Changes between Initial Version and Version 1 of Naxalite


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Timestamp:
Jun 28, 2012, 3:37:55 PM (12 years ago)
Author:
Trupti
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  • Naxalite

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     1'''Naxalite''' 
     2 
     3 
     4Term used to refer to members of the extreme 
     5Left CPI(ML) launched by Charu Majumdar in 
     61969. The word refers to the site of the party’s 
     7first major political action (1967), the village of 
     8Naxalbari in Bengal. Following the split in the 
     9CPI (1964), several members of the breakaway 
     10CPI(M) turned to a Maoist, cadre-based massaction 
     11programme among the peasantry 
     12leading to the nationwide crackdown on the 
     13Party ordered by prime minister Lal Bahadur 
     14Shastri. The schisms between Left and Right 
     15within the CPI(M), the latter insisting on the 
     16parliamentary road, were aggravated by the 
     17victory of United Fronts in Kerala and West 
     18Bengal in the 1967 State Assembly elections. 
     19Although the Naxalbari insurrection itself, in 
     20which peasant groups seized land, held 
     21people’s courts and dispensed ‘justice’ to 
     22landlords and hoarders, was rapidly quelled, it 
     23had widespread and long-term consequences. 
     24The CPI(M)’s withdrawal of support in protest 
     25against Chief Minister Ajoy Mukherjee’s use of 
     26the police against their members eventually 
     27brought down the United Front government. 
     28In August 1967, two months after Naxalbari, 
     29Girijan tribals led a similar insurrection in 
     30Srikakulam, evoking the CPI-led Telangana 
     31uprising (1946-51). The All India Co-ordination 
     32Committee of Communist Revolutionaries 
     33(AICCCR) was established as the apex body 
     34for all extra-parliamentary Left activity. 
     35Organisations affiliated to it, as well as several 
     36others, launched armed movements in parts of 
     37Uttar Pradesh, Bihar, Punjab, Kerala and Tamil 
     38Nadu. In 1969 the AICCCR was replaced by the 
     39CPI(ML), immediately recognised by the 
     40Chinese government. In 1970, actions 
     41sympathetic to the Naxalites were initiated by 
     42student groups in Calcutta and spawned major 
     43debates about revolutionary cultural aesthetics, 
     44often emphasising an anarchist iconoclasm 
     45(e.g. Saroj Dutta’s essay ‘In Defence of 
     46Iconoclasm’, 1970: cf. Samar Sen, 1978). In 
     47November 1970 the West Bengal Prevention of 
     48Violent Activities Bill gave the central 
     49government complete control over law and 
     50order in West Bengal, and the student 
     51movements in Calcutta as well as the peasant 
     52actions in e.g. Debra and Gopiballavpur were 
     53brutally suppressed by the police and the army. 
     54This suppression, coupled with the splintering 
     55of the movement itself, effectively ended 
     56Naxalite activity as an all-India phenomenon 
     57by 1972. The CPI(ML) survived mainly in 
     58Andhra Pradesh with the activities of the 
     59Peoples’ War Group. Culturally, however, its 
     60critique of the parliamentary system as well as 
     61the ideological and moral divides it caused 
     62within the Left movement as a whole, found an 
     63echo among independent film-makers, as in 
     64Mrinal Sen’s Calcutta Trilogy (see esp. 
     65Calcutta ’71, 1972), in Satyajit Ray’s Calcutta 
     66Trilogy, Tapan Sinha’s Apanjan (1968), 
     67Ghatak’s Jukti Takko Aar Gappo (1974), 
     68Benegal’s Nishant (1975), Nihalani’s 
     69Aakrosh (1980) and Shahani’s Tarang 
     70(1984). The Naxalite movement’s emphasis on 
     71agitation around civil liberties opened up a 
     72major space for independent documentary 
     73film-making (cf. Anand Patwardhan, Tapan 
     74Bose) and for Left political and aesthetic 
     75discourses. Other film-makers influenced by 
     76these currents include John Abraham, the 
     77musical, theatre and poetic sources of B. 
     78Narasinga Rao, and Utpalendu 
     79Chakraborty’s rhetoric about acceptable and 
     80unacceptable capital resources for film-making. 
     81In Andhra Pradesh, where the movement is 
     82currently the strongest, campaign films 
     83featuring exaggerated plotlines and emphatic 
     84performances, an idiom associated in that state 
     85with Naxalite aesthetics, were financially 
     86backed by media baron and producer Ramoji 
     87Rao in the mid-80s, continuing into e.g. R. 
     88Narayanamurthy’s commercially popular Lal 
     89Salaam (1992) and Erra Sainyam (1994). 
     90 
     91[[Glossary]]