| 1 | '''Naxalite''' |
| 2 | |
| 3 | |
| 4 | Term used to refer to members of the extreme |
| 5 | Left CPI(ML) launched by Charu Majumdar in |
| 6 | 1969. The word refers to the site of the party’s |
| 7 | first major political action (1967), the village of |
| 8 | Naxalbari in Bengal. Following the split in the |
| 9 | CPI (1964), several members of the breakaway |
| 10 | CPI(M) turned to a Maoist, cadre-based massaction |
| 11 | programme among the peasantry |
| 12 | leading to the nationwide crackdown on the |
| 13 | Party ordered by prime minister Lal Bahadur |
| 14 | Shastri. The schisms between Left and Right |
| 15 | within the CPI(M), the latter insisting on the |
| 16 | parliamentary road, were aggravated by the |
| 17 | victory of United Fronts in Kerala and West |
| 18 | Bengal in the 1967 State Assembly elections. |
| 19 | Although the Naxalbari insurrection itself, in |
| 20 | which peasant groups seized land, held |
| 21 | people’s courts and dispensed ‘justice’ to |
| 22 | landlords and hoarders, was rapidly quelled, it |
| 23 | had widespread and long-term consequences. |
| 24 | The CPI(M)’s withdrawal of support in protest |
| 25 | against Chief Minister Ajoy Mukherjee’s use of |
| 26 | the police against their members eventually |
| 27 | brought down the United Front government. |
| 28 | In August 1967, two months after Naxalbari, |
| 29 | Girijan tribals led a similar insurrection in |
| 30 | Srikakulam, evoking the CPI-led Telangana |
| 31 | uprising (1946-51). The All India Co-ordination |
| 32 | Committee of Communist Revolutionaries |
| 33 | (AICCCR) was established as the apex body |
| 34 | for all extra-parliamentary Left activity. |
| 35 | Organisations affiliated to it, as well as several |
| 36 | others, launched armed movements in parts of |
| 37 | Uttar Pradesh, Bihar, Punjab, Kerala and Tamil |
| 38 | Nadu. In 1969 the AICCCR was replaced by the |
| 39 | CPI(ML), immediately recognised by the |
| 40 | Chinese government. In 1970, actions |
| 41 | sympathetic to the Naxalites were initiated by |
| 42 | student groups in Calcutta and spawned major |
| 43 | debates about revolutionary cultural aesthetics, |
| 44 | often emphasising an anarchist iconoclasm |
| 45 | (e.g. Saroj Dutta’s essay ‘In Defence of |
| 46 | Iconoclasm’, 1970: cf. Samar Sen, 1978). In |
| 47 | November 1970 the West Bengal Prevention of |
| 48 | Violent Activities Bill gave the central |
| 49 | government complete control over law and |
| 50 | order in West Bengal, and the student |
| 51 | movements in Calcutta as well as the peasant |
| 52 | actions in e.g. Debra and Gopiballavpur were |
| 53 | brutally suppressed by the police and the army. |
| 54 | This suppression, coupled with the splintering |
| 55 | of the movement itself, effectively ended |
| 56 | Naxalite activity as an all-India phenomenon |
| 57 | by 1972. The CPI(ML) survived mainly in |
| 58 | Andhra Pradesh with the activities of the |
| 59 | Peoples’ War Group. Culturally, however, its |
| 60 | critique of the parliamentary system as well as |
| 61 | the ideological and moral divides it caused |
| 62 | within the Left movement as a whole, found an |
| 63 | echo among independent film-makers, as in |
| 64 | Mrinal Sen’s Calcutta Trilogy (see esp. |
| 65 | Calcutta ’71, 1972), in Satyajit Ray’s Calcutta |
| 66 | Trilogy, Tapan Sinha’s Apanjan (1968), |
| 67 | Ghatak’s Jukti Takko Aar Gappo (1974), |
| 68 | Benegal’s Nishant (1975), Nihalani’s |
| 69 | Aakrosh (1980) and Shahani’s Tarang |
| 70 | (1984). The Naxalite movement’s emphasis on |
| 71 | agitation around civil liberties opened up a |
| 72 | major space for independent documentary |
| 73 | film-making (cf. Anand Patwardhan, Tapan |
| 74 | Bose) and for Left political and aesthetic |
| 75 | discourses. Other film-makers influenced by |
| 76 | these currents include John Abraham, the |
| 77 | musical, theatre and poetic sources of B. |
| 78 | Narasinga Rao, and Utpalendu |
| 79 | Chakraborty’s rhetoric about acceptable and |
| 80 | unacceptable capital resources for film-making. |
| 81 | In Andhra Pradesh, where the movement is |
| 82 | currently the strongest, campaign films |
| 83 | featuring exaggerated plotlines and emphatic |
| 84 | performances, an idiom associated in that state |
| 85 | with Naxalite aesthetics, were financially |
| 86 | backed by media baron and producer Ramoji |
| 87 | Rao in the mid-80s, continuing into e.g. R. |
| 88 | Narayanamurthy’s commercially popular Lal |
| 89 | Salaam (1992) and Erra Sainyam (1994). |
| 90 | |
| 91 | [[Glossary]] |