Jacinta Kerketta’s style of writing is rather prosaic, and this is rendered well in the German translation. Certain difficult words, printed in italics in the text, are explained in a glossary.

This is a very valuable testimony of contemporary Adivasi identity, and it comes to the German audience in a very well designed edition.

Heinz werner wessler
(Professor of Indology at University of Uppsala in Sweden) 
 In: Südasien 2/2016, p. 98

(साउथ एशिया मैग्जीन में जर्मन में आई समीक्षा)

Saturday, 7 May 2016

जलती जड़ों की गंध

(pic - Google)

जलती जड़ों की गंध

मैं ढूंढ रहीं हूं पहाड़ पर
रिश्तों की जड़ें।

बिना शब्दों के जहां
रिश्तों की महीन गंध बिछी है
जमीन के भीतर।
जैसे पेड़ की जड़ें
भीतर ही भीतर छू रही हैं
दूसरी जड़ों को
और पूरा जंगल महसूस रहा
" हम एक हैं "

फिर कब, कैसे आग पहुंची
जमीन के भीतर ?
जड़ें जलने लगीं धीरे-धीरे,
होने लगा जंगल धुंआ-धुंआ।
घुट रहा मिट्टी से
जड़ों का रिश्ता,
क्यों गंध आने लगी है
अब भीतर ही भीतर 
अपनेपन के जलने की?

- जसिन्ता केरकेट्टा
दिनांक - 9.4.2016

Sunday, 1 May 2016

कब रूकेंगे ये हमले ?

कब रूकेंगे ये हमले ?
रह जाए जब 
थोड़ी सी चाह,
छोटी खुशियों, महीन रिश्तों
और थोड़े से शब्दों की !
रूक सकेंगी तभी 
बेवजह होने वाली हत्याएं
अतिरिक्त खुशियों,
रिश्तों और शब्दों की
और रूकेंगे तभी
अदृश्य रूप से
एक दूसरे की आत्माओं पर 
होते हमले भी।

- जसिन्ता केरकेट्टा

हांफती मशीनें

हांफती मशीनें
पेड़ों को उखाड़ चुकने के बाद हांफ रही हैं।
अब हांफती मशीनें ढूंढ रहीं हैं
कहीं कोई पेड़ की छांह।

- जसिन्ता केरकेट्टा

Thursday, 28 April 2016

किसी ने नहीं देखा मुझे

किसी ने नहीं देखा मुझे

किसी ने नहीं देखा मुझे
जब आंगन की मिट्टी को
सीमेंट का कवच पहनाया गया

मैं मिट्टी को समझा रहा था

मजबूत नींव के लिए 
जरूरी है उसका मरना,
मगर मैंने देखा 
एक-एक कर 
फूलों को भी मरते हुए।

उस दिन से
मधुमक्खियों ने छोड़ दिया 

मेरे आंगन में उठना-बैठना,

चिडि़यों ने भी मुंह फेर लिया मुझसे,

बारिश और हवा भी 

हंसती नहीं अब खुलकर।

अब आंगन में सिर्फ सन्नाटा

धूप सेंकने आता है

और इसे उनकी नियती बताता रहता है।
मैंने फूलों के साथ-साथ उस दिन

मधुमक्खियों, चिडि़यों की भी हत्या की 

मिट्टी, बारिश और हवा को तड़पाया,

किसी ने नहीं देखा मुझे

सिर्फ मेरे हाथों की सफाई जानती है 

मेरे गुनाह कितने बड़े हैं...।
- जसिन्ता केरकेट्टा


फूल, पत्ते, गिलहरी
सब जीते हैं अपनी तरह
एक हम ही क्यों हैं नाकाम
मार रहे, मार दिए जा रहे
और लाश की तरह खुद को ढोए
चीखों की ढेर में ढूंढ रहे 
अपने जिंदा होने का प्रमाण !!

- जसिन्ता केरकेट्टा