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Where Puppets Teach Grammar and Seeds Teach Sums: Inside Our Foundational Knowledge Centres

A Crisis Hiding in Plain Sight

Walk into almost any village school in rural India today, and it looks like a success story. Children in uniform, benches filled, blackboards up, sometimes even a smart board in the corner. Enrolment among 6–14 year-olds now stands above 98% — on paper, the long fight to get children into classrooms has been won. But hand a Grade 3 child a simple Grade 2-level paragraph and ask them to read it aloud, and in most parts of rural India, roughly three out of four will not be able to. The World Bank estimates that over half of India’s children are “learning poor” by age ten — unable to read and understand a text meant for someone their age.

So this is not a crisis of access. It is a crisis of learning. Children are sitting in classrooms, moving up grades, collecting attendance — without acquiring the foundational literacy and numeracy that everything else in education depends on. And within this already troubling national picture, one group falls further behind, quietly and almost invisibly: first-generation learners, children whose parents never learned to read fluently themselves, and who have no one at home to turn to when the school day isn’t enough.

How We Stumbled Onto This Problem

We didn’t set out to build schools. For years, Contact Base has worked shoulder to shoulder with rural artist communities — puppeteers, Baul singers, Kantha embroiderers, Patachitra painters — helping them strengthen their craft, build skills, and connect to markets so their art could sustain their families. It was through this work, spending years inside these villages, that we noticed something we couldn’t unsee.

The children of the very artists we were working with — talented, curious, growing up surrounded by story, music, and craft — were falling behind in the most basic academic skills. Not because they lacked ability, but because they were first-generation learners in households where no one could help with homework, in schools stretched too thin to give them individual attention. Their heritage was rich. Their foundational learning was fragile.

That gap is what our Foundational Knowledge Centres exist to close — not by replacing school, and not by running one more tuition centre, but by giving these children steady, joyful support so that being born into an artist’s household never becomes a disadvantage in the classroom.

 

 

Eleven Learning Centres, One Simple Idea

Today, this model runs across centres in three districts of West Bengal — Chandipur, Bhagawanpur, Warishpur, Bannabagram, Kuchidanga, Dariyapur, Bikna, Opordanga, Bamnia, Maldi, Rajagram— reaching over 350 children so far. The idea behind them is deliberately narrow and deliberately deep: strengthen foundational literacy and numeracy, and let everything else — confidence, curiosity, character — grow from there. We are not a substitute for school, and we are not another coaching class chasing exam scores. We exist alongside school, filling the gap that first-generation status leaves behind, so that the whole village — not just the artists, but their children too — grows stronger together.

Learning That Doesn’t Follow a Syllabus

Here is the first thing we let go of: the syllabus. Our centres are deliberately not organised around chapters, term exams, or grade-wise portions. We are not trying to help children catch up with a curriculum — we are trying to build the foundation that any curriculum, present or future, will eventually stand on.

That distinction shapes everything. Instead of asking “what chapter comes next,” our facilitators ask “what does this child need to feel confident, curious, and capable today.” With support from Nanritam, a Purulia-based organisation specialising in child-centric, activity-based teaching, we shaped our classrooms around the Education For All (EFA) philosophy — the premise that every child can learn to their full potential once the method meets them where they stand, rather than where a syllabus assumes they should be. For first-generation learners, whose parents never went through a classroom themselves, this is not a minor detail; it is the whole method. Nanritam’s trainers work directly with our facilitators to build a working repertoire of play-based techniques — games, songs, movement, and everyday objects turned into teaching aids — so that a child needs no one at home to explain the lesson, because the activity explains itself. The premise, in the end, is simple: learning should be played, not endured. Walk into a session and you won’t find rows of children reciting by rote. You’ll find:

  • Seeds standing in for sums — counting exercises using seeds, shapes taught through leaves and pebbles, place value explained with whatever the courtyard has to offer
  • English learned by hand and by ear — word puzzles, dot-to-dot exercises, and tracing games quietly building vowels, articles, and grammar before children even realise they’re “studying”
  • Theatre as a confidence machine — storytelling and role-play sessions that coax out even the quietest child, turning shyness into stage presence
  • Numbers tied to real life — clocks, comparisons, “one more than” and “one less than,” all taught through situations children already recognise
  • National days turned into learning moments — Independence Day, Republic Day, and Teacher’s Day become chances for children to research, speak up, and perform

None of this is decoration. It’s pedagogy — and it works because it starts from where the child already stands, not from where a textbook assumes they should be.

This joyful, activity-first approach matters most for exactly the children it was designed around. A child whose parents cannot read a report card, or explain a homework sum, cannot be expected to sit through rote drills that make sense only with someone at home to unpack them — but a child chasing a number on the ground, or acting out a story to learn its words, needs no such translator. The lesson explains itself in the doing. This is the core insight the EFA approach, and our partnership with Nanritam, is built on: pedagogy that stands on its own inside a child’s own experience, so that having no literate adult at home stops being a barrier to learning at school.

Why the 5 Cs Matter More Than Marks

If there is a single framework that holds our classrooms together, it is what we call the 5 Cs — Collaboration, Criticality, Creativity, Communication, and Citizenship. We treat these not as add-ons to literacy and numeracy, but as the actual outcome we are working toward, with literacy and numeracy as the vehicle that gets us there.

  • Collaboration — Children work in pairs and small groups far more often than they work alone. Sharing a puzzle, building a story together, solving a maths problem as a team — these habits of working with others are practiced daily, not saved for a “group project.”
  • Criticality — We want children to question, not just absorb. Why does the moon change shape? Why do prices go up before a festival? A child who learns to ask “why” is a child who will keep learning long after they leave our centre.
  • Creativity — Through puppetry, drawing, and storytelling — art forms that already run through their homes and villages — children are encouraged to imagine, invent, and express, rather than simply reproduce what they’re shown.
  • Communication — Spoken English is a particular focus here, not because we want children to abandon their mother tongue, but because confident communication — in Bengali or English — opens doors that silence never will.
  • Citizenship — Through discussions on cleanliness, safety, festivals, and their own community, children begin to see themselves as people with responsibility toward their surroundings — not just students, but young citizens of their village.

This is, at its heart, character education. We are not only trying to raise better readers and better mathematicians — we are trying to raise thoughtful, responsible, self-assured young people. Whether or not every child goes on to college, we want each one to carry values, curiosity, and confidence into whatever path they choose.

Foundations for Life, Not Just for the Next Exam

We are honest with ourselves about what success looks like here. Not every child at our centres will go on to college, and that is not the measure we hold ourselves to. What we do want is for every child to leave with skills they will actually use — for the rest of their lives.

A child who can read will be able to read a bus ticket, a medicine label, a government form, a message from a relative in another city. A child who is comfortable with numbers will be able to negotiate a fair price at the market, manage household money, measure ingredients, or price their own craftwork with confidence. A child who can speak a little English will be able to talk to a tourist visiting their village’s festival, a buyer interested in their family’s craft, or an official at a government office — without feeling small.

 

Foundations for Life, Not Just for the Next Exam

We are honest with ourselves about what success looks like here. Not every child at our centres will go on to college, and that is not the measure we hold ourselves to. What we do want is for every child to leave with skills they will actually use — for the rest of their lives.

A child who can read will be able to read a bus ticket, a medicine label, a government form, a message from a relative in another city. A child who is comfortable with numbers will be able to negotiate a fair price at the market, manage household money, measure ingredients, or price their own craftwork with confidence. A child who can speak a little English will be able to talk to a tourist visiting their village’s festival, a buyer interested in their family’s craft, or an official at a government office — without feeling small.

This is what “foundational” really means to us: not the first rung of an academic ladder, but a set of everyday tools for a fuller, more confident life — in the village, or wherever life eventually takes them.

 

A Practice Book Built for These Villages, Not Just Any Village

Generic worksheets rarely survive contact with a rural classroom. Concepts feel foreign, examples feel distant, and children disengage before the lesson even begins.

So we wrote our own. Our practice book was designed specifically for the children we teach — simple, relatable, and contextual, built around their language, their surroundings, and their pace of learning. It’s less a textbook and more a bridge: connecting formal literacy and numeracy skills to a world the children already understand deeply — one of craft, story, and rhythm.

 

Taught by Their Own

Perhaps the most quietly powerful decision behind these centres is who stands at the front of the classroom. Our facilitators aren’t outside experts parachuted in for a term — they are trained members of the village community itself, supported through continuous mentoring in interactive, child-centred pedagogy. This matters more than it might seem. A local teacher understands why a child may have missed school during harvest, speaks the child’s dialect without translation, and is trusted by parents in a way an outsider may take much longer to earn. It also means the model doesn’t leave when a project ends — the capacity stays exactly where it was built.

Our community teachers regularly participate in capacity-building sessions led by expert teachers and trainers. Residential trainings are also held at our Cultural Space Hub, Bannabagram Baul Ashram, in Bannabagram, Ausgram, Purba Bardhaman. The trainings focus on strengthening teaching methods and classroom delivery, making English more accessible, and, most importantly, learning how to engage children in ways that make them want to learn. Joyful learning has always been at the heart of our approach — creating classrooms where children feel comfortable, curious and encouraged to participate.

From Silence to Confidence

The shift shows up in small, specific ways. Children who once couldn’t read a simple sentence now ask questions unprompted. Around 30% of children across the centres have reached a point where they can speak four to five sentences in English — introducing themselves, describing their families, their village, their world. In Bhagabanpur, students have stood up and spoken about Swami Vivekananda and Netaji Subhas Chandra Bose — in a language many started out struggling to sound out. None of this happened by accident. It happened because the classroom met the child halfway.

An All-Encompassing Village

We began this work because e saw an artist community with skilled hands and rich traditions, whose children risked being left behind by literacy and numeracy. Our answer was never to build a school, or a tuition centre, or to compete with either. It was to fill a very specific gap — steadily, joyfully, and without disrupting anything that already works — so that supporting one generation of artists naturally extends into supporting the next.

That is what we mean when we say we want the village to be all-encompassing: a place where craft and classroom, tradition and learning, parents and children, all move forward together — no one left to bridge the gap alone.

Strip away the activities and the practice books, and what’s left is something close to a community laboratory. Children here don’t just learn to read and count — they learn to notice their surroundings, question them, and imagine ways to improve them. Bit by bit, they are becoming rational, community-minded young people: capable not just of holding knowledge, but of using it for the people and places they care about.

That, ultimately, is the point of a Foundational Knowledge Centre. Not a replacement for school. Not a shortcut to marks. Just a steady hand helping first-generation learners bridge the learning divide — on their own terms, in their own villages, at their own pace.

______________________________________________________________________________________________________________________________________________________

Our Foundational Knowledge Centres are run with support from EXIDE Saksham  and in partnership with Nanritam, as part of our broader work using culture as a vehicle for inclusive, sustainable development.

 

 

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Dream Big, Speak Boldly and Let the Youth Create Change

Breaking the Cycle of Silence 

What happens when young voices are heard?

International Youth Day Celebration | 12 August 2026
Dinjoye TE, Maud TE, Chabua TE and Bogapani TE in Assam and Kumargram TE in West Bengal

Key Takeaways

  • Creating spaces for youth to speak can break cycles of silence and open meaningful dialogue between young people and their parents.
  • Young people in tea estates have strong aspirations, but need better access to education, scholarships, career guidance, skills and opportunities to turn their ambitions into reality.
  • Youth voice and agency can drive social change, challenging child marriage, gender inequality, substance abuse and other barriers to a safer and more equitable future.

The Need to Listen

Across Assam and West Bengal’s tea estates, young people often have limited access to platforms where they can explore aspirations, discuss challenges and express their choices. Struggling to envision a prosperous future, many grow up in a society where rigid gender roles remain deeply entrenched. In communities where young people may encounter challenges such as gender-based violence, child marriage, early pregnancy and substance abuse, these very patterns often repeat in the next generation.

One challenge that emerged strongly through our work is the communication gap between parents and children. With women working all day in the tea gardens and men employed either in the factory or elsewhere outside, there is often limited time for open conversations between parents and  children — a gap that frequently manifests as behavioural problems among children and youth. The Women Safety Accelerator Fund 2.0 program addressed this directly, creating a dedicated space during Youth Day for parents and children to speak, listen and understand each other’s perspectives. 

 

A Game That Uncovered Aspirations, Challenges and Needs

What happens when a simple game gives young people the space to speak? A rapid-fire Q&A became an opportunity to talk about aspirations, education, equality, safety and the future—and for parents and young people to listen to each other. 

On 12 August 2026, these questions found their answers across Dinjoye, Maud, Chabua and Bogapani Tea Estates in Assam and Kumargram Tea Estate in West Bengal as International Youth Day was celebrated with the message, “Different Contexts, Common Aspirations.”

The day began with excitement as youth, parents and tea estate workers came together for an energetic rapid-fire Q&A activity. Parents and youth responded to questions about aspirations, education, marriage, careers, equality and challenges. One question followed another, encouraging dialogue between the generations — as both youth and parents opened up, the conversation grew richer and more collective. But behind every quick answer was an opportunity to learn, think and speak.

Soon, the game became a conversation about the future. Young people spoke confidently about the careers they hoped to pursue. 

The youth leader Umesh also expressed, “শিক্ষা গ্ৰহণ কৰি কম বয়সতে নিজৰ কেৰিয়াৰ গঢ়ি তোলাটো বাগিচাত কাম কৰি ভৱিষ্যতে অনুশোচনা কৰাতকৈ অধিক গুৰুত্বপূৰ্ণ”॥ (Receiving education and building a career at a young age is more important than working in the garden and regretting in the future). His words captured the powerful motive of education and career building to open up doors to choices and opportunities.

In West Bengal, parents shared, “It is important that young people can talk openly about their health, safety and future.” Their words reflected a growing openness within the community and showed how this event is helping create space for young people to speak, ask questions and imagine a safer, healthier future. It was a powerful sign that the community is ready for change. 

The conversation also revealed the challenges standing between these aspirations and reality. The participants spoke about the need for scholarships, better educational facilities, financial assistance, skill development and career guidance. Parents raised concerns about the rising consumption of alcohol and drugs among youth and the need for counselling and positive engagement, while young people strongly opposed child marriage.

Most importantly, the discussions showed growing confidence among young people to express their opinions and choices.

Perhaps the biggest lesson of the day was simple: their aspirations were diverse; the barriers they identified were remarkably similar—limited financial resources, inadequate educational opportunities, lack of career guidance and access to skills 

What I Walked Away With

What stayed with me was the confidence with which young people spoke about their aspirations and choices—and the willingness of parents to listen. A simple activity had created something that is often difficult to build: a space for honest conversation across generations.

The day also reminded us that listening is only the beginning. Young people identified what they need to move forward—education, scholarships, skills, career guidance, supportive families and freedom from practices that restrict their choices. Giving young people a voice matters; connecting that voice to opportunity is what can turn aspiration into change.

—By Ankita Dowerah

 

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The Heartbeat of Koraput: What Indigenous Communities Can Teach Us About Nature, Culture, and the Future

The Heartbeat of Koraput: What Indigenous Communities Can Teach Us About Nature, Culture, and the Future

What if the answers to our modern global crises—from climate change to deep social isolation—have already been figured out? What if they are woven into the rhythm of a drum, preserved in the soil of a hillside farm, and danced into existence every single day?

 

The recent Koraput Folk Festival, held at the Council of Analytical Tribal Studies in Koraput, was much more than a showcase of vibrant textiles, intricate handicrafts, and soulful music. It was a gathering of minds. A three-day symposium brought together academic scholars, cultural experts, and indigenous community leaders to dive into a profound truth: culture isn’t a barrier to development; it’s the ultimate engine for a sustainable future.

 

The Meaning Behind the Movement: Folk Music and Dance

 

 

The forum kicked off with a deep dive into the soul of Koraput: its music and dance. To a casual observer, the stunning costumes and synchronized steps are beautiful performance art. But beneath the surface lies a complex, beautiful philosophical architecture.

 

Beyond Mimicry: The Human-Nature Mirror

Dr. Rajendra Padhy opened the conversation by highlighting the deep, reciprocal relationship between tribal communities and the natural world. When you watch the region’s traditional dances, you see dancers imitating the gaits of animals or the gentle swaying of trees. This isn’t just mimicry; it’s a living mirror. Through these movements, the community actively reinforces its sacred bond with the ecosystem.

This philosophy flows directly into their spiritual life. Dr. Padhy explained that song and dance serve as the primary languages used to “satisfy the gods”. In the indigenous worldview, the “gods” are not distant figures in the sky—they are the elements themselves: the rain, the soil, and the forest. In essence, dance is a ritualized form of environmental stewardship, keeping humanity in harmony with the ecology that sustains it.

 

The Dance of the Duruas

Diving deeper into the relationship between nature and folk dance, Dr. Paresh Rath highlighted his extensive work with the Durua people of Koraput. He illustrated the intersection of dance, nature, and worship through the case study of Birli dance. The Birli dance of the Durua tribe is dedicated to their village deity, Hundi Mata. Its origins lie in a folk story where in response to fears of cattle falling ill, the community pray to her and dance as a form of worship. Dr. Rath also pays attention to their attire and jewellery: draped in Kotpad and adorned in necklaces and anklets made of seeds and pods, natural elements become further embedded in performance.

Dhemsa and the Defiance of the Clock

We live in a world governed by the clock. Time is treated as a linear commodity—something to be “spent,” “saved,” or “wasted.” But Dr. Maguni Charan Behra challenged this entire framework by pointing to the Dhemsa dance, the literal heartbeat of the Koraput tribes.

Dhemsa embodies a completely different kind of time: cosmic and cyclical. The circular formations of the dancers and the repetitive, hypnotic, grounding rhythm of the drums mirror a world that doesn’t move in a straight line toward an end point. Instead, it breathes in cycles, anchoring the community entirely in the present moment and aligning them with the natural changing of the seasons.

The Cultural Universal

Dr. Behra gave a beautiful conclusion to the session with the concept of the “cultural universal”. By drawing structural parallels between the hilly tribes of Koraput and communities in Arunachal Pradesh—and even comparing the Hindu deity Ma Kali to the Andean Pachamama (Mother Earth)—he reminded us that indigenous cultures are not isolated islands.

 

When humans live in intimate contact with the earth, they naturally develop shared social practices and “horizontal borrowings”, as suggested by Dr. Behra. Thus, he argues that tribal culture has never been a “primitive” phase of human development; it is a universal, highly sophisticated human response to living with the planet.

 

2. Tourism, Livelihood, and the Ethics of Engagement

If the first day was about philosophy, the second day shifted to practical survival in a modern economy. The panel, featuring Dr. N. K. Rath, Shri Gopinath Pradhan, and Dr. Ashok Kumar Nanda, tackled the complex, double-edged sword of cultural tourism.

 

Sustainable Tourism: A New Paradigm

How do we share the beauty of indigenous landscapes without destroying them? Dr. N. K. Rath spoke urgently about shifting away from models that turn sacred traditions into commercial “performances” for tourists. Instead, he proposed a sustainable model that prioritizes the integrity of the village over the convenience of the traveler:

  • Eco-Villages: Swapping out high-rise hotels for immersive home-stays where visitors live within the natural rhythm of the village, learning directly about local architecture and social customs.
  • Indigenous Medicine Centers: Koraput is a verified biodiversity hotspot. By establishing centers dedicated to traditional remedies, communities can protect and monetize their rich botanical knowledge for generations to come.
  • The “Human” Infrastructure: True infrastructure isn’t just about paving roads; it’s about investing in people. Training local youth as tour operators equips them with both language skills and deep cultural knowledge, ensuring the community retains narrative agency—the absolute right to tell their own story.

Creating Community Pride

Gopinath Pradhan highlighted the cultural wealth of Koraput from a tourism standpoint. Interacting with the audience of young students, he ensured that the children were made aware of the diversity of scenic and religious heritage of the region. He also underlined the potential for experiential tourism through engaging with tribal culture, especially music and dance. This established an important point to the audience—the centrality of community pride and knowledge to enabling sustainable cultural tourism. Recognising and celebrating heritage, especially among the younger generations, is key to creating an ideal ecosystem for this venture.

 

Natural Resource Management and NTFPs

Dr. Ashok Kumar Nanda turned our attention to the forest’s “hidden economy”. For the people of Koraput, the forest acts as a natural warehouse of Non-Timber Forest Products (NTFPs). Items like tamarind, mahua flowers, wild honey, and medicinal herbs form the absolute backbone of tribal welfare.

Dr. Nanda highlighted the genius of indigenous agricultural techniques, which have kept the local soil fertile for millennia without a single drop of chemical fertilizer. However, he also outlined the difficulties of managing these resources and securing fair market access for the primary gatherers. Thus, embracing government schemes that empower Panchayats (village councils) is vital for letting communities control their own economic destinies. Being able to mediate these obstacles in the supply chain and the welfare of the community can allow this unique offering of Koraput to be integrated into opportunities for tourism.

 

3. Rituals as Resistance: History, Agency, and the Future

The final day of the forum brought forward some of the most emotionally and politically resonant conversations of the entire event, led by Dr. Bijaya Kumar Mishra, Dr. Puskar Jena, and Shri Simon Bidika.

The Unsung Heroes of History

Dr. Bijaya Kumar Mishra began with a powerful reminder of the quiet silences in mainstream history books, shining a light specifically on the brave Adivasi women who fought in the Indian Independence Movement. Their historical resistance against British colonial rule was fierce, deeply rooted, and driven by a singular goal: protecting their collective land and forests. Dr. Mishra argued that the tribal philosophy of collective welfare over individual gain is exactly the blueprint needed to solve modern systemic crises. By leaving these histories out of our textbooks, we miss out on a vital guide for communal living and environmental resilience.

Rituals as Environmental Policy

Shri Simon Bidika brought the dialogue back to the sacred spaces of daily life. He reframed traditional rituals, such as Dharni Puja (Worship of the Earth) and Jaljamini Puja (Worship of Water), as ancestral versions of environmental legislation. By declaring a forest grove sacred or a river a deity, tribal communities have successfully preserved rich biodiversity for hundreds of years.

Dr. Puskar Jena underlined how Koraput’s ritual calendar showcases the interconnection between belief systems, seasonal cycles, and community welfare. Often these beliefs are embedded in an animistic worldview, connecting the human and non-human world. For instance, agricultural rites invoke the Sun God and ancestral spirits, which creates a culture of care not just towards nature but for communities of the past and future.

In a beautiful modern twist, Mr. Bidika shared how these foundational values make tribal communities natural leaders for current government initiatives. Whether it’s the Swachh Bharat (Clean India) campaign or the Odisha Millets Mission, the people of Koraput are far more than just beneficiaries—they are the true torchbearers.

The Millet Revolution

The focus on the Odisha Millets Mission is a perfect example of this alignment. As our modern world grapples with climate instability and nutritional deficits, millets—ancient, climate-resilient, and nutrient-dense grains—are being celebrated globally as the “superfood of the future.”

But for the people of Koraput, millets were never a trend to be rediscovered. They have been cultivating Mandia (Ragi) and other small millets as a core dietary staple for generations. This global pivot toward millets is a rare, beautiful moment where modern international policy is finally catching up to ancient indigenous wisdom. It proves that what mainstream society once dismissed as “backward” or “poor man’s food” is actually the gold standard for navigating a climate-uncertain world.

 

The Path Forward

As the final echoes of the drums faded at the Koraput Folk Festival, the takeaway was undeniable: true development is measured by the health of the collective.

The three days of dialogue wove together a new narrative—one where tradition and progress walk hand in hand. The story of Koraput is not a static piece of history frozen in time. It is a living, breathing guide for a more thoughtful, responsible, and sustainable world. We just need to listen.

Author – Shahana Bagchi

 

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“बराबरी की उड़ान” – When Dreams Learn to Fly

There are stories we hear, and then there are stories we live with every day—so common that they almost become invisible. This dance drama was born out of one such reality.

While working with the tea communities in West Bengal under Women Safety Accelarator Fund I witnessed how a girl’s world is often defined for her before she even begins to dream. Education for boys is seen as an investment, while for girls, it is often treated as optional. Responsibilities come early, choices are limited, and aspirations are quietly set aside. It is not that girls lack the ability or ambition—it is that they are rarely given the space to imagine a different future.

But what if that could change? This question was raised by a 14-year-old adolescent girl during our intervention with adolescent groups at Batabari Tea Estate. She asked: What if families began to believe in their daughters the same way they believe in their sons? What if girls were encouraged to dream freely and boys stood beside them in support? The solution, in many ways, lies not just in awareness, but in shifting mindsets—within homes, within communities, and among the younger generation.

This is where the idea of “बराबरी की उड़ान” took shape.

Instead of bringing in an external narrative, we felt it was important that the story come from within the community itself. Who better to speak about these realities than the people who experience them every day? The dance drama became a platform where they could express their own struggles, their own questions, and their own vision for change—speaking to their own people, in their own voice.

And so, the story unfolded.

At the center was a young girl with a simple yet powerful dream—to study, grow, and one day become a pilot. Her journey, however, was filled with hesitation at home, quiet discouragement, and moments of self-doubt. Through the performance, her emotions reflected both the weight of expectations and the strength it takes to keep dreaming.

As the story unfolded, it imagined a shift—one where her family begins to support her and her dreams are encouraged. Her aspiration to fly became more than a goal; it turned into a symbol of freedom and equality, representing the dreams of many girls like her.

Equally powerful was the presence of boys in the story. They were not just observers but participants—standing beside the girls, supporting them, and challenging the very norms that often go unquestioned. This itself became a strong message: equality is not a one-sided effort, but a shared responsibility.

What made this experience truly meaningful was what happened beyond the stage.

On the day of the performance, the tea garden community gathered with curiosity and interest. People stood around, watched attentively, and stayed engaged till the very end. It was not just a performance—it became a shared moment of reflection.

The response from the community was honest and significant. Many openly acknowledged that girls are often held back—not because they are incapable, but because they are not given the opportunity or exposure. At the same time, there was a visible shift in perspective. People were not just watching a story; they were recognizing their own realities within it.

Among the most encouraging aspects was the participation of adolescents and youth. Their energy, confidence, and willingness to express stood out. Through this process, they were not only performing—they were questioning, learning, and engaging in conversations that matter.

In the end, “बराबरी की उड़ान” became more than just a dance drama.

It became a voice, a mirror, and a possibility.

Because when people begin to tell their own stories, acknowledge their own realities, and imagine their own solutions, change is no longer distant.

And when dreams are supported, they don’t remain grounded.

Author – Auishani Roy

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Celebrating International Women’s Day with Tea Garden Workers through Cricket

Programme: Women Safety Accelerator Fund (WSAF)

The Women’s Safety Accelerator Fund 2.0 builds on its earlier phase to drive systemic change in addressing gender-based violence and fostering safe, dignified workplaces across India’s tea sector through a holistic, survivor-centred approach. By strengthening redressal systems, expanding thematic interventions, and building strong partnerships, it promotes access to sexual and reproductive health services, sustainable livelihoods, digital and financial literacy, psychological safety, and robust grievance mechanisms. To deepen community awareness and engagement, innovative approaches are essential. ‘Cricket for Change’ stands out as a unique and effective tool, using sport to engage communities, spark dialogue, and reinforce knowledge around women’s safety, rights, and empowerment.

Cricket in India has always been more than just a game. Today, it is also becoming a powerful platform for social change. Encouraging women to participate in sports is no longer simply a trend or symbolic gesture. It is an important step toward building women’s confidence, leadership, and equal participation in society. Such initiatives directly echoed the spirit of International Women’s Day 2026 and its global theme, “Rights, Justice, Action,” which called for strengthening women’s rights, ensuring justice, and encouraging meaningful actions that empower women in every sphere of life. 

On the eve of International Women’s Day, we organised a unique cricket match across three tea estates—Nahorkutia, Dinjoye and Dinjan Tea Estates in Assam. Unlike conventional formats of cricket, this game was specially designed to promote learning and reflection. The cricket match integrated key thematic pillars including Sexual and Reproductive Health and Rights (SRHR), Violence against Women and Girls (VAWG), gender equality, digital inclusion, financial inclusion, PoSH (Prevention of Sexual Harassment), and livelihood opportunities. Through these themes, the activity highlighted women’s rights, the need for justice and protection from violence, and practical actions that communities can take to support women’s empowerment.

The rules of the game were slightly different from traditional cricket. Each participant was given six balls to play and was encouraged to score as many runs as possible within those deliveries. The highest scorer was rewarded. Instead of fielders, the ground had designated zones marked with runs such as 6, 4, and 2, each linked to different thematic pillars of awareness. Cricket field positions such as cover, point, mid-on, mid-off, and square leg were used as symbolic zones representing these themes.

An important concept integrated into the game was “knowledge fencing.” The idea behind this concept was when individuals are equipped with the right knowledge, they become safer and more empowered to protect themselves from different forms of violence and exploitation. Participants were informed about critical helpline numbers such as the Women Helpline (181), Emergency Response (112), Child Helpline (1098), and Cyber Fraud Helpline (1930), ensuring that information related to rights and protection mechanisms remains accessible in times of need. This knowledge is an essential step toward achieving justice and safety for women and children.

Another key feature of the event was its gender-inclusive approach. Both men and women were encouraged to participate, reinforcing the idea that gender equality is a collective responsibility. The match brought together participants from different age groups onto a single pitch, creating a vibrant and inclusive atmosphere within the tea estate communities.

For many women participants, this was the first time in their lives that they held a cricket bat. Despite the novelty, they played with enthusiasm and determination, scoring impressive runs and demonstrating remarkable confidence. 

“Cricket is not unknown to anyone, but this was the first time experiencing the game within the boundaries of various social messages. It felt like learning while playing. Through the game, we learned about the women’s helpline number, child helpline number, Internal Committee, and sexual and reproductive health rights.”  — Somaru Sobor, Secretary, Dighalijan unit | Dinjan TE. 

“Scoring runs with the bat based on thematic areas—such a nice and innovative concept. Engaging the community in this way, through sports and play, is truly remarkable.” – Narmada Das | ICDS Supervisor | Nahorkutia 

Through this initiative, cricket became more than a sport—it became a medium for learning, empowerment, and social transformation. By promoting awareness, strengthening knowledge of rights, and encouraging community action, the event truly reflected the spirit of “Rights, Justice, Action,” reminding us that meaningful change can begin even on a small cricket pitch.

#RightsJusticeAction 

#WSAF

#idh

Author: Santu Guchait 

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Maitri Mela – A Community Convergence Initiative by WSAF

Women Safety Accelerator Fund

The Women Safety Accelerator Fund (WSAF), launched in 2021, envisions creating safe, equitable, and inclusive workplaces for women and girls across tea estates in Assam, West Bengal, Kerala, and Tamil Nadu. Across more than 350 tea gardens, the initiative has steadily worked to strengthen grievance redressal mechanisms, support women in voicing their concerns, and build stronger linkages with government systems—so that care and protection services are not just available, but within reach.

As the programme evolved into WSAF 2.0, it expanded its focus to areas that shape everyday wellbeing—Sexual and Reproductive Health (SRH) and digital financial literacy—recognising that safety is not only about protection, but also about awareness, access, and informed choices.

Yet, even as these systems grow stronger, a question remains: how do they truly reach people in their everyday lives?

A Place Too Far from Help

In the tea estates of North Bengal, distance is not just measured in kilometres, it is felt in delayed care, missed opportunities, and unheard concerns. For many families, accessing a doctor means travelling 60–70 kilometres. In moments of urgency, this distance can become a barrier too heavy to cross. But the challenge goes beyond geography. Limited exposure to information and services means that many people are unaware of the care and protection systems that exist for them. Over time, this creates an invisible divide; where services exist, but remain out of reach; where support is available, but not accessed.

When Services Come Closer

What if, instead of communities travelling long distances, services came to them?

Maitri Mela was built on this simple yet powerful idea—to bring essential services directly into the heart of the tea estates. More than just an event, it became a space where healthcare, legal aid, psycho-social support, and financial knowledge could meet the everyday realities of people. A space where conversations could begin, questions could be asked, and trust could slowly take root.

 

A Day That Changed the Usual Rhythm

On March 11, Kumargram Tea Estate looked different. What is usually a quiet, work-driven landscape turned into a lively, buzzing ground of interaction. Organised in collaboration with Kumargram and Sankos Tea Estates, Maitri Mela created a rare moment where communities and service providers stood side by side.

Doctors arrived not in distant hospitals, but within walking distance. A Mobile Medical Unit and a free eye check-up camp ensured that healthcare was not something to be sought far away, but something available right there. A team of 12 health professionals engaged with people directly, opening up conversations around Sexual and Reproductive Health; topics that are often left unspoken, yet deeply important.

More Than Services—A Space to Learn and Speak

Across the mela grounds, conversations unfolded in many forms. Organisations like Jabala Action Research Organisation and CINI connected with families on issues of child protection, responsible parenting, and the use of helpline services. These were not just sessions—they were moments of clarity, where people began to understand where to turn in times of need.

Nearby, bank representatives spoke about savings, insurance, and financial safety—helping people navigate a world where financial fraud is becoming increasingly common. For many, it was the first time these topics were explained in a way that felt relevant to their lives.

Joy, Reflection, and Togetherness

What made Maitri Mela truly come alive was its spirit of participation. Children laughed and performed, bringing colour and energy to the day. Adults and young people took part in gender-reversal games—simple yet powerful activities that gently challenged everyday norms and sparked reflection.

It was not just about receiving information—it was about experiencing something together as a community.

A Crowd That Spoke for Itself

With over 1700 people attending, the mela was more than well-received—it was needed. The turnout reflected a quiet truth: when access is created, people show up. When spaces feel safe and relevant, people engage.

Beyond a Single Day

Maitri Mela did not just fill a gap for a day—it showed what is possible when services meet people where they are. It demonstrated that bridging distance is not only about infrastructure, but also about intention, design, and trust.

In places where systems often feel far away, Maitri Mela brought them closer—turning distance into connection, and information into empowerment.

Author : Puja Mondal

 

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Strings Across Borders: Dialogues On Puppetry

Strings Across Borders: Dialogues On Puppetry

Puppetry is one of the most ancient forms of theatre. The art form breathes life into wood, metal, cloth, or paper, animating dolls into vivid personas. Blending craft, music, and drama, it can be playful, yet it has often served as a powerful medium to speak truth to power. Across time and geography, puppetry has travelled alongside human civilisation. The history of puppetry is, in many ways, the history of humanity itself: it spans across and documents hundreds of years of dynasties changing, technologies evolving, and societies transforming. Yet, despite these shifts, it remains rooted in fundamental human experiences—of storytelling, belief, and shared imagination.

India-Indonesia Cultural Exchange

It is within such cultural histories that Indonesia offers a compelling context. Indonesia is often described as a tapestry of cultures—shaped by centuries of maritime trade, migration, war, and conquest. The archipelago carries layered identities where indigenous heritage, Chinese influences, and Hindu, Buddhist, and Islamic philosophies intertwine.

 

Where traditions converge, puppetry emerges as a language of connection. With this spirit of multiculturalism, an India–Indonesia cultural exchange unfolded in December 2025, using puppetry as its most expressive bridge. The programme unfolded across two interconnected events: ‘Strings Across Borders’ at Bannabagram Baul Ashram and ‘Shared Worlds: India–Indonesia Colloquium on Oral Traditions and Cultural Memory’ at Netaji Bhawan, Kolkata. This wonderful collaboration took place with Asosiasi Tradisi Lisan (ATL), led by Pudentia Purenti. As an organisation dedicated to safeguarding and documenting oral traditions of Indonesia, it amplifies the work of researchers and cultural practitioners.

Wayang Potehi: Glove Puppets of Indonesia

At the heart of the exchange was Wayang Potehi, a form of glove puppetry brought to Indonesia from China in the eighteenth century. The word wayang refers to imagined figures or shadows, while potehi—derived from the Chinese budaixi—literally means “cloth sack performance.” Performed with richly costumed glove puppets, Wayang Potehi is both intimate and expressive, allowing subtle movements to convey complex emotions.

Preserved largely by Sino-Javanese communities in East Java, Wayang Potehi extends far beyond the conventional stage. It continues to thrive as a ritual tradition within temple spaces, where performances are both offerings and acts of cultural continuity. The history of Wayang Potehi is also marked by resilience. During periods of political restriction under dictatorship, when Indonesian-Chinese cultural expressions were suppressed, these performances continued quietly, often in secrecy. This legacy adds another layer of meaning—each performance reaffirms a collective identity. Today, a new generation of puppeteers is working with dedication to revive and sustain this form. Among them is renowned puppeteer Toni Harsono, leader of the Fu He An troupe, who brought these traditions to life during his visit. His performances utilised classic stories such as Journey to the West, where a young Buddhist monk takes a pilgrimage to India, and the legend of Guan Yu from the late Han dynasty.

A Journey Through Indian Puppetry

 

The Indian side of the exchange was equally rich. At Bannabagram Baul Ashram, Bengal’s Chadar Badar and Putul Naach traditions shared the stage, revealing how puppetry in India ranges from ritual performance to folk entertainment, from village courtyards to modern theatres.

Chadar Badar is a unique form of Santhal puppetry, where the puppets are operated under a canopy-like structure. What unfolds beneath this canopy is folk education, storytelling, and community memory brought to life. Through an inventive lever system, hand-carved wooden puppets dance in unison to the rhythms of the dhamsa, madol, and khorkoto. Several artist clusters around Ausgram, Purba Bardhaman, include dedicated artists, bringing this heritage to life at the event.

Putul Naach artists from Nadia highlighted the string puppetry traditions of Bengal. With handpainted backgrounds of homes and forests, and puppets representing everyday people to animals, Putul Naach bound the audience in fond nostalgia and laughter.

This diversity was also beautifully expanded in the lecture-demonstration by Sangeet Natak Akademi awardee Sudip Gupta and Shreeparna Bhanja Gupta, who took audiences at Netaji Bhawan on a journey across India’s puppetry landscape. From the lyrical Putul Naach of Bengal, to the witty glove puppets of Gulaabo Sitaabo from Rajasthan, and the stylised puppets of Pava Kathakali from Kerala, the presentation showed how each region moulds puppetry according to its language, music, beliefs, and aesthetics.

The events revealed puppetry not as a single art form, but as a family of traditions: each distinct, yet united by stories, craftsmanship, and imagination. Audiences could also find common ground between the forms, be it Wayang Potehi, Chadar Badar, Putul Naach, or Gulaabo Sitaabo. Visual and auditory spectacle aside, puppetry is also utilised across cultures as a medium for social messages—often through humour and satire.

Colloquium on Oral Traditions: Scholars, Stories, and Cultural Memory

Besides occupying its space in theatre, puppetry is also an important oral tradition—transmitting cultural knowledge and values through storytelling. From lullabies and mythic tales to rituals, oral traditions go unnoticed and underappreciated as a form of intangible cultural heritage. When these practices are not passed on within communities and different generations, they may be forgotten, lost forever.

At Netaji Bhawan, the colloquium, ‘Shared Worlds: Oral Traditions and Cultural Memory’ on December 4 deepened this dialogue. Through their scholarship, Indonesian researchers from all over the archipelago explored how oral traditions function as living knowledge systems. These systems not only transmit cultural knowledge, but also operate as an implicit pedagogical tool, i.e. indirectly teach younger generations about social and moral values.

Javanese Puppetry by Eko Suwargono: How can puppet shows be a masterclass in leadership? By weaving lessons about government and ethics into every performance, puppetry helps a community decide what values they want to live by and keeps those traditions alive for the next generation.

The Manguni Myth by Clartje Awulle: For Minahasan communities, the legend of the Manguni owl goes beyond the myth. As a divine omen from the gods, it is a signal for harvests or future danger. However, it also becomes a moral compass, providing a shared set of social rules and surveilling communities.

Nias Marriage Traditions by Ni Wayan Sumitri: Wedding celebrations among the Nias people are special, in that they preserve a rare form of language as part of their rituals. This practice, while dwindling, maintains their roots to Austronesian cultures of the past.

The “Thousand-Legged” House by Donna Sampaleng: Imagine a Thousand-Legged House! Building the Arfak people’s Rumah Kaki Seribu is intense work: it also gives children an important lesson on building character and the importance of collective strength.

Across different presentations, a common pattern emerged: oral traditions are not frozen in time. They evolve, adapt, and respond—however, they also serve important functions in society. Puppetry, myth, and narrative were shown to be tools for teaching values, strengthening social bonds, and maintaining cultural continuity.

Shared Threads

Together, these days of performance, discussion, travel, and informal interaction revealed a simple truth: cultures may differ in form, but they meet in emotion. Whether through a cloth puppet in a temple in East Java, or a wooden puppet in a Bengal village, stories continue to help people understand who they are and where they belong.

Strings Across Borders and Shared Worlds reminded everyone present that cultural heritage lives most fully when it is shared, celebrated, and carried forward together. Here, cultural exchange emerges as a powerful tool. Through sharing the diversity of our traditions, it can build new relationships, and generate a mutual appreciation between cultures.

Chief Guest M.K. Singh, reflecting on the years he spent working in Indonesia, recounted tales of watching Wayang Kulit puppetry performances. He spoke about how myths like the Ramayana and Mahabharata are reinterpreted, blending with local cultures into something unique and beautiful.

In a world increasingly divided, these puppets — guided by hands, voices, and memory — quietly proved that storytelling still has the power to connect nations, generations, and hearts.

 

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Sur Jahan 2025

How a Music Festival Connects the World, One Folk Note at a Time

Before a single note is played, a folk song is already a profound act of preservation. It is a language of the soil, a story whispered across generations, embodying everything from shared labour to collective spiritual philosophy. The concept of ‘World Music,’ first coined in the 1960s, was a revolutionary act, an attempt to dismantle cultural hierarchy and celebrate difference by acknowledging the intrinsic value of every indigenous musical form.

It is in this spirit that Contact Base (banglanatak dot com) dedicates itself to upholding cultural heritage and social cohesion. While we celebrated the organisation’s quarter-century milestone in 2025, our annual World Peace Music Festival, Sur Jahan (held every year since 2011), remains the living, breathing heart of that mission. Sur Jahan is not a static event; it is an annual pilgrimage dedicated to the motto: ‘Music for Peace, Music for All.’ Beyond the sheer joy of the music, the festival has consistently proven the power of root culture to forge cohesion, travelling across India to cities like Jaipur, Delhi, and Panjim, and even across borders to Dhaka, allowing audiences to experience traditions from 34 countries over its history. 

The 2025 edition, spanning three vital venues—Kolkata, Bannabagram Baul Ashram (Purba Bardhaman), and Goa—reaffirmed this commitment, bringing global melodies and local narratives into a powerful, necessary expression of unity.

 

The Secrets They Carry: Stories of Heritage and Ingenuity

Sur Jahan excels not merely at staging performances, but at curating moments of genuine anthropological insight. In the 2025 workshops, the international musicians delivered cultural facts as compelling as their melodies.

  • Iceland’s Undiluted Heritage: The all-women ensemble, Umbra, offered a rare glimpse into the sheer durability of Icelandic culture. Due to their linguistic isolation, they shared that their people can still read manuscripts over 1,000 years old. Their music, therefore, is more than art; it is a direct continuation of a cultural timeline. Juxtaposed against this gravitas was the famously witty national proverb: “If you get lost in a forest, all you need to do is stand up,” a charming commentary on their vast, open landscapes.

  • The Netherlands’ Working-Class Rhythm: The 50-year-old Dutch ensemble Folkcorn showed us how necessity breeds genius. They transformed the ubiquitous wooden shoe, traditionally worn by the working class, into a rhythmic instrument. This “clattering shoe” is a powerful sonic monument—a rhythmic artifact that carries the echo of the labourer, turning a simple utility into an act of musical expression.

  • Sweden’s Global Versatility: The Ale Möller Trio displayed the boundless adaptability of folk music. Ale Möller, known for his transformative work on Scandinavian folk, moved seamlessly between a mandolin and an indigenous cowhorn, demonstrating that the most ancient instruments can still lead contemporary musical discourse.

The Daytime Dialogue: Workshops and the Language of Instruments

While the evening concerts provide the spectacle, the daytime workshops are the engine of true cultural exchange, upholding the principle that music is a conversation. These interactive sessions were specifically designed to make audiences, media, and participating artists aware of the deep history, instruments, and cultural context behind the performances. This is the mechanism through which the “stories of the soil” are transmitted.

The 2025 workshops were a masterclass in global cultural heritage, offering rare insight into instruments and traditions seldom seen together:

  • The Icelandic Storyteller: Attendees were introduced to the Langspil, Iceland’s most important original stringed instrument. Traditionally played horizontally, often in old turf houses while stories were told, the Langspil holds a vital place in Iceland’s vocal and storytelling traditions. Its sound, like its history, reflects the country’s challenging environment and long isolation.
  • Dutch Ingenuity and the Rommelpot: The Netherlands workshops showcased the history of music for the working class, particularly focusing on instruments made from inexpensive materials. A highlight was the Rommelpot, a traditional instrument made from wood and often a pig’s bladder membrane, which produces a distinctive vibrating sound when a stick is pulled through it—a brilliant example of folk innovation.
  • Preserving the Mother Tongue: Beyond the instruments, the workshops underscored the importance of vernacular languages. For Iceland, where the language is spoken by only 400,000 people, learning about how they teach their children to read ancient texts demonstrates how linguistic uniqueness is protected through cultural practice. This shared dialogue celebrates the core essence of World Music: acknowledging and celebrating indigenous roots in all mother tongues.

The Rhythms of the Subcontinent: Celebrating India’s Roots

The 2025 edition was defined by its geographical scope, ensuring that the global exchange was rooted in India’s own stunning plurality.

1. Kolkata: The Grand Synthesis

At Golf Green Central Park (Jan 31–Feb 2), the international bands met the deep traditions of the subcontinent. We saw the spiritual depth of Baul music (Kangal Khyapa), the desert soul of the Langa community (Kassam Khan Langa), and the vibrant stage debut of the Durua tribe from Odisha.

Crucially, the cultural showcase of traditional crafts provided a visual cross-reference to the music. The Kotpad handloom fabric of Odisha, the first product from the state to receive a GI tag in 2005, stands as a testament to the same rooted, time-honoured artistry celebrated by the Durua tribe’s songs—a material and aural heritage intertwined.

2. Bannabagram: The Baul Akhra

The event at the Bannabagram Baul Ashram (Feb 4) was a pivotal cultural synthesis. This venue served as a collaborative laboratory where the Swedish, Icelandic, and Dutch artists actively collaborated with the Bauls of Bengal. This unique fusion moment highlighted Sur Jahan’s commitment to active exchange, not just passive performance.

3. Goa: The Fado and Ghumat Convergence

The finale in Goa (Feb 7–8), held at the Kala Academy in partnership with the state’s Directorate of Art and Culture, offered a coastal cultural exchange. The international ensembles were joined by Goa’s own champions:

  • Sonia Shirsat: The acclaimed Fado singer, whose voice carries the poignant history of Goan connection to Portuguese musical traditions.
  • The Ghumat Project: An initiative that foregrounded the Ghumat, Goa’s traditional percussion instrument, blending it into contemporary rhythms.
  • Habib Khan and Sadiq Khan Langa: Bringing the continuity of Rajasthani folk to the coast.

This gathering of sounds, from the vocal traditions of Iceland to the rhythmic pulse of the Ghumat, demonstrated that music is the ultimate connective tissue, drawing over 10,000 attendees into a celebration of cultural diversity and peace.

The Echoes of the Future: Sur Jahan 2026

The dialogue continues. Sur Jahan (which evolved from the festival Sufi Sutra) has already hosted bands from 34 countries since its inception, and the 2026 edition promises new cultural horizons.

Set for Kolkata and IIT Kharagpur, the festival will introduce new voices from Latvia (a first-time participant), alongside bands from Spain, Hungary, and Denmark. What’s particularly compelling is the conscious evolution of the festival’s curation: 75% of the international participating musicians in 2026 will be women. This statistic is more than a number; it’s a forward-looking statement on the future of folk music, ensuring that the powerful and essential female voices of global heritage are heard, respected, and amplified.

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মায়াবী কোরাপুট

পাহাড় ঘেরা, ঝর্না, নদী, আদিবাসী মানুষের নাচ গান। এটাই কোরাপুট, যেখানে পাহাড় কথা বলে, ঝর্না গায় গান, আর বিভিন্ন জনজাতির ইতিহাস লুকিয়ে আছে বিভিন্ন গ্রামে। মাঝে মাঝেই বৃষ্টি হয় অকারণ। অজান্তে এক গুচ্ছ মেঘ এসে ঢেকে দেয়, শুরু হয় বৃষ্টি।
অঙ্ক মেলে না এখানে। যখন মনে হয় এই বুঝি পথ শেষ, আর একটা পথ শুরু হয়। কোমরে হাত দিয়ে রমণীরা গায় জীবনের গান, পুরুষ বাজায় নানান রকমের যন্ত্র। জঙ্গল থেকে বিভিন্ন শাক, কচু জোগাড় করে আনে, সেটাই তাদের মূল খাদ্যাভ্যাস। সঙ্গে থাকে সলপ, মহুয়ার মত, এখানকার মানুষের দুঃখ ভুলে থাকার পানীয়। বছরে একবার তারা শিকারে যায়। পুরো গ্রাম তখন মেতে ওঠে আনন্দে। এক সপ্তাহ শিকারের পর পুরো গ্রাম মিলে সেই খাবার উপভোগ করে। জীবন যাত্রা বেশ কঠিন। পথ খুজতে খুজতে তুমি পথ হারিয়ে যেতে পারো। বিশাল বনাঞ্চলের মাঝে তাদের বাস। ছোট ছোট বাড়ি, মাটি দিয়ে লেপা, মাঝে উঠোন, মাটির কড়াই, হাড়ি, উনন। মাটির দ্রব্য হাট থেকে কেনা। সব গ্রামের আসেপাশে কুমরদের গ্রাম আছে। তারা মাটির বিভিন্ন দৈনন্দিন কাজের দরকারি দ্রব্য বানায়। আর হাটে গিয়ে বেঁচে দেয়। হাটে দরকারি সব জিনিস পাওয়া যায়। জামা কাপড়, শাড়ি, চুড়ি, জুতো, আলতা, সবজি, ফল, মাছ, মাংস, বাঁশের দ্রব্য, হাঁস, আরও কত কি।। যা লাগবে তাই পাবে। আর একদিকে কোনায় কিছু পুরুষ পান করে মহুয়া, সলপ আর সঙ্গে পাবে ছোলা সেদ্ধ। এমন এক হাট অনুকাডেলি হাট, দুদুমা জলপ্রপাত থেকে কিছুটা দূরে অবস্থিত। এখানে বন্ডা উপজাতির মানুষ বাজার করতে আসে । তাদের সারা শরীরে গয়না। গলায় হার, বিভিন্ন রঙের। আগেকার দিনে তারা কাপড় পড়তো না, গয়না দিয়েই ঢাকা থাকতো শরীর। আর তারা পড়তো কেরাং গাছের ছাল থেকে তৈরি শরীরের অপরের অংশের জন্য এক টুকরো কাপড়। কেরাং গাদাবা জনজাতির লোকেরাও পড়ে। তাদের কাপড়ের রং আলাদা, আলাদা তাদের দৈর্ঘ্য ও প্রস্থ।
গাডাবা জনজাতি মুখে ট্যাটু করতো। তাদের কথায় আগেকার দিনে সুন্দরীদের রাজাদের অত্যাচারের শিকার হতে হত। তাই ট্যাটু করে তারা তাদের রূপ লুকিয়ে রাখতে। গাদাবা জনজাতি গোদাভরির তীরে বাস করতো, তাই তাদের নাম গাডাবা বা গদাবা। দুরুয়া আর এক জনজাতি ছত্তিশগড় থেকে এসছিল বলে শোনা যায়। সবরী নদীর এক পারে কোরাপুট আর অন্যদিকে ছত্তিশগড়। অনেক রকমের ধান চাষ হয় এখানকার মাটিতে, সাথে বেশ প্রসিদ্ধ মিলেট, আর কফি। অনেক রকমের গল্প লুকিয়ে আছে এক এক আদিবাসীর জীবন যাত্রায়। খুব কম বয়সেই মেয়েদের বিয়ের চল এখানে। পরিবার দেখে দেবার চল যেমন আছে, পালিয়ে গিয়ে বিয়ের চল ও আছে। তবে মেয়েদের এখানে প্রাধান্য বেশি। ছেলের পক্ষ মেয়ে পক্ষকে তত্ত্ব দেয়। বিধবা হলে বিয়ের সম্মতি আছে। এখানকার মানুষের সরল জীবন। কোনো বাধা নেই।
তবে বেশিরভাগ মানুষের পরিসর খুব ছোট। গ্রাম, হাট, আশপাশের পরিবার, বড়জোর হলে কাছের টাউন। ট্রেনে চড়ে প্রথমবার যখন গ্রামের মেয়েরা তাদের শিল্প সংস্কৃতি দেখাতে বাইরে বেড়োয় তখন অবাক চোখে দেখে এক নতুন পৃথিবী। প্রথমবার ট্রেন, শহরের রাস্তা। ঝকঝকে মলে তারা হারিয়ে যায়। এস্কেলেটর দেখে ভয় পায়। তবে তাদের নাচ গান শুরু হলে মানুষের মন নেচে ওঠে। বৃষ্টির গান, চাষের গান, জীবন যাত্রার গান। বাংলানাটক ডট কম কোরাপুটের বিভিন্ন গ্রামে কাজ করে চলেছে। পুরোনো দিনের গান গুলো নতুন প্রজন্মদের শেখার জন্য যখন প্রশিক্ষণ শিবির আয়োজন করি তখন কুমার জানি গেয়ে ওঠে এক নাবালিকার যন্ত্রণার ব্যাখ্যা। যখন তার জীবনের শখ পূর্ণ হয়নি, তখন তাকে বিয়ের পিঁড়িতে বসিয়ে দেওয়া হয়। আজকাল মানুষ বুঝতে পেরেছে হয়তো কম বয়সে মেয়ের বিয়ে দিলে সে কি কষ্টের মধ্যে দিয়ে যায়। সবাই মিলে এক সন্ধ্যায় গান গাইছিলো, ফুলের গান। কথিত আছে মহিলারা বিভিন্ন ফুলের গুনগান করে। আর সেই ফুলের গন্ধ ঘিরে ধরে কোনো এক রমণীকে। সেই গন্ধের ভরে অচৈতন্য হয়ে যায় মেয়েটি।
কন্ধাদের সাথে দেখা হলো খেজুরিপুট গ্রামে। এটা জানা যায় এখানে এককালে অনেক খেজুর গাছ ছিল। কন্ধাদের বিয়ের প্রথা বেশ অন্যরকম। ছেলেরা মেয়ে দেখতে আসে। ডুমডুমি বাজিয়ে গান হয়। একটি ডুমডুমি দিতে হয় মেয়ের বাড়িতে। যদি মেয়ের পছন্দ হয় তালে ডুমডুমি গ্রহণ করা হয়, আর না পছন্দ হলে ডুমডুমি ফেরত দিয়ে দেওয়া হয়। ডুমডুমি একটি এক তারের যন্ত্র, লাউয়ের খোল দিয়ে বানানো হয়। এরম কত গল্প লুকিয়ে আছে। গাডাবারা যখন গোদাবরী তীর থেকে এসে লম্পটাপুট অঞ্চলে প্রথম থাকতে শুরু করে তখন চার জন বিভিন্ন গ্রামে থাকতে শুরু করে। তারপর কথিত আছে তারা প্রচণ্ড ভূতের ভয়ে একসাথে থাকতে শুরু করে।।এবং ধীরে ধীরে তাদের সংসার বিস্তার করে। আবার গাডাবা জাতি এখন একটা নতুন ধর্ম পালন করে। যাকে বলে আলেখ ধর্ম। সেখানে সবাই খায় নিরামিষ খাবার। এটাই এক অদ্ভুত সহবাস। তবে সব জনজাতির প্রধান দেবী হুন্ডি মাতা। তারা পুজো করে প্রকৃতিকে। দুরুয়াদের গ্রাম কেন্ডুগুদা। কেন্দু গাছের সারি এই গ্রামে। সেখান থেকেই নাম কেন্দুগুদা। তাদের নাচের নাম বিরলি নাচ। এখানে কাঠি ব্যবহার করে এক এক জন এক একজনের সাথে কাঠীর আঘাত আদান প্রদান করে ঘুরে ঘুরে। আমি ঘুরে বেড়িয়েছি বিভিন্ন গ্রামে।
কোটপাড ছোট টাউন। এখানে মিরগান সম্প্রদায়ের মানুষ প্রধানত বুনন করে শাড়ি, দুপাট্টা, আর থান। টাউন এর লোকেরা ছাড়াও আশপাশের ছড়িয়ে ছিটিয়ে থাকা গ্রাম যেমন ভানসুলি, ডংরিগুডায় তৈরি হয় কোটপাড শাড়ি নামে প্রচলিত কাপড়। এই কাপড়ের উল্লেখযোগ্য বৈশিষ্ঠ তাদের ভেষজ রং করার পদ্ধতি। আল গাছের ছাল থেকে তৈরি হয় খয়েরী এবং লাল রং। হিরাকাশি বা ফেরাস সালফেট-এর সাথে লাল রং মেশালে হয় কালো। বাকি অন্য রঙের সুতো তারা বাজার থেকে কিনে আনে। এখানকার শিল্পী পদ্মশ্রী গোবর্ধন পানিকা তার কাজের জন্য পদ্মশ্রী সম্মান পেয়েছেন।
সুবাই নামে এক ছোট্ট গ্রাম। সেখানে পাওয়া গেছে পঞ্চম শতাব্দীর জৈনদের মন্দির। পাঁচটি মন্দির এখানে অবস্থান করে। মন্দির বলতে এখানে প্রসিদ্ধ শিব মন্দির, গুপ্তেশ্বর মন্দির। বইপাড়িগুডায় অবস্থিত ন্যাচারাল লাইমস্টোন দিয়ে তৈরি গুহা এবং শিবলিঙ্গ। কথিত আছে রাম তার বনবাসের সময় এক শিবলিঙ্গ খুঁজে পায়। রাম অবশ্য বনবাস জীবন বোধহয় ভারতের সব প্রান্তেই কাটিয়েছিলেন। পাশেই সবরি নদী এবং তার অন্যদিকে ছত্তিশগড়। মানুষ এখানে বেড়াতে আসে খুব কম। শীতকালে কিছু মানুষ আসে। পরব নামে এখানে বিশাল মেলা হয় নভেম্বরে। সেই সময়ে অনেক মানুষ আসে ওডিশার বিভিন্ন প্রান্ত থেকে। শীতেও মানুষ আসে। তবে এখনও বিশাল হোটেল দিয়ে জায়গার সৌন্দর্য নষ্ট হয়নি। প্রকৃতি বেঁচে আছে, পাখি গান গায়, দেওমালি পাহাড়ের চূড়ায় নিস্তব্ধতা, ডুডুমার ঝর্নার শব্দ শোনা যায় অনেক দূর থেকে। কে যেন বাঁশী বাজায়। বাঁশি এখানকার আদিবাসীদের তাল ও ছন্দের যন্ত্র। এখানে বলে মোহুড়ি। তালবাদ্য অনেক রকমের, ঢোল, তিরিবিড়ি, ধাপ এর মধ্যে প্রধান। কাকরিগুমায় এক দল মানুষ তালবদ্য বানায়। সেখান থেকেই বিভিন্ন নাচ গান দলের শিল্পীরা কিনে নিয়ে যায়। আর তাদের গ্রাম থেকে একটু দূরেই আছে পুঞ্জাসিল জলপ্রপাত, তেলিমাটিং জলপ্রপাত। একটা বিকেল ঝর্নার ধারে বসে কাটানোর ইচ্ছে আছে। যেখানে কবিতারা ভেসে আসে অবলীলায়। এক রমণী, তার পা ডুবিয়ে বসে থাকে, স্বপ্ন দেখে বিদেশ পারি দেওয়ার।
দিশারী আছে সব গ্রামে। অল্পবিস্তর অসুখ হলে তারাই ওষুধ দেয়। গাছের শিকড়, ছাল, শাখা, পাতা, ফুল থেকে তৈরি হয় সে ওষুধ। বংশপরম্পরায় এই ওষুধ বানানোর শিক্ষা এক জন্ম থেকে আর এক জন্মে পৌঁছে যায় অনায়াসে। পৌষ পার্বণ, চৈত্র উৎসবে এরা বেশ আনন্দে মেতে ওঠে। পৌষ পার্বণকে এরা পুষপুনি বলে থাকে। এই সময় নাচ গান, ভালো মন্দ খাওয়া, সুরা পান চলতে থাকে গ্রামে গ্রামে। বিভিন্ন রকমের সাজে মানুষ বেরিয়ে পড়ে। কেউ রাজা, কেউ রাবণ, কেউ রাম সাজে। কেউ কেউ বিভিন্ন জন্তুর সাজেও বেরোয়। একটি শোভাযাত্রা বেরোয়, বাজনা বাজে, গ্রামের মানুষ একত্রিত হয়।
বাড়ি বানানোর আদল এক এক জনজাতির এক এক রকম। দুরুয়াদের বাড়ির চারিধারে কাঠের পাটাতন দিয়ে ঘেরা থাকে। কিছু জনজাতির বাড়ি চৌকো আকারের, কারো বা গোলাকার। মাটির বাড়ির ছাঁদ বেশির ভাগ আসবেস্টাসের, কিছু বাড়ির টাইলস দেওয়া। কন্ধাদের বাড়িগুলো সারী দিয়ে একের পর এক। আর প্রত্যেক বাড়ির দেওয়ালের রং আলাদা। এক অদ্ভুত রঙের মেলা দেখা যায়। প্রত্যেক জনজাতির মেয়েরা বিভিন্ন ফলের বীজ দিয়ে তৈরি করে বিভিন্ন ধরনের গয়না। দুরুয়ারা সিয়ালি গাছের ফল থেকে তৈরি করে মালা। এরম ব্যবহার হয় আরও অনেক গাছের বীজ, বেশিরভাগ জঙ্গলি গাছ। তারা যখন বিভিন্ন রঙের শাড়ী পড়ে দলবদ্ধ হয়ে নাচে বাদ্যযন্ত্রের তালে তখন তৈরি হয় এক অনন্য পরিবেশ। নাকে তাদের বিশাল নোলক, কানে দুল, পায়ে হাতে বালা, সব মিলিয়ে এক অসম্ভব সুন্দর দৃশ্য। অনেকবার কোরাপুট গেছি, প্রতিবার নতুন কিছু দেয় এখানকার প্রকৃতি, মানুষ, আর জনজাতির সংস্কৃতি। ভিজিয়ানগরম বা বিশাখাপটনাম অব্দি ট্রেনএ এসে সেখান থেকে গাড়ি নিয়ে পৌঁছে যাওয়া যায় সহজেই বা সোজা হাওড়া থেকে ট্রেনে কোরাপুট। একবার ঘুরে যান মায়াবী কোরাপুট।।
Author : Siddhanjan Ray Chaudhuri
Uncategorized

WSAF in 2025- Making inroads through a Thematic Approach

Highlights-

  • Women tea workers are central to India’s tea industry, contributing skilled labor under difficult conditions while historically facing normalized violence and limited access to justice mechanisms.

  • The Women Safety Accelerator Fund (WSAF), launched in 2021, created a platform for women in tea estates to recognize, voice, and address experiences of violence and safety concerns.

  • WSAF promotes holistic empowerment, expanding focus beyond safety to include sexual harassment redressal, domestic violence response, sexual and reproductive health rights, and pathways to financial security and additional livelihoods for stronger tea communities.

Women form the backbone of the Indian Tea Industry as they have the unique skills to pluck the perfect leaves and buds needed to make the aromatic cup of tea. They toil hard working from morning to evening in challenging weather so that Indian tea can be enjoyed by all across the globe. Over the years, these women had been plagued with instances of violence but did not have the right avenues to seek justice.

The Women Safety Accelerator Fund (WSAF) is a program that was initiated in 2021 to create a platform for women in the tea estates to identify the otherwise ‘normalized’ violence faced by them and express them in a platform. It also established the need to delve further into other aspects of women safety such as redressal of sexual harassment and domestic violence, creating a dialogue around sexual and reproductive health rights and also find solutions towards additional incomes and financial security. Continued efforts have focused on strengthening the approach around these thematics to ensure holistic development of the women workers in the tea sector of India and in turn ensuring safe, healthy and empowered tea communities.

Establishing Sexual and Reproductive Health Rights

Women still resort to using cloth during their menstrual cycle which may not always be hygienic. Some still disregard contraceptive methods thinking that it goes against the laws of nature. Quite a few of the tea estate hospitals are still not under the Public Private Partnership model leading to challenges in supplies. Some of the contraceptive methods may have certain mild side effects which becomes a concern for the people. People are ignorant regarding the prevalence and symptoms of UTI/ STI which mostly go untreated. Teenage pregnancies are significant in number.

At the onset, the tea estate managements had highlighted the need for modern methods of contraception to be introduced within the communities. The major challenge was in creating awareness among the communities around these taboo topics as there were traditional practices along with myths and misconceptions prevailing within the communities.

When we started our discussions centered around sexual and reproductive health, the people were initially shy and uncomfortable discussing such topics but fortunately open to it as they believed that it could bring about a positive change in society. The discussions turned out to be rather interesting with the men.

During one of the sessions, a line chowkidar (in charge of safety in the residential lines) was handed over a ‘secret’ pack. He was very happy to receive it and was asked to open the pack and reveal it to all those present. He enthusiastically opened the pack and showed it to all without realizing that it was a packet of sanitary pads. On being asked what it was and what it was used for, he felt shy to share the same. On being informed that menstruation was a natural phenomenon and the essence of creation and that it was a safe space to share his opinion, he felt comfortable to mention that it was used by the women in his household during the time of menstruation.

Exploring Avenues for Additional Income

Another angle which we explored during this year was trying to figure out additional livelihoods for the tea estate communities as their minimum wages were rather low. We had several rounds of discussions with the Assam State Rural Livelihood Mission to understand what could possibly work in the tea estates. Some of the ideas that were floated were that of kitchen gardens, organic manure and tea tourism. Groups needed to be created at the tea estate level and then trained accordingly to run the functions. The plan was to organize them into producer companies.

With this in mind, we organized several outreach programs in the tea estates to identify those interested to be part of such programs. We had expected a large turnout as we were offering opportunities for the unemployed youth. To our surprise, not too many people turned up. On being questioned about their aspirations, the youth were blank as to what they wanted to do. Infact, they did not have much interest to do anything.

We could thus infer that what was required was a large scale drive targeting youth to build aspirations and make them realize the importance of positive engagement and the need to earn a sufficient livelihood.

WSAF was conceptualized keeping in mind certain challenges faced by the tea community, but the long term engagement has given us the clarity on how to engage with communities to get the necessary outcome. The key lies in creating a platform for dialogue. Nothing can be imposed upon communities. There needs to be deep trust and strategies need to be evolved keeping in mind the need of the communities. The 5 years of engagement with WSAF has definitely given us the perspectives on the things to do for holistic development of the communities, the most important being tapping the potential of the youth to bring about the desired change and creating the necessary linkages with Govt. stakeholders. Continuous exchange of ideas with the community can definitely go a long way in creating the necessary exposure for the people to think of the larger good beyond their mundane day to day existence.

Author: Devdan Mookerjee

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