– Akshay and Grass Demon
As the world came to a standstill in the wake of the pandemic, and travel was abruptly restricted, long-term or ongoing field research suffered . Projects which involved local communities/researchers at the field site were able to continue their work with little loss of data, but those without strong local support were suspended indefinitely. Veteran ecologist Vojtech Novotny called it “a test [of] the rhetoric of ‘capacity building’ within tropical countries”. This reignited conversations around the involvement of local communities in field ecology by Western institutions, and associated ‘parachute science’ . A recent paper by Trisos et al. 2021 furthered this conversation by providing a sharp look at the different, often unchallenged, ways in which colonial thought and practices pervade ecology, and provide concrete ways for ecologists to work towards decoloniality, the main points of which are summed up in the table below.
Before we begin, let us clarify for the uninitiated what decolonisation means, according to Trisios et al. In the first instance, it is “[r]ecognizing that colonialism led to Euro-American centricity, dispossession, racism and ongoing power imbalances in how ecological research is produced and used”. Following this recognition, decolonisation demands that we “actively [undo] those systems and ways of thinking”. – NotA
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– Ronak Gupta
I vividly remember watching Nagraj Manjule’s searing debut film Fandry for the first time, a few years ago. I had never quite seen anything like it until then. Fandry uses tropes of love stories from mainstream cinema and yet does something these movies consciously avoid – it indicts the caste system. Manjule said in an interview,
“Caste is the foundation of our society. It’s a reality that you need to have a special talent to avoid. Bollywood has that talent, I don’t…”
Indeed, Hindi films largely gloss over the subject of caste and blunt most conflicts down to a class disparity, as illustrated particularly starkly in the Bollywood remake of Manjule’s sophomore feature Sairat. Manjule’s Fandry introduced me to a radical artistic voice, the kind that was conspicuously absent from the media I had consumed until then. It made a deep impression on me. It implored me to seek out a different kind of cinema and expand the scope of art I engage with. It is on this path that I discovered Yogesh Maitreya’s excellent collection of short stories Flowers on the Grave of Caste.
Yogesh Maitreya is a writer, poet, and translator who also runs Panther’s Paw, a publishing house with a strong focus on promoting anti-caste literature. His collection contains six stories across which he widely experiments with literary style and scope. The result is an eclectic collection of short-fiction that is written in simple but often poetic prose. Yogesh’s sentences invoke powerful imagery and nowhere is this more apparent than the contrasting images that begin and end the first story “Re-evolution,” a fable of revenge, in which Yogesh weaves a personal journey coming to full circle.
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When did you get interested in your current field of study?
I got interested in the field of Architecture when I was looking at options to pursue for undergraduate studies. I wasn’t very passionate about the subject at that point, it was more of a convenient path I took because I had an interest to pursue something in the creative field(arts) along with something technical and this seemed like a good fit.
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