What We Say Between the Songs The harmonium is still open on the carpet. Someone has just finished singing Aguner Poroshmoni , and the room has done the thing Bengali rooms do — the collective sigh, the half-closed eyes, the murmur of aha . Then the plates come out, the luchi and the aloor dom and the mishti someone drove two hours across the island to collect. Somewhere between the second helping and the recitation, a man in a kurta says it. Ora to kaaj korte chay na. They don't want to work. The dole. The crime figures. The special treatment. The houses handed over. Heads move. Someone adds a detail from talkback. Someone's wife says she doesn't feel safe near that part of town any more. Then the harmonium is pulled back, and we sing about the touchstone of fire, and nobody in the room believes anything has happened. Something has happened. We have just performed caste in te reo-less English, on land that was taken by the Crown, in a hall we rent from a council that ...
The Margins Review · Culture-Centered Approach
The culture-centred blog of Mohan J. Dutta — Massey University, Aotearoa. Home of The Margins Review: critical intellectual opinions from Aotearoa to the world. Views expressed are personal.