Towards the Cultural Banner of Bangla Dalit Literary Movement : An Interview With Nakul Mallik Jaydeep Sarangi

Nakul Mallik was born in a low-wage family of the Namashudra caste living in a village, Gajendrapur. He is one of the pioneer Bangla Dalit activists/writers. His signal works include three biographies, a work of religious philosophy; several short story collections, a book of eight one-act plays and Manik Ratan, a story based on rural Bengal and the social situation at the time of Partition. A list of his works can be found below on pages 15-16. Here Nakul Mallik is in conversation with Jaydeep Sarangi where he frankly narrates the growth and development of Bangla Dalit Movement. This interview took place at Tollygunj railway station, Kolkata where Jaydeep Sarangi and Nakul Mallik met for academic and organizational discussions. It was a sunny afternoon in South Kolkata.

Their erudite speeches brought to my knowledge the condition of the outcast and exploited section of the society.I also realised that the only way of our survival and progress was embracing the philosophy and determination of Dr Bhimrao Ramji Ambedkar, the architect of the Constitution of India.They inspired me to pick up his first Bengali biography Yugasrasta Ambedkar, penned by Dr Gunadhar Barman.I focused my entire attention into reading the book.The more I read, the more I was enlightened regarding the condition of marginalised communities residing not only in Bengal but all over India.It dawned upon me that I too had a considerable amount of responsibility towards the society, duties that I could no longer ignore.
In 1969, I finished my studies in Kolkata and returned to my village.I took up a low-paid teaching job at the very school that I had attended and took an oath to be of service to the society.I tried to spread the knowledge and awareness I had acquired in Kolkata among the villagers.An analysis of the population revealed a number of social classes that were not included in the Constitution's list of Scheduled Castes and Scheduled Tribes.Their socioeconomic state could not be ignored either.
I live and work in Machhlandpur, under Habra Police Station of North 24 Paraganas.In 1972, I gathered the local students, youth and intellectuals and together we founded 'Anunnato Samaj Sanstha', an apolitical social service organisation aimed at uplifting the backward classes of the society.Back then, we hadn't quite grasped what we today refer to as the Dalit consciousness.In the same year, we read articles in the newspaper regarding Maharashtra's Dalit Panther Movement, which widened our perspective.The fire of Dalit consciousness was kindled in my heart.I announced at the top of my voice that all the backward classes of the society, scheduled or not, were suffering just like the Dalits were.The only way to overthrow the exploitative Brahmanical social structure was to unite and fight tyranny together.

JS: Your first piece of writing?
NM: If you ask an artist when they put a stroke on a canvas for the first time, it would be really difficult for them to answer it.It is equally difficult for a writer to pinpoint the moment when they decided to pick up the pen.There is always the stage of preparation of the wick before the evening lamp is actually lit and for me, becoming a writer was quite beyond my imagination.Right after my birth, my grandmother had predicted that I would etch the earth with a hoe and a sickle.The idea of etching on a paper had no place in that stream of thought.
Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.
Jaydeep Sarangi.Maharastra is the very alter of social revolution.But paper and magazines of West Bengal do not print any news from there.And why will they?Bengal nourishes Brahminism.

Why will they publish criticism of the upper-caste?
In 1972, when a cultural organisation named 'Dalit Panther' declared revolution through their writing, this news could not be hidden.Later when a English journal named Dalit Voice, edited by V.T. Rajshekhar, came in our hands, we started revering and loving the name 'Dalit'.
On 18 and 19 April 1987, the first Dalit literary convention was held in West Bengal through my efforts and through the support of Ranendra Lal Biswas, 'Bangia Dalit Lekhak Parishad' (meaning Association of Benagli Dalit Writers) was established, whose preamble was 'Dalit Kantha'.In 1992 Bengal Dalit literary institution was established whose preamble is 'Chaturtha Dunia'.

JS: Names of journals and papers related to Dalit?
A. If we consider the periodicals of Dalit society, then 1908 can be considered as the beginning.In that year, through the efforts of Rajarshi Guruchand Thakur, first journal of Dalit society was published: Namahshudra Suhird (monthly).From then through the long hundred years various magazines and periodicals were published in the Dalit society.Some of them were long-term, some of them lived shortly and were lost in time.Though I do not think that at the inception of the journals there were any Dalit consciousness among the publishers, there was strong sense of nationalism.We are not able to collect the names of all the journals and magazines till date.Those journals that played an integral part in social reformation, among them Namahshudra Surhid, Namahshudra Hitaishi, Pataka, Jagaran, Shudra Sakha, Adhikar (Rasiklaal Biswas), Bengal Herald, Prachar, Sadhak, require special mention.
We can assume 1970 as the beginning of the era of Dalit freedom movement of the periodicals.From this year the eminent pro-Ambedkar writer Ranajit Kumar Sikdar started  The biggest problem for the movement of the Dalits is that they don't have their own medium to promote their ideas.They have to depend on biased media for the publicity of any meeting or event.They only do as much as they can without harming their own interests.
The Dalit writers in Maharashtra have received recognition and aid from the government.They have been honoured and awarded as well.They even exercise a bit of influence when it comes to the use of media.The situation of the Dalit intellectuals in Bengal is drastically different from those of Maharashtra.That is why we cannot stand united.
JS: What do you think is the future of the Bengali Dalit Literary Movement?NM: I have believed this for the longest time: it is not possible to bring any massive social or political change in the society without a cultural revolution.This movement is aimed at raising awareness and igniting the consciousness of the masses.If this is not achieved, the masses will not feel the urge to rebel for any cause.The most ideal way to achieve this consciousness is by spreading ideas through poetry, music, theatre, seminars, discussions, magazines and journals.The role of cultural movements in triggering social change is undeniable; there is no better way.
We must remember how Literature steered the direction of India's struggle for freedom.Bankimchandra's novel Anandamath created a ripple in the society with its chant of 'Vande Mataram'.Dinabandhu Mitra's play 'Nil Darpan', Nabinchandra Sen's 'Polashir Juddho, Mukunda Das's Swadeshi folk-theatre and music and songs by Rabindranath, Nazrul, Dwijendranath, Atul Prasad and Rajanikanta fuelled the movement for Independence.
Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU My love for poetry was ignited at a young age when I attended a kavisangeet program.The spontaneous creation and performance of the famous folk artists Bijoy and Nishikanta Sarkar, the social commentary and satire set in poetry and music, left me awestruck.I used to wonder how they attained such expertise at something that would seem quite impossible to most.I went home and tried to compose a few rhyming verses but failed.The hands used to ploughing the tough earth felt uneasy holding a pen.The pressure even tore the paper but no poetry came out of it.Now when I look back on that moment, I realise that it wasn't supposed to work that way.Rabindranath Tagore once said, 'Whether it's a tale or poesy, it has to exist within in order to be drawn out.'This inability bothered me and I began to wonder if I would ever succeed in writing something other than answer scripts.When in high school, I gained the affection of my Bengali teacher and my tryst with Literature began.Writings of Saratchandra, Bibhutibhushan and Tarashankar prepared the base.The power of prose is no less than that of poetry after all!Poetry needed imagination whereas prose required practical experience; otherwise the text would not resemble reality closely enough, the reader would not be pleased.The first part of Saratchandra's 'Srikanta', Bibhutibhushan's 'Pather Panchali' and Tarashankar's 'DakHarkara' engaged my heart and mind.It led me to think: I was born in the same land around which all these stories have been centred.There are so many stories hidden within the lower caste communities of my village.If I could pen them down, wouldn't that make good literature too?I sat at my desk armed with pen and paper.But I couldn't figure out where I should start, what I should write or how I should express myself.Lost in thoughts, I nearly chewed off the top of my wooden pencil but I couldn't write a single word.I started reading up once again.I asked my friends if they could write.One of them whispered in my ear about a boy who could not write stories but wrote long love letters to his lover.Apparently, his language and expression could leave anybody spellbound.I thought maybe falling in love would bring out the creativity in me but that didn't work out either.'My fate was like a muddy ditch.'It wouldn't go so easily.Yet I kept toiling.Sometimes I wrote a few lines.The stories started but refused to proceed.Sometimes they went quite far but I could see no ending.I would start afresh, fail to come up with anything decent and tear up the pages to bits.When I started writing something substantial, I decided to show it to the Bengali teachers.They tried to correct it but turned it into something entirely different.I couldn't find myself in it anymore.I used to write in Sadhu bhasha then; writing in conversational Bengali was still a long way off.One day, the school put up a notice announcing the publication of the school magazine.It invited students to submit their original writings.I was determined to contribute.I wanted to write a fantastic story.I began to think about what I should write.That year, we had a heavy flood.I had witnessed how it affected the villagers.Their houses were flooded.They made elevated platforms to keep themselves and their children dry.Emergency supplies arrived bit by bit.They caught fish from the water below and cooked with extreme difficulty.That was the real bit.The rest I painted with my imagination.Deep into the night, the sleeping baby rolled over and fell into the water.The parents, not looking at the empty bed, mistook the drowning baby's splashing for a big fish.The father thrust a weapon into the Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.Jaydeep Sarangi.Writers in Conversation Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU water but in place of the fish found his own child's bleeding body.The shocked parents let out a loud wail and lost consciousness.I named the story 'Bhranti'.I had not aced the art of writing yet.I probably did not even understand the essence of Literature.But perhaps owing to the power of the story itself, it got selected.Thus in 1964, in the South Chatra High School's magazine, my first piece of writing was published.JS: Whose writing inspired you?NM: I was born in Palligram.So I was naturally drawn to literature based on rural settings.I have mentioned earlier that the writings of Saratchandra, Bibhutibhushan and Tarashankar pulled me into the world of Literature.The Dalit awareness had not entered literature back then.I wished to write about the social climate and life in rural Bengal.The first magazine that I published was named 'Gram Bangla'.I wrote many stories of love and affection set in the countryside.While studying in Kolkata, I was a witness to the Leftist movement.I had the opportunity of reading their booklets and magazines.They created a stream of independent literature that raised their progressive ideology and demands.While trying to understand it, I came across the works of Maxim Gorky, Tolstoy, Manik Bandopadhyay and Mahasweta Devi.Their writing taught me that simply writing about rural life was not enough.The story must scream of protest and rebellion; it must disclose an urge to change the society.Sometime after that, I was introduced to the ideology of Babasaheb Ambedkar.I read the biography of Mahatma Jyotirao Phule.It exposed me to an entirely different world altogether.I learnt that the Marxist ideology was aimed at a classless society whereas Babasaheb's ideology was aimed at a casteless society.Dr Ambedkar had said: 'Abolition of economic equality does not guarantee abolition of the class system.As long as we don't ward off social inequality, a classless society cannot be established.True social equality cannot be achieved that way.' Literature would have to draw attention to this inequality and raise awareness among the masses.Privileged upper-class writers could not be expected to write for this purpose.The ostracised and marginalised people must pick up the pen themselves.They must write about the caste discrimination that plagues the whole country.They must voice their protest.They must show the path to a better society through their writing.It is true that Mahasweta Devi had addressed caste discrimination in many of her works.She had a lot of sympathy towards marginalised communities, but not much empathy.Poet Raicharan Biswas paved the way for Dalit Literature.He expressed his progressive ideas in the anthology Jatiya Jagaran.It was released just four years after the publication of Sri Sri Hari Lilamrita, in 1921.Later on, I was inspired by the works of Saratchandra Majumdar, Kartik Chandra Mallik, Sushma Maitra, Ranajit Kumar Sikdar, Professor Naresh Chandra Das, Manimandal and Mahitosh Biswas, who focussed on the Dalits.In 1972, it was us who researched the progress of the Bengali Dalit literature following Maharashtra's Dalit Panther Movement.We studied translations of Marathi Dalit literature and adopted their characteristics.Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.Jaydeep Sarangi.Writers in Conversation Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU In 1987, at the Dalit Sahitya gathering in Machlandpur, Harendranath Bhakta read out his essay 'Dalit Sahityer Ruprekha'.Today, Dalit literature has come a long way.The writers, predecessors as well as successors, whose greatness I find inspirational are Dr Anil Ranjan Biswas, Anil Krishna Mallik, Anil Sarkar, Professor Jagadbandhu Biswas, Prof. Achintya Biswas, Swapan Biswas, Dr Pashupati Mahato, Chinmay Roy, Manohar Mouli Biswas, Kapil Krishna Thakur, Jatin Bala, Brajendra Nath Mallik, Nitish Biswas, Dr Upendra Nath Biswas, Manoranjan Byapari, Jagdish Chandra Mondal, Shanti Ranjan Biswas, Nani Gopal Biswas, Krishnaprasad Mondal, JatinBagchi, Jatindra Mohan Majumdar, Bimal Biswas, Gauranga Sarkar, Tulsi Charan Mondal, Sunil Kumar Das, Amal Kumar Mondal, Sukriti Ranjan Biswas, Amar Biswas, Gopal Biswas, Badal Sarkar, Parimal Baidya, Raju Das, Dhurjoti Naskar, Bimalendu Haldar, Dilip Gayen, Pijush Gayen, Kiranmayi Talukdar, Kalyani Thakur, Manju Bala, Puspa Bairagya, Manjusree Biswas, Sujata Biswas, Smritikana Howladar, Harendra Nath Bhakta, Shyamal Kumar Pramanik, Samarendra Nath Baidya and Subir Ranjan Haldar.JS: Who are Dalits?NM: After the caste-based social system of India had gone through manifold evolutions, the word Dalit came into full use in the first half of the past seven decades, though a researched material has been found in the second Aakar book of Matua theological and literary text namely Sri Sri Guruchand Charit.In the book, which is written by Acharya Mahananda Halder and was published in 1943, Rajarshi Guruchand Thakur advises his disciples: those who are downfallen and downtrodden in Bengal they only have the king as their friend.These downfallen and downtrodden were called untouchables or low-born in ancient history, whom Gandhiji has called 'harijan'.In the pre-independent era of India these people were sometimes called Depressed classes, sometimes Oppressed classes, or sometimes Downtrodden people, they are called Backward classes.In 1932 after the Puna treaty between Gandhiji and Dr Ambedkar it was decided that a list was needed to be prepared as to determine which communities will be benefited under the reservation quota.In 1935 after a populace survey based on social, economical and educational backwardness a list was prepared based on community.Those who are included in that list are called Scheduled Castes and Tribes.Baba Saheb Ambedkar has kept provisions for reservations in the Indian Constitution for these classes of the list in respect of education, job and election.This list has amplified from 1935 onwards.In article no. 340 of the Indian Constitution it is said that the President can appoint an autonomous commission in order to enquire if there are any other backward classes who are in need of the reservation system apart from Tapsil class (Scheduled Castes), sub-class or aadivasi (Scheduled Tribes).According to this article the first commission for the development of backward classes was appointed under Nehru government in 1953; Kaka Kalleker was the chairperson of this commission.The recommendations of this commission were not effective.In the year 1977, during the Janata government, the second commission Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.Jaydeep Sarangi.Writers in Conversation Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU was made on 20 December 1978.The chairperson of this commission was the former MP Bindheshwari Prasad Mandal, a man belonging to the backward classes of Bihar.On 12th December 1980, the report of this commission was published; but before that Janata government fell and Indira government rose to power.Again that report was not actualised.After the sudden demise of Indira Gandhi, Rajiv Gandhi became the Prime Minister.He, also, refused to take the responsibility of actualising Mandal commission.Later in 1990 the Prime Minister, from the Jatiya Morcha government, Biswanath Pratap Singh announced to partially implement the report of Mandal Commission.There will be 27% reservation for 52% backward classes of the country.One thing is to be noted -list of Tapsil classes, adivasi and backward classes varies in different provinces.Tapsil class of one province may not be regarded so in a different province, which is the case with Bandhali refugees of the country.Mandal commission has named the other backward classes apart from Tapsil class and adivasi as Other Backward Classes or O.B.C.During the effectiveness of Mandal Commission the number of Tapsil class in West Bengal was59; the number of Tapsil sub-class or adivasi was 39; and the number of O.B.C was 177.Later these numbers of the classes have changed.Currently, the Tapsil classes, sub-classes (adivasi) and other backward classes in India are included under 'Dalit Samaj'.JS: -When did the Dalit consciousness in Bengali literature come into being?NM: If Dalit consciousness refers to the self-consciousness of the downtrodden people then the texts of Matua Aakartests -SriSriHarileelamrita and Sri SriGuruchandCharit -are the harbingers.Anti-Brahminist texts inspire Dalit consciousness.The writer of Leelamrita Poet RasarajTarak Chandra Sarkar was himself the pathfinder of Kavigaan, a kind of songtournament.The singers of this kind of tournament had promoted the idea of social reformation through the lyricism of rhymed verse.The successor of Sri Tarak Chandra Sarkar, such as Poet Haribar, Manohar, Rajendranath Sarkar, Vijay Sarkar, Nishikanta Sarkar, had also done the similar.Through songs, momentary debate and discussions they stringently criticised Brahminism.These songs were, at first, oral literature, and were not available in written form; they were created in the moment of the debate.Later written literature came from the downtrodden people.Writers first concentrated on publishing papers and magazines.Through those papers poems, essays, stories, belleslettres were published.Making journals like 'NamaahshudraSuhird', 'NamahshudraHitaishi', 'Pataka', 'Jagaran', 'Adikar', their livelihood, many powerful authors came to the fore.Among them Charan poet Raicharan Biswas, Jaladhar Biswas, Sharat Chandra Majumdar, Kartik Chandra Mallik, Anil Ranjan Biswas are important.Though it cannot be claimed that they represent the all the characteristics of Dalit-literature, many a time a protest against Barahminism is notable.Through the passage of time this very literature evolved in different names, and gave birth to different literary community.In 1975 Nabayug Sahitya O Sanagkirti Parisad (meaning Association of Literature and Culture of the New Era) was established, and their preamble 'Atayeb' was published; in 1979 JS: Is Dalit writing revolution?NM: Revolution is the cardinal feature of Dalit literature.Dalit literature cannot be created just by describing some stories and incidents based on Dalit society.Dalit literature marks a responsibility of social reformation; otherwise it will fall under other general literature.The main responsibility of Dalit literature is to represent some ideas of social reformation through literature.Dalit writers must be conscious about this.The literature which helps to form a mass-consciousness about the inequality, divisions and extortions prevailing in Indian social structure, is Dalit literature.There will be strong protest against the social extortion and deprivation, therefore it will not be an exaggeration to call it Protest literature.Writers must also engage in social structure deeply, they must be a part of protests and resistances.A Dalit writer cannot fulfil his responsibility by just theoretical protest.The honourable Dr Anil Ranjan Biswas has said, Dalit literature is defined as the literature of the Dalits, by the Dalits, for the Dalits.Three prepositions of, for, by are important.It means that a Dalit writer must be a part of Dalit society.Literature written by someone belonging to other caste cannot be called Dalit literature, because those writers may have sympathy for the Dalit society, but cannot have empathy.Even after this which is important to mention is thatDalit writer must be social literary worker.Dr. Biswas has said, 'Finally, writers themselves should join the Dalit liberation movement, they should be active participants in the struggle for freedom.'It means that a Dalit writer must be an activist.The writer must be an active social worker who is involved in the protests with people by being saturated in the social structure.In other words we can say that a Dalit writer must be a writer and a fighter.The renowned Marathi writer Arjun Dangle has said, Dalit literature is a revolution ... Dalit literature protests against oppression and extortion and demands social and economic justice ... Dalit literature and revolution cannot be separated.Unless and until social structure changes and extortion remains, creation of Dalit literature is inevitable.Dalit writers must protest incessantly through literature against ManuismI ideas of Manu), radicalism and feudalism and attempt to form a healthy democracy and a society devoid of oppression and extortion.Lastly, the aim of Dalit writers must be the actualisation of the dream of Babasaheb Ambedkar, Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.Jaydeep Sarangi.Writers in Conversation Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU We want that liberated India where each and every human have equal rights irrespective of castes, class and religion; where there is no social oppression, where untouchability isconsidered as a sin and people are not abhorred for their birth and human qualities are the main parameters of judgement.JS: When did Dalit literary movement begin in Bengal?NM: As I have discussed, earlier the birth of Dalit consciousness in Bengal is contemporary with the spread and popularising of Matua religion.Matua literature cannot be separated from Dalit literature.Though there some dissimilarities between them with regard to their characteristics, they are complimentary to each other.Very eminent researchers of Matua religion and literature -Dr Nityananda Halder, Dr Nandadulal Mohant, Dr Virat Bairagya, Santosh Kumar Barui, Dr Puspa Bairgya, Srimat Mrinal Gosai -they also acknowledge this.The Aakar book of Matua religion Sri Sri Harileelamrita was published in Bengali year of 1323, and English year of 1917, Sri Sri Guruchand Charit was published in Bengali year 1350, and English year of 1943.It took 60 years for the ideals of Matua literature to evolve in Dalit literary consciousness.In 1975 we, the new writers of the age, decided that we would not go with the flow, and would not cling to the popular casteist concepts of literature.We decided to represent the ideas of Thakur Guruchand and Babasaheb Ambedkar, that we promote through our discussions in various meetings.Stories, poems, essays, dramasor novels can be written based on the oppressions and deprivations of the downtrodden people of society.We, who are the writers from the downtrodden class, will commence a new era in literature with regard to a variety of subjects.From these thoughts we established 'NabayugSahitya O SankritiParishad', the preamble of which was 'Atayeb'.We want to leave behind the old ideas and concepts and want to start on the new path 'Atayeb' (meaning 'henceforth') ...Many writers, poets, researchers have come to the fore through 'Atayeb', who strongly write against Brahminism or Manuism; they published many books and journals about this.Till then we did not know about the different strand of Marathi literature based on the ideologies of BabasahebAmbedkar.Students from the Siddhart College, established by Dr Ambedkar, formed 'SiddhartSahitya Sangha', students from Milind College of Ourangabad formed 'Milind SahityaParishad'.Later 'Maharastra Dalit Sahitya Sangha' was formed.In 1958, through the efforts of this organisation, the first assembly of Dalit writers was held in Mumbai.Through the evolution of Marathi literature in 1972 and through the 'Dalit Panther' movement Dalit writers' associations were established, the main organisersof this were the potential writers and thinkers like Namdeo Dhasal, Arjun Dangle, J.V. Power, Baburao Bagul, Bandhumadhav.It is very unfortunate that Dalit society does not have an all-India newspaper or channel.It took 22 years for the news of literary movement of Maharastra to reach Bengal.In 1972 we first came to know the word Dalit in association with literature.The upper-caste culture, society or government could not suppress Dalit writers in Maharastra, as they did in West Bengal.The casetist writers of our state protested that literature cannot be Dalit.The idea of Dalit is invalid in West Bengal.Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.Jaydeep Sarangi.Writers in Conversation Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU Yet my mind was illuminated in Dalit consciousness.Through various newspapers and journals I came to know about the ideas, characteristics and actions of the Dalit Panther movement.I thought, why should we lag behind?Then I was a school teacher with a very low salary, therefore unable to undertake any huge responsibility.There was a very selfless man in our society, whose charity and generosity was known to all, he was the great Ranendra Laal Biswas.One day I told him I wished to convene a conference.He assured me.I was, then, in a responsible position in an under-developed social organisation, my associate was Ganesh Chandra Mandal.I also told him about my plans, and he assured me that he will fulfil all the responsibilities to make the conference structurally successful.I included him as well as the convener of the Dalit literary convention.On 15 March 1987, an advertisement was published in the newspaperDainikBartaman; apart from that invitation cards were also distributed.At Ambedkar Primary School, situated in NatunPalli near the Machlandapur railway station at North 24 pargana, in the evening of Saturday 18 April to the morning of Sunday 19 April 1987, the first Bengal Dalit Literary Convention was held.The contemporary writers of the NabayugSahitya O SankritiParishad or the successors, all were invited.Though the characteristics and ideas of Dalit literature were vague to many writers, yet by attending they inspired me.More than 100 people attended the two-day convention, but only 42 of them signed in -many local people did not sign in.Arrangements for their lodging and food were made by the under-developed organisation.Three sessions were held in two days.Each session had different chairperson and chief guest.Almost every writer and poet recited their own writing.The first Bengali easy on Dalit literature in this conference was 'Dalit Sahityer Ruprekha' (meaning Synopsis of Dalit Literature) which read by Harendra Nath Bhakta.The remarkable literary persons who were present at the convention are Kiran Chandra Brahma, Ranendra Laal Biswas, Hrendra Nath Samadder, Surendra Nath Sikder, Nanigopal Das, Bimal Kanti Biswas, Jatindra Mohan Majumder, Mahitosh Biswas, Krishna Prasad Mandal, Sukumar Das, Mani Mandal, Nitya Ranjan Sen, Bhuban Das, Sujata Biswas, Chinmay Roy, Manohar Mouli Biswas, Kapil Krishna Thakur, Pramod Baran Biswas, SukritiRanjan Biswas, Ananta Brahma, Dulal Chandra Sarkar and many others.On the last day of the convention felicitation was given to writer Kiran Chandra Brahma and Bhuban Das.The news of the convention was published in Aajkal newspaper on 19 May 1987.JS: What are the main weapons of Dalit freedom movement?NM: The first weapon of Dalit freedom movement is publishing journals and books.All the news of this movements reaches to the greater audience through Kavigaan, the song tournament.The melodious voice, way of talking, momentary stichomythic discussions of the folk-poets have the power to attract its audience.Kavigaan is a very strong medium of promoting.At present the folk-poets who are devotedly fulfilling this duty from the Dalit society are poet Surendra Nath Sarkar, Srinibas Sarkar, Amulya Ratan Sarkar, Asim Sarkar, Mano Ranjan Sarkar, Uttam Sarkar.Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.Jaydeep Sarangi.Writers in Conversation Vol. 5 no.2, August 2018.journals.flinders.edu.auARCHIVED AT FLINDERS UNIVERSITY: DSPACE.FLINDERS.EDU.AU survival, they began to follow different political parties where they were practically treated as slaves.The scenario in Bengal was not any different.The leftists promised to uphold the interests of the Dalits.Later when the Left Front came to power, the Dalit movement was nipped in the bud by their gunshots at Marichjhapi, Sundarbans.Congress watched silently, without any protest or intervention.Even such a tragic incident was not enough to unify the vast community of Bengali Dalits to form an independent political party.The possibility of Bengal's own Republican or Bahujan Samaj Party was destroyed by the lack of unity among Dalits in Bengal.While the Dalits in Bengal are scattered, those in Maharashtra stand united.They hold the power to form their own political party and organise vast social movements backed by this unity.Their self-respect is dear to them.Despite the torture that was inflicted on them, they refused to be slaves to the privileged.They have citizenship rights.Their foundation is strong.The government cannot intimidate them; instead, they are taken seriously.Hence, they can build up a social movement under a single banner.Dalits in Bengal, having lost their possessions, are still dependent on others.Most of them have lost the power of independent thought and the will to fight.They are still hanging on to the ideas of the privileged classes, whose thought neither endorses political independence of Dalits nor leaves space for their literature.Bengal's privileged intellectuals vehemently oppose the Dalit Literary Movement.Every political body that comes to power makes sure they don't provide any support to the movement.Instead, they try to check its progress.

began in 1964 when I went to study in Kolkata. During my college days, I lived at 'Banibhavan', a hostel meant for scheduled castes/tribes. Since I had all the necessary documents to testify my caste, I enjoyed government scholarships. Interacting with seniors at the hostel kept me informed about the various benefits and opportunities that the Constitution offered those belonging to Scheduled Castes/Tribes. I also learnt that if we didn't keep the Andolan (movement) alive, these benefits could be snatched away from us at any moment. To get me acquainted with the nature of the Andolan, they took me to attend different meetings and introduced me to several great, influential individuals.
Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.

Sahitya and Sangaskriti Sangstha was established; in 1981 in West Bengal the movement of honourable Kashiramji began and in 1984 weekly journal Bahujannayak was published; in 1985 through the acts of poet Basanta Mandal Ekalavya journal was published. In 1986 monthly literary magazine Adal Badal was published, editor was Vimal Biswas. A number of talented authors came in the forefront through these magazines, such as Ranajit Kumar Sikadar, Naresh Chandra Das, Anil Krishna Mallick, Surendranath Sikdar, Agni Kumar Mistri, Manoranjan Vaishnab, Basanta Kumar Mandal, Chinmay Roy, Nakul Mallick, Manohar Mouli Biswas, Kapil Krishna Thakur, PramodBaran Biswas, Harendranath Samaddar, Nanigopal Biswas, Narendra Nath Das, Pramod Biswas, Sipra Biswas, Shantiranjan Biswas, RanendraLal Biswas, Shefali Sarkar and many more. But we could not decide what the literature that was created for the new concepts of social reformation should be named. At first we thought the literature for creating a new era, that is 'Nabayug Sahitya', at times we thought 'Gana Sahitya' or 'Jana Sahitya'; later thought 'Bahujan Sahitya'. But then we thought that how about 'Ekalavya Sahitya'. But none of the names match to the philosophy behind our thought.
Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.

the fortnightly journal Republican. From then those journals which played a social role, many among them are closed: Bharatbani -Fortnightly-Dr Paramananda Halder Atma Nirikhshan -Fortnightly -Dr Gunadhar Barman Sangshaptak -Fortnightly -Dr Dilip Kumar Halder BahujanNayak -Weekly -Mahendra Nath Talukdar Nikhl Bharat-Weekly -Birendra Nath Biswas Paan-Monthly -Mani Mandal Neel Akash -Monthly -Sukriti Ranjan Biswas Eklavya -Quarterly -Basant Kumar Mandal In the history of Bengali Dalit literature Adal Badal is an honoured name. Edited by Bimal Biswas, the monthly journal Adal Badal was published for 30 years consecutively. After retiring from his work, the social worker Bimal Biswas has set a rare example in the field of literary creation and journal editing. Owing to the physical disability of the editor, the journal is temporarily closed now. As a Bengali journal in the Dalit society, Nibhik Sambad, edited by Nakul Mallick, has run a long way but has now become irregular. The journals which are published regularly published are: Monthly journals Editor
Towards the Cultural Banner of Bangla Dalit Literary Movement: An Interview with Nakul Mallik.