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LAKEER

Part IV · 1926–1960, and after

Lines Drawn

Engineers draw lines of water across the desert, and settlers are planted in numbered squares. The freedom movement fills the streets with slogans, and by the end they have begun to divide. Then a barrister draws a line through Punjab in five weeks, and millions of people cross it, on foot, by cart and by train. After the line, the two new states agree to send back the women taken in the violence, whether the women want to go or not. In East Pakistan a new state tells people which language to speak, and students die refusing. This Part holds the loudest song on the record and, straight after it, the quietest.

  1. 14 ABADKAR 1926–1960 3:36
  2. 15 QUIT 1927–1945 3:35
  3. 16 RADCLIFFE 1947–1951 3:52
  4. 17 RECOVERY 1947–1957 3:49
  5. 18 EKUSHE 1948–1999 2:31

5 songs · 17 min

Listen straight through, or choose a song. Words underlined in gold translate; a magnifying glass opens the sources.

14. ABADKAR

The canal colonies: a settler woman's water turn at two in the morning, from first water to last

In 1926 the Sulemanki headworks turned part of the Sutlej into new canals running into the desert of Bahawalpur State. The land was surveyed into a grid of 25-acre squares, grouped into numbered villages, and handed to settlers, abadkars, many of them from central Punjab. Market towns grew up along the railway, each one a mandi. The land had been grazing for herders and camels; the state recorded it as waste. The narrator is a composite: a Sikh settler woman whose water turn falls at two on Tuesday mornings, heard in 1926, 1936 and 1947. In 1947 her family leaves, and a refugee family from Jalandhar is given her square.

A blueprint-style drawing of a long river barrage with sluice gates, two straight canals leaving it into the dunes, the river stitched in gold thread.
First water, 1926 In 1926 the Sulemanki headworks turned part of the Sutlej into new canals, the Fordwah and Eastern Sadiqia, running into the desert of Bahawalpur State. AI illustration, in the manner of cyanotype engineering blueprint, stitched with phulkari geometry

WASTE

The state wrote it down as waste land

  • grazing
  • Herders.
  • Camels.
  • Cattle on open ground.

Before us this was grazing.

Verse 1

Tuesday. Two in the morning. Nineteen twenty-six. First water.In April they opened the headworks at ,and the Sutlej got sent sideways into the desert —the Fordwah, the Eastern Sadiqia, ditch to channel to canal.

A white-line grid of square fields fed by branching canals, a small village at one crossing, a few squares filled with gold embroidered diamonds.
Twenty-five acres, pegged The land was surveyed into a grid of 25-acre squares, grouped into numbered villages called chaks, and handed to settlers, many of them from central Punjab. AI illustration, in the manner of cyanotype engineering blueprint, stitched with phulkari geometry

My husband gets a square. . Twenty-five acres ,in a village with no name. It has a number. something, letters after it.Nobody here is from here. Not us. Not the neighbours. Not the wheat.Not even the water.

Hook

A lantern on a canal bank at night beside an upright spade, water running through a cut into a field, in white on blue with gold stitching.
The water turn Every holding had a fixed weekly slot on the irrigation roster, the warabandi, often at night; the song's Tuesday at two in the morning is illustrative. AI illustration, in the manner of cyanotype engineering blueprint, stitched with phulkari geometry

— — our turn.Tuesday, two in the morning. Three hours of water.Open the channel, hold the lamp, don't sleep —then it's the next square's.

Verse 2

Tuesday. Two in the morning. Nineteen thirty-six.The desert's gone green in squares, like somebody coloured it in with a ruler.Cotton in summer, wheat in winter, and towns come up by the railway,every one of them a — , , a place called . nearly doubles. Everybody's new. Everybody's from somewhere.

Two small herders with camels and cattle, seen from behind on open sand, facing the ruled edge of gold-stitched irrigated fields.
Written down as waste Colonial revenue records classed common grazing as "waste", which could then be allotted; the pastoralists of the Cholistan edge lost much of their range. AI illustration, in the manner of cyanotype engineering blueprint, stitched with phulkari geometry

Before us this was grazing. Herders. Camels. Cattle on open ground.The state wrote it down as , and waste land has no owners,so they pegged it and handed it out. The herders are still here, at the edges,watching us water what they used to walk.

Hook

ਸਾਡੀ ਵਾਰੀ — ساڈی واری — our turn.Tuesday, two in the morning. Three hours of water.Open the channel, hold the lamp, don't sleep —then it's the next square's.

Verse 3

Tuesday. Two in the morning. Nineteen forty-seven. Last water. a long way from here, and it came through the village anyway.The Muslim families stay. The Sikh families go. We're the Sikh families.More than twenty years on the square. We leave the plough, the buffalo, the bed.

A drawn house front with its door ajar, a plough, an upturned string bed, a tethered buffalo and a stub of chalk on the ledge.
Their turn In 1947 the narrator's family, a composite, leaves the square and a refugee family from Jalandhar is given it; she leaves the water turn chalked by the door. AI illustration, in the manner of cyanotype engineering blueprint, stitched with phulkari geometry

Next week walks up the same track with nothing,and the government gives them our square. Our number. Our Tuesday.I left on the wall by the door.Tuesday. Two in the morning. Three hours. Don't sleep.

Hook

ਸਾਡੀ ਵਾਰੀ — ساڈی واری — their turn.Tuesday, two in the morning. Three hours of water.Open the channel, hold the lamp, don't sleep —then it's the next square's.

Outro

Nineteen sixty. .The canals out here get their water from another river now, down a link canal.Nobody here was from here.Not even the water.

See the real thing

Side-rooms

Lyallpur, the first colonies

The biggest of the canal colonies was the Lower Chenab Colony, from the 1890s, with its new town of Lyallpur (now Faisalabad), laid out around a clock tower with eight bazaars in the shape of the Union Jack. Settlers were chosen by caste, as "agricultural tribes", and by service: land grants rewarded soldiers and loyal families.

Mangla Dam and Mirpur

Under the Indus Waters Treaty, Pakistan built the Mangla Dam on the Jhelum in the 1960s to replace the water it had lost. The reservoir flooded the old town of Mirpur and many villages, and tens of thousands of people were displaced. Many of them, and many others from the district, came to Britain. A large share of British Pakistanis trace their families to Mirpur.

Punjabi Christians

Between the 1870s and the 1930s, large numbers of Punjabi Dalits, many of them agricultural labourers, became Christians in mass conversion movements, especially around Sialkot. Some mission villages were founded in the canal colonies. Most of Pakistan's Christians today descend from these communities.

Further reading

  • Imran Ali, The Punjab under Imperialism, 1885–1947 (Princeton University Press, 1988).
  • David Gilmartin, Blood and Water: The Indus River Basin in Modern History (University of California Press, 2015).

15. QUIT

The freedom movement, and the two and a half million who signed up for the King at the same time

Between 1930 and 1945 India demanded that Britain leave, and in the same years about two and a half million Indians volunteered for Britain's army. The song holds both and doesn't resolve them. It runs from Gandhi's march to the sea at Dandi, and B. R. Ambedkar asking whose freedom was being fought for, to the hanging of Bhagat Singh in 1931 and the Lahore Resolution of 1940, which fell on the same date in the same city. Then Quit India, Subhas Chandra Bose's army, and the Bengal famine of 1943. The hook is a rally of slogans in Hindi and Urdu. On its last pass a new slogan joins, and the crowd begins to divide.

A mudflat crusted with salt and covered in bare footprints, a distant line of small walkers in white along the edge of the sea.
The salt march, 1930 From 12 March to 6 April 1930 Gandhi and his followers marched from Sabarmati Ashram to the coast at Dandi, against the British tax on salt. AI illustration, in the manner of 1930s Indian nationalist tempera poster, in Bengal School folk forms

Devanagari

  • करो या मरोdo or die8 August 1942 · Bombay
  • दिल्ली चलोon to Delhi1943 · Singapore, Bose's army

Nastaliq

  • انقلاب زندہ بادlong live the revolution8 April 1929 · the Assembly, Delhi
  • پاکستان زندہ بادlong live PakistanBy 1945 · joins the last hook

Intro

— Ishwar, Allah, both your names.

Verse 1

Twelfth of March, nineteen thirty. walks out of an ashram with seventy-eight followersand walks two hundred and forty miles to the sea.Twenty-four days. At he bends down, picks up a handful of salty mud,and breaks the law of an empire by making seasoning.

Rows of men in white, seen from behind, walking empty-handed towards a low fence and great white heaps of salt.
Dharasana, May 1930 On 21 May 1930 police beat unarmed marchers at the Dharasana salt works; the United Press reporter Webb Miller's account was carried around the world. AI illustration, in the manner of 1930s Indian nationalist tempera poster, in Bengal School folk forms

May, . Rows of men walk up to the salt works and get clubbed down.Row after row. Not one of them lifts a hand. An American reporter wires it to the world.

And , New York and London,asks the question the march doesn't want: whose freedom?Three years earlier he set fire to the ,the old law book that ranked people by birth.Twenty years on, he's the one who .

Hook

A folded khaki shirt and army boots on a string bed beside a spinning wheel with white thread, in a whitewashed village room.
The King's uniform By 1945 the Indian Army had grown to about two and a half million men without conscription, often called the largest volunteer army in history. AI illustration, in the manner of 1930s Indian nationalist tempera poster, in Bengal School folk forms

(!) — do or die. (!) — long live the revolution. (!) — on to Delhi.And two and a half million sign up for the King.

Verse 2

Eighth of April, twenty-nine. Two young men drop —built for noise, not killing — and stand there waiting to be taken,shouting انقلاب زندہ باد. Long live the revolution. came up with it. A Punjabi atheist made it famous.

Twenty-third of March, nineteen thirty-one. Lahore jail.They hang with and , and he's not yet twenty-four.Twenty-third of March, nineteen forty. Same city. .The Muslim League asks for independent states, north-west and east,and the resolution never says the word Pakistan.That word was made up seven years before, by .

A poster split in two by a tree: a blank jail wall and gate at dawn, and an empty canopy over a platform in a park below a mosque's domes.
Same date, same city Bhagat Singh, Rajguru and Sukhdev were hanged in Lahore jail on 23 March 1931; on 23 March 1940 the Lahore Resolution was moved at Minto Park, across town. AI illustration, in the manner of 1930s Indian nationalist tempera poster, in Bengal School folk forms

Same date. Same city. for the men they hanged. for the country they asked for.

Hook

करो (या मरो!) — do or die.انقلاب (زندہ باد!) — long live the revolution.दिल्ली (चलो!) — on to Delhi.And two and a half million sign up for the King.

Verse 3

. Bombay. Do or die.By the next morning the whole leadership's in prison.By forty-five, two and a half million Indians in the King's uniform, ,the biggest volunteer army the world has ever seen, and Punjab in khaki again.

In Singapore, takes over an army made of prisoners, Indians Japan took from Britain.On to Delhi. Indians in both uniforms, shooting at each other in Burma.Forty-three, . Maybe three million. The war gets fed first.

And when it's over, the British put three of Bose's officers on trial in —a Hindu, a Muslim and a Sikh in the same dock —and the whole country's on their side.

Hook

A huge crowd in white seen from above, parting into two equal masses with a thin strip of empty ground opening between them.
The crowd begins to divide On the hook's last pass a new slogan joins the chant and the crowd begins to divide; the fifteenth of August 1947 is two years away. AI illustration, in the manner of 1930s Indian nationalist tempera poster, in Bengal School folk forms

करो (या मरो!) — do or die.انقلاب (زندہ باد!) — long live the revolution.दिल्ली (चलो!) — on to Delhi. (زندہ باد!) — long live Pakistan.And two and a half million sign up for the King.

Outro

(करो या मरो! انقلاب زندہ باد! दिल्ली चलो! پاکستان زندہ باد!)

Spoken

The fifteenth of August, nineteen forty-seven, is two years away.

See the real thing

Side-rooms

Noor Inayat Khan

Noor Inayat Khan (1914–1944), daughter of the Chishti musician Inayat Khan (see CHISHTIAN), was a British secret agent: a wireless operator in occupied Paris in 1943, captured, and executed at Dachau in September 1944. She was awarded the George Cross after her death. Her statue stands in Gordon Square, London, and in 2020 she became the first woman of South Asian descent with an English Heritage blue plaque.

"Whose freedom?"

In 1936 Ambedkar wrote a speech for a Lahore reform society, Annihilation of Caste. The society withdrew its invitation when it saw the text, so he published it himself. It argued that political freedom without an end to caste would leave most Indians unfree. Gandhi replied in print, and the argument between them runs through the whole movement.

One language, two scripts

In 1800 the Company opened Fort William College in Calcutta to teach its officers Indian languages, and its teachers wrote prose in the same spoken Hindustani in two scripts, Devanagari and Nastaliq. Through the nineteenth century the choice of script became political, fought over in courts and schools, until the two were taught as separate languages, Hindi and Urdu. This Part is where the site's two scripts start to separate.

The Poona Pact, 1932

In 1932 the British offered separate electorates to the "Depressed Classes", as Dalits were then officially called. Gandhi fasted against it in Yerwada jail. Ambedkar, under enormous pressure, agreed to the Poona Pact of 24 September 1932: seats reserved for Dalits within a general electorate instead. He criticised it bitterly in later years.

Further reading

  • Yasmin Khan, The Raj at War: A People's History of India's Second World War (Bodley Head, 2015).
  • B. R. Ambedkar, Annihilation of Caste (1936; annotated critical edition, Verso, 2014).
  • Srinath Raghavan, India's War: The Making of Modern South Asia, 1939–1945 (Allen Lane, 2016).

16. RADCLIFFE

Partition in Punjab: one man, five weeks, a pen, and the people who walked

In July 1947 Cyril Radcliffe, a barrister who had never been to India, was given about five weeks to draw the borders of Punjab and Bengal. His Punjab commission split two against two, so the line was his. He drew it from census figures, district by district and tehsil by tehsil. The award was published on 17 August, two days after independence, and people who had already raised flags found out which country they were in. The 1951 censuses counted about 14.5 million people displaced across the new borders, most of them in Punjab. The song moves from Radcliffe's room to "you", a family from Jalandhar walking west. It gives no death toll, and it says why.

A linocut of an empty office with a ceiling fan, a pushed-back chair and a blank sheet on the desk crossed by one red line.
One man, one room Cyril Radcliffe, a barrister who had never been to India, was given about five weeks to draw the borders of Punjab and Bengal from census figures. AI illustration, in the manner of 1940s Indian black-ink linocut
  • Five weeks.

    Maps that are out of date.

  • The census from forty-one.

    Tehsil by tehsil.

  • In Jalandhar, forty-five in every hundred are Muslim.

Radcliffe destroyed his papers before leaving India.

Verse 1

Eighth of July, forty-seven. Monsoon heat. lands in Delhiwho has never once been to India,and they give him five weeks, , and maps that are out of date., two from each side, and they split two and two,so it comes down to him: one man, one room, a fan, a map and a pen.

He cuts the Punjab , from the numbers, not the ground.Every , every , a sum: how many of these in a hundred, how many of those.In Jalandhar, are Muslim, and Jalandhar goes to India.He's done by the twelfth of August. The envelope waits in a drawerwhile two countries throw a party.. Fifteenth, India.Flags go up in towns that don't know which country they're in.Seventeenth, it's in the papers.

Hook

— — a line.One on the map. One on your palm.One made of people, walking, as far as you can see.Who was holding the pen?

Verse 2

A linocut of an open palm holding a large iron house key, with a thin red line running along a crease of the palm.
The key The song's family and key are composite; the Partition Museum in Amritsar holds keys and other objects that people carried across in 1947. AI illustration, in the manner of 1940s Indian black-ink linocut
A black-ink linocut of a flooded plain and a road split by a red line, with two columns of people carrying bundles and trunks, one on each side of the line, walking into the distance.
A road made of people The 1951 censuses of India and Pakistan counted about 14.5 million people displaced across the new borders, most of them in Punjab. AI illustration, in the manner of 1940s Indian black-ink linocut
A linocut of a line of small figures wading chest-deep across a wide flooded river in heavy rain, bundles held above their heads.
The September floods In September 1947 floods on the Beas and Sutlej hit refugee columns and camps; drowning figures that circulate can't be sourced, so none is given. AI illustration, in the manner of 1940s Indian black-ink linocut

Now it's you. Jalandhar. Your street's in India and your name isn't.You lock the door and you keep the key — , — iron, the length of your finger.Gold in the hem of your mother's kameez. Rotis in a cloth. The pot still on the fire.You join the , the , a road made of people,more than a hundred thousand of them, walking west with everything on their heads. they sent to keep the peace is gone by the first of September.A train pulls into Lahore and nobody gets off.A train pulls into Amritsar and nobody gets off.On the other side of the road, going east, another ਕਾਫ਼ਲਾ —Sikh and Hindu, same bundles, same dust, same keys in their pockets.Nobody on either side looks up.Then the rain comes all at once, the rivers come up over the fields,and you cross the Sutlej anyway, up to your chest, with the key held over your head.

Hook

ਲਕੀਰ — لکیر — a line.One on the map. One on your palm.One made of people, walking, as far as you can see.Who was holding the pen?

Verse 3

. Both countries take a census,and they count everybody who made it: fourteen and a half million, moved.Nobody counted the ones who didn't. are nearly two million apart.A census only counts the people it can find.

A linocut of a closed, studded wooden door in an empty lane, lamplight in the window beside it and a red line across the ground before the step.
No number The song gives no death toll: estimates run from about 200,000 to about two million, and the site shows them as a range, with no midpoint. AI illustration, in the manner of 1940s Indian black-ink linocut

So no number. Just a door in Jalandhar — , — that somebody else lives behind,and a key that still fits it, on the wrong side of the line.

And the man with the pen before he flies home.Turns down the fee. Never goes back.

Hook

ਲਕੀਰ — لکیر — a line.One on the map. One on your palm.One made of people, walking both ways, as far as you can see.Who was holding the pen?

Outro

A village with a number. A square. A door with no lock.On the wall by the door, :Your language. .Tuesday, two in the morning, the water comesand reads it to you.

See the real thing

Side-rooms

The other line

Radcliffe drew Bengal too, in the same weeks. The Bengal award gave Muslim-majority Murshidabad to India and Hindu-majority Khulna to East Pakistan, and handed the Chittagong Hill Tracts, whose people were overwhelmingly Buddhist and Hindu, to Pakistan. East Pakistan's story continues in EKUSHE and EKATTUR.

Further reading

  • Yasmin Khan, The Great Partition: The Making of India and Pakistan (Yale, new edn 2017).
  • Lucy P. Chester, Borders and Conflict in South Asia: The Radcliffe Boundary Commission and the Partition of Punjab (Manchester University Press, 2009).
  • Ishtiaq Ahmed, The Punjab Bloodied, Partitioned and Cleansed (Oxford University Press, 2011).

17. RECOVERY

The women "recovered" after Partition, whether they wanted to go or not: a lullaby

During Partition tens of thousands of women were abducted on both sides of the new border. India and Pakistan agreed on almost nothing that year, but they agreed to find these women and send them back, and many women didn't want to go. In India the Abducted Persons (Recovery and Restoration) Act of December 1949 let police remove a woman from any house without a warrant, and a tribunal decided her future. The Act restricted challenges to detention and gave tribunals extensive power over recovery and restoration; constitutional challenges still reached the courts. By 1957 around 30,000 women had been "recovered". The song is a lullaby. A composite woman sings to her son the night before the officers come. Her name is on the list, and his isn't.

Phulkari embroidery of fog lying over gold-stitched fields and bare trees at night, under a full moon worked in white-gold floss.
A lullaby The song is a lullaby: a composite woman sings to her son the night before the recovery officers come. Her name is on the list; his isn't. AI illustration, in the manner of Punjabi phulkari embroidery, silk floss on handspun khaddar (with pictorial sainchi motifs)

In the full experience these words fade while you read them.

Hook

Sleep, my moon. Sleep.They're coming in the morning with a list,and your name isn't on it.

Verse 1

Phulkari embroidery of a clay lamp in a wall niche above a string bed with two folded quilts, one corner of the cloth left unstitched.
Drawn from testimony The woman, her son and the scene are composite, drawn on the testimony collected by Urvashi Butalia, and by Ritu Menon and Kamla Bhasin. AI illustration, in the manner of Punjabi phulkari embroidery, silk floss on handspun khaddar (with pictorial sainchi motifs)

December, forty-nine. Fog in the fields up to the knee.Two years ago a man took me out of a column on a road,and his mother gave me a new name. I answer to it now.I have a boy. He's one and a half.He has his father's ears and my mother's temper.Every night I sing him the song my mother sang to me,and nobody on this side needs it translated.

Hook

Sleep, my moon. Sleep.They're coming in the morning with a list,and your name isn't on it.

Verse 2

Phulkari embroidery of a wooden double door standing open onto a dark, unstitched courtyard, with nothing in the doorway.
Without a warrant India's Abducted Persons (Recovery and Restoration) Act of December 1949 let police remove a woman from any house without a warrant, and a tribunal decided her case. The Act restricted challenges to detention, though constitutional challenges still reached the courts. AI illustration, in the manner of Punjabi phulkari embroidery, silk floss on handspun khaddar (with pictorial sainchi motifs)

India and Pakistan agree on almost nothing. :find the women and send them back to where the census says they belong.In Delhi a month before the Constitution. can walk into any house without a warrantand take a woman to a camp. A tribunal decides. The tribunal's word is final.No court is allowed to look at it.In the camps, . quit in the summer, and said out loudthe women had been reduced to goods and chattel.At home, they've already mourned me.

Hook

ਸੌਂ ਜਾ ਮੇਰੇ ਚੰਨਾ, ਸੌਂ ਜਾ।Sleep, my moon. Sleep.They're coming in the morning with a list,and your name isn't on it.

Verse 3

Phulkari embroidery of a straight track running into fog at dawn, with two small pale lights just visible deep in the mist.
Around 30,000 "recovered" By 1957 around 30,000 women had been "recovered" across the new border; many didn't want to go, and a tribunal decided each woman's future. AI illustration, in the manner of Punjabi phulkari embroidery, silk floss on handspun khaddar (with pictorial sainchi motifs)

The officer writes down my father's name, my village, and what I was before.He doesn't write down my son.The jeep comes out of the fog at first light.His grandmother holds him at the door, and I sing it one more time.

Break

Twenty-first of July, nineteen fifty-two.: eight thousand two hundred and six women.One hundred and two children.The Act is renewed until nineteen fifty-seven.

Outro

A close view of golden phulkari stitching that stops mid-row, a threaded needle lying on the bare red cloth below it.
No line for the child In the song, the narrator imagines the officer's form: her father's name, her village and what she was before, and no line for her child. The form is the song's, not a document. AI illustration, in the manner of Punjabi phulkari embroidery, silk floss on handspun khaddar (with pictorial sainchi motifs)

سوں جا میرے چنّا، سوں جا۔Sleep, my moon. Sleep.They're coming in the morning with a list.Your name isn't on it.Mine is.ਸੌਂ ਜਾ ਮੇਰੇ ਚੰਨਾ, ਸੌਂ—

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Side-rooms

Amrita Pritam

In 1948 the Punjabi poet Amrita Pritam, a refugee from Lahore, wrote a lament addressed to Waris Shah, the eighteenth-century poet of Heer, asking him to rise from his grave and write for the daughters of Punjab. It is recited on both sides of the border. Her 1950 novel Pinjar follows a woman abducted in the violence who, when the chance to go back finally comes, stays.

Further reading

  • Urvashi Butalia, The Other Side of Silence: Voices from the Partition of India (Penguin, 1998).
  • Ritu Menon and Kamla Bhasin, Borders and Boundaries: Women in India's Partition (Kali for Women, 1998).
  • Amrita Pritam, Pinjar (1950); English translation by Khushwant Singh as The Skeleton.

18. EKUSHE

The Bengali language movement, told by the monument to its dead

In March 1948 Muhammad Ali Jinnah told a crowd in Dhaka that the state language of Pakistan would be Urdu and no other language, though most Pakistanis spoke Bengali. On 21 February 1952 students broke a ban on gatherings, and police opened fire near the Assembly. Two nights later medical students built a monument to the dead. Police knocked it down three days later. It was rebuilt, and rebuilt again, and in 1956 Bengali became a state language. The monument, the Shaheed Minar, narrates. The hook gives the names of the dead, not a number. UNESCO designated 21 February International Mother Language Day in 1999; it has been observed internationally since 2000. There is a copy of the Minar in east London.

A white alpana drawing on red earth of a stack of bricks, a trowel and a lantern beside a small, newly built brick column at night.
Built in one night Medical students built the first Shaheed Minar on the night of 23 February 1952; Pearu Sardar of Old Dhaka is remembered for supplying the materials. AI illustration, in the manner of Bengali alpana, white rice-paste floor painting
Tuesday the twenty-sixth, the police and the army knock me down.
And in sixty-three they build me again, bigger

Verse 1

Twenty-third of February, fifty-two. Curfew on the city.The medical students build me in one night.At midnight an old man from Old Dhaka, , gives them the bricks,and by dawn I'm standing. . A monument to last Thursday.

A white alpana drawing of an empty racecourse with a curving rail, looping trees, a distant platform and a horn loudspeaker on a pole.
The Race Course, 1948 On 21 March 1948 Jinnah told Dhaka, in English, that Pakistan's state language would be Urdu, though most Pakistanis spoke Bengali. AI illustration, in the manner of Bengali alpana, white rice-paste floor painting

Four years before me, twenty-first of March, forty-eight, at , tells Dhaka, in English, the state language will be Urdu, and only Urdu,and anyone who says different is an enemy of Pakistan.. We have our own letters, ,and nobody here needs Urdu to say .

A white alpana drawing of a few small students, seen from behind, walking under a large mango tree towards an open iron gate.
Section 144 A ban on gatherings, Section 144, was imposed in Dhaka on 20 February 1952; the next morning, a Thursday, students gathered at the university anyway. AI illustration, in the manner of Bengali alpana, white rice-paste floor painting

Twentieth of February, fifty-two: . No gatherings.Thursday, nine in the morning, the students gather at the university anyway.Tear gas at the gate. Then, by the Assembly, the police open fire.

Hook

(!)রাষ্ট্রভাষা (বাংলা চাই!) —four names, in the language they were shot for.

Verse 2

Five plain pale columns, the tallest leaning forward, rising from a floor painted with white alpana and heaped with red and orange flowers at dawn.
A mother bent over her sons The present Shaheed Minar, designed by the artist Hamidur Rahman, was completed in 1963; in 1956 Pakistan's first constitution had made Bengali a state language. AI illustration, in the manner of Bengali alpana, white rice-paste floor painting

Friday. The funeral procession on Nawabpur Road. They fire again.Shafiur Rahman. And a boy of nine called .Tuesday the twenty-sixth, the police and the army knock me down.In jail, a young teacher called writes a play about the dead.He calls it . The Grave., a date that only turns up once in four years,the constitution makes Bangla a state language, next to Urdu.And , bigger:a mother, bent over her sons.

Hook

রাষ্ট্রভাষা (বাংলা চাই!)রাষ্ট্রভাষা (বাংলা চাই!)সালাম, বরকত, রফিক, জব্বার —and , the whole world keeps their day, for every mother tongue.

Outro

A small copy of the five columns in a bare-treed London park before dawn, white alpana painted round its base and red flowers laid down.
Altab Ali Park A replica Shaheed Minar was built in 1999 in Altab Ali Park, Whitechapel, named after a textile worker murdered in a racist attack in 1978. AI illustration, in the manner of Bengali alpana, white rice-paste floor painting

Every twenty-first, from midnight on, they walk to me .There's , in a park named after a man in seventy-eight, for the colour of his skin.They walk to that one too.

See the real thing

Side-rooms

After Altab Ali

Ten days after Altab Ali's murder, thousands of Bengalis marched behind his coffin from Whitechapel to Downing Street. The protests that year changed the East End, and the Bangladeshi community organised against the far right. The park near where he died was renamed after him in 1998.

Further reading

  • Willem van Schendel, A History of Bangladesh (Cambridge University Press, 2nd edn 2020).
  • Badruddin Umar, The Emergence of Bangladesh, vol. 1 (Oxford University Press, 2004).

End of Part IV.