CM Exclusive: Prologue to the Chinese Language Edition of The Darjeeling Distinction

 

By Sarah Besky

Sarah Besky received her Ph.D. in Anthropology from the University of Wisconsin-Madison and is currently Assistant Professor of Anthropology and International and Public Affairs at Brown University. She is the author of The Darjeeling Distinction: Labor and Justice on Fair-Trade Tea Plantations in India (University of California Press, 2014). Her current research works across ethnographic and archival evidence as well as rural tea plantations and urban auction houses and blending factories to explore “cheapness” as a social and economic value. A second book based on this research is tentatively titled The Cost of Cheap Tea: An Ethnography of Value in India.

[Previously by Sarah Besky: Surkh Salam, XQs]

***

Prologue to the Chinese Language Edition of The Darjeeling Distinction: Labor and Justice on Fair-Trade Tea Plantations in India

Forthcoming from Tsinghua Press

When I sat down to write this Prologue to this new Chinese-language edition of The Darjeeling Distinction, I had just returned from a six-week research trip to London, where I steeped myself in the archives of the British Indian tea industry, mostly housed at the British Library.  As I pored through old correspondences between planters in the hills of Assam, Darjeeling, Kerala, and Kangra and brokers and buyers in London, comparisons between the teas of China and India abounded.  Even if the idea of writing a Prologue for a Chinese edition of my book had not been at the back of my mind during those months surrounded by musty letters, notes, and scientific documents about everything from chemical contents to proper modes of storage and shipping, these comparisons would have been impossible to miss.

Anxiety on the part of European tea planters in India about how the quality of Indian tea measured up to that of Chinese tea are emblematic of a longer economic and geopolitical entanglement between Britain, India, and China that spans continents and centuries, and links commodities including tea, opium, and silver.  Readers of The Darjeeling Distinction can find some of the history of this struggle recounted in the book’s early chapters.  Continue reading “CM Exclusive: Prologue to the Chinese Language Edition of The Darjeeling Distinction”

On two modes of witnessing: Azadeh Akhlaghi and Gauri Gill

By Sarover Zaidi

[Sarover Zaidi is an anthropologist, obsessing on architecture, art and other modes of being. Besides she runs ‘Elementary forms and the city’ and an itinerant future Guild for those who stand between the academy and the street. She has previously studied philosophy, worked in rural public health, loved and left Berlin, and worked in a bank.

The author would like to thank Samprati Pani for editorial and other lifeline inputs.

A version of this article first appeared in the Critical Collective http://www.criticalcollective.in – an online art and art history magazine from India.]

***

Dedicated to the memory of my father, who died February 2017, my eternal witness.

Image credit: Art Heritage gallery

They ask me to tell them what Shahid means—

Listen: It means “The Beloved” in Persian, “Witness” in Arabic

—Agha Shahid Ali, In Arabic, 2003

Ali Shariati, the Iranian revolutionary and socialist, died mysteriously in 1977.  Shariati, also a sociologist, wrote Jihad and Shahadat, a rendering of the historico-mythical battle of Karbala, retelling it as the first red revolution. Composed as a testimonial to the dead, Shariati portrayed the female protagonist Zainab as the last witness to this bloody battle of loss, death and mourning. Unfortunately, at the peak of Cold War politics, prior to Khomeini’s rise to power in Iran (1979), Shariati had been found dead under mysterious circumstances (1977). Shariati’s own death went without witnesses or testimonials, or the image and space of mourning it demanded. Forty years later, Azadeh Akhlaghi, a photographer, provides a testimonial to Shariati’s death, in her experimental series ‘By an Eyewitness’. Continue reading “On two modes of witnessing: Azadeh Akhlaghi and Gauri Gill”

The Idea of Resistance

By Francesca Recchia

 50 years ago, Gillo Pontecorvo won the Golden Lion at the Venice Film Festival with his revolutionary masterpiece The Battle of Algiers. CG Entertainment, an Italian start-up, organised a crowdfunding campaign to publish the restored edition of the film. To support the initiative, they asked me to gather some thoughts in response to the work.  The initial English version of the text, To Resist is to Exist was published by With Kashmir. What follows is an expanded version of that article with a further reflection on the idea of resistance.

Fifty-two years ago Gillo Pontecorvo shot The Battle of Algiers, a revolutionary film that tells the story of the Algerian resistance. The film is a three-year-long flashback reconstructing the initial steps of the liberation movement: from 1957 all the way back to November 1954 when the leaders of the National Liberation Front started gathering people and consensus. The story is narrated from the militants’ point of view and gives a very humane insight into the choices that paved the way to the dramatic, but necessary process of decolonisation.

Five decades later, the film still speaks to the present with immense relevance. The historical terms may have changed, but the substance remains the same. Oppressors, fascisms, colonialisms both past and present reiterate trite arguments to perpetuate their own existence and assert an idea of an immutable past to legitimise their privileges. The benevolent paternalism of power, the infantilisation of the Other, the discrimination on the ground of religion and skin colour survive their own stupidity. Continue reading “The Idea of Resistance”

How to See

I was invited to speak on Richard Eaton and Phillip Wagoner’s 2014 (already seminal) book Memory, Power, Architecture: Contested Sites on India’s Deccan Plateau, 1300-1600. It was awarded the 2016 Ananda Kentish Coomaraswamy Book Prize at the Association for Asian Studies. Alongside Cynthia Talbot’s The Last Hindu Emperor (2015)– about which I wrote here— and Shahid Amin’s Conquest and Community: The Afterlife of Warrior Saint Ghazi Miyan (2015), this book represents a significant turn in South Asian studies towards ‘memory studies’ broadly speaking. Due to the travel EO, I chose not to attend the festivities in Toronto but Professor Nile Green (the Chair of the panel) was gracious enough to read my comments. I post here a shortened version for your edification.


Two of the works that were significant in my own intellectual formation belong to Phillip Wagoner and to Richard Eaton. Wagoner’s Tidings of the King: A Translation and Ethnohistorical Analysis of Rāyavācakamu (1999) taught me the invaluable lesson that historical texts can pretend a pre-textual history as its own– and that any prima facie reading of such texts can compound historiographic errors over generations. Wagoner’s effort in re-situating Rāyavācakamu as an early-seventeenth century text, as opposed to it’s own claim to be an early sixteenth century text, and in thinking about the genre as a source of historical emplotment, gave me a method to interrogate my primary concern– a thirteenth century Persian text claiming to be a translation of an eighth century Arabic work– anew. Eaton’s landmark study Sufis of Bijapur, 1300-1700: Social Roles of Sufis in Medieval India (1978) was itself methodologically innovative in considering texts emerging from within or about Sufi households alongside legal declarations and historical narratives. In my own research on thirteenth century Sindh, I was guided by Eaton’s example of creating a social network for a distant past by tracing textual and material networks that continuously cross borders enacted by historical or historiographic sensibilities.

I want to start with this particular perspective– of thinking about method for studying Indian medieval pasts. It is my contention that Power, Memory, Architecture: Contested Sites on India’s Deccan Plateau, 1300-1600 (2014) invocation and use of “Memory” begins from their methodology of walking the secondary regional centers to compile their GIS maps. In effect, walking provided the means with which the authors ‘see’ the landscape– both in its contemporary form and in its historical context.
Continue reading “How to See”