The Kurukh Adivasi family of Argora

Here my aunt stands straight and bold, with her hands crossed, next to her elder sister (standing middle), Ramkrishna, whom she lovingly called Chamguru, as it was the name of the village she was married into. In the middle, seated is her eldest sister Seeban with her two daughters, Peetal and Dol. The little boy is their youngest brother Vimal. The awkward gentleman standing right most was their next door neighbour. Badi-mumma cannot recollect his name but says that Vimal had invited him to be photographed and he acceded. The photograph was taken outside their home by their bhatu (brother-in-law) Naru Toppo, Seeban’s husband. Naru was a local  professional cameraman and a studio-master. His studio was located in one of the sectors set up by an Industrial corporation, HECL (Heavy Engineering Corporation Limited), not far from their hom

Continue Reading

Closure In The Coal Mines

Considering she had never been inside a coal mine, Raka bravely donned a hard hat, and surrounded by friends descended into the shaft as her father would have, 18 years earlier.

Continue Reading

The Noble Women of Hathwa Raj

Unfortunately within six months, the fever took Jogendranath’s life, leaving his young 12 ½ year old wife a widow. Given her age, it was decided that Pushpomoyee would return to her parent’s home in Calcutta, where she might be happier. Binodini and Devendranath would enquire about Pushpomoyee often, and within an year they began to hear of unpleasant rumours surrounding the treatment of their daughter in law, at her own maternal home. So when a serendipitous opportunity for some state related work in Calcutta arrived, Binodini and Devendranath at once left, and stayed at the Hathwa house on 28, Shakespeare Sarani (now Theatre Road). Binodini then dropped in, unannounced, at the Bose household on Gray Street and witnessed what she had feared.

Continue Reading

“He was and still is, by all means, my hero”

“He was and still is, by all means, my hero”
My parents, Tarun Coomar & Indira Bhadury. Nagpur, Maharashtra. Circa 1940

My parents, Tarun Coomar & Indira Bhadury. Nagpur, Maharashtra. Circa 1940 Image and Narrative points contributed by Jaya Bachchan, Mumbai This photograph of my parents Taroon Coomar Bhaduri and Indira Bhaduri is by far one of my most favourite images of all, and while I have asked myself the reason so very many times, I am still not sure why. I had looked at and thought about it so often, that a few years ago my mother simply gave it to me as a gift. I think this photograph was taken right after their marriage. My mother whom I call Ma was 14 and my father, Baba was 20. One of the most striking parts of this photograph is Ma’s black Georgette saree. I have wondered about that too. Georgette & Chiffons were expensive materials, meant only for the rich. We came from a middle-class income family, and affording Georgette would have been out of the question. But I think Baba had a role to play in that; he was very broad- minded and seemed to have kept in touch with the latest elegant fashions of the time. It must have made him very happy seeing a visionary image of himself and his family, even if the opportunities were far and few. I also remember another story within the family- when he went to Calcutta (now Kolkata) to buy his sister’s wedding trousseau and insisted that his sister get married in a beautiful white saree. The family was aghast. Hindu women never got married in white, but red. The outcry against tradition was met with no avail, and it was to be his will or nothing. The family later complied and my aunt did get married in a beautiful white Banarsi Saree. Baba's family came from Krishnanagar, West Bengal…

Continue Reading

My father’s inspired passive resistance

My father’s inspired passive resistance
Woven portrait of Raja Ram Mohan Roy. Victoria Jubilee Technical Institute. Bombay, Maharashtra. 1934

Woven portrait of Raja Ram Mohan Roy. Victoria Jubilee Technical Institute. Bombay, Maharashtra. 1934 Image and Narrative contributed by Jayati Gupta, India Indian textiles were a major part of the East India Company’s trade since the 17th century. Hundreds of thousands of people in India were involved in the textile trade, as spinners, weavers and dyers. 
By the early years of the 20th century too, textile and textile technology was controlled and promoted by the British and colonial masters. Indian textiles was a rapidly growing industry, especially since the demand for British cotton had slumped during the interwar period. During the booming era of the East India Company, raw materials were sent back to Britain and the finished goods were re-exported and sold in the colonies at exorbitant prices. The production and consumptions of textiles was controlled with imbalanced equations between the producer and the consumer, the coloniser and the colonised.

 When Mahatma Gandhi's activism to promote khadi (homespun thread and home-woven cloth) became a big part of resistance to imperial authority, cotton became an important symbol in Indian independence and the Swadeshi movement began to overrule all. The resistance took the form of boycotting foreign goods and textiles. My father, Nirmal Chandra Ghosh (1911-1989), after his initial education in the Zilla School (district scool) in Hazaribagh, Jharkhand, (formerly part of Bihar), won a scholarship and decided to train as a textile technologist. In 1930, he became a student of Victoria Jubilee Technical Institute (now Veermata Jeejabai Technical Institute/VJTI) in Matunga, Bombay (now Mumbai). He graduated in 1934 becoming that year’s recipient of the Dadabhai Nowrojee Gold Medal. His name appears on the Roll of Honour, a board that is maintained in the Institute.

 Those…

Continue Reading
Close Menu