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Komagata Maru A South Asian Quarterly of Culture, Comment and Criticism Special Double Issue Price $8 Volume 2, Number 1 & 2 The Roots Issue From the Roots South Asian History and the Komagata Maru Rohinton Mistry & Vıkram Seth Brown Boys Writing To D r um is Not to Pound A Conversation with Trichy Sankaran Chandralekha & Roger Sinha New Directions in Dance Burn These Pages Shauna Beharry’s Performance on Paper PLUS Ayesha Abraham • Sadhu Binning Alnoor Dewshi • Damian Lopes Shani Mootoo • Alia Syed 18 September – 30 October, 1993 BEYOND IKON GALLERY Vıdeo, Film and Installation by South Asian Artists DESTINATION An exhibition about journeying selected by Ian Iqbal Rashid Featuring work by artists from Britain, Canada and the United States, including Sutapa Biswas, Maya Chowdhry, Alnoor Dewshi, Gitanjali, Khaled Hakim, Indu Krishnan, Shaheen Merali, Shani Mootoo, Meena Nanji, Sher Rajah, Alia Syed and Tanya Mahboob Syed IKONGALLERY 58 – 72 John Bright Street, Birmingham, England B1 1BN Open Tuesday to Saturday 11–6, Thursday 11–8 ADMISSION FREE A forty-page catalogue with essays by Ian Rashid and Himani Bannerji is available. The exhibition/video touring program is also available for tour from November 1993. For catalogue or touring details contact the address above or call 011.44.21 643.0708 or fax 011.44.21 643.2258 Wıth thanks to for their support. 2 Volume 2, Number 1 & 2 e ditorial RUNGH is an interdisciplinary magazine This double issue of Rungh–The Roots Issue, represents our response committed to the exploration of traditional and to the growing politic of conservatism and fear which is sweeping contemporary South-Asian cultural production. Canada. As millions of people migrate around the globe, running from It is a project of the Rungh Cultural Society persecution and oppression, to safe havens where they hope to —an incorporated, non-profit society. establish a sense of home and community, the response of ‘the West’ has been reactionary. There is a misplaced and predictable nostalgia for a time that was and longer is; a history as remembered by the coloniser. Advisory Board As the colonised, when we look back at our history, we note that Ian Rashid London, UK former Prime Ministers and legislators conspired to keep Canada Molly A.K. Shinhat Montréal white. Various laws, such as the Continuous Journey provision which Rana Bose Montréal Serai, Montréal resulted in the tragedy of the Komagata Maru incident, institutionalized Ramabai Espinet Toronto racism by targeting specific communities of colour. Nurjehan Aziz TSAR, Toronto In 1993, the notion of Canada as a humanitarian country which no longer Ali Kazimi Toronto tolerates racism is being eroded by the government of the day. Prime Ashok Mathur Calgary Minister Kim Campbell has responded to the fears of the dominant by Chris Creighton-Kelly Vancouver making refugee and immigration policy a Public Security issue, as Sadhu Binning Ankur, Vancouver opposed to one of care and compassion. It is also an unstated fact that Amir Ali Alibhai Vancouver the forceful brunt of securing Canada’s borders will be disproportion- Staff ately felt by people of colour. In the Conservative agenda, Canadian Zool Suleman Editor culture has been recast in the mould of a new Heritage Ministry. We Eyebyte, Sherazad Jamal Design cannot help but wonder whose heritage will be supported and where Firoozeh Radjai Production Assistant the contemporary discourse of race and cultural production will fit in. Neil Moncton, Chaos Consulting Advertising The challenge for cultural producers who oppose the reactionary machinations of the state is to not be lured into debates which consist Our address of false dichotomies and predictable arguments. We have to seek and Rungh Cultural Society work towards a vision which is inclusive, empowering and different Station F Box 66019 from those of the past. The notion of multiculturalism, where all Vancouver BC Canada V5N 5L4 difference is equated and homogenized, can no longer meet the needs 604 876.2086 of a country where soon over half the population will be non-white. No fax 662.7466 identity is pure in the 1990s. We are all hybrids and motivated by conflicting allegiances and memberships in communities, be they Subscription rates to RUNGH are $20 per year defined by race, gender, geography, class, sexual orientation—the for individuals, and $27 per year for institutions ‘isms’ of the ’90s. We believe that Rungh is playing a role in developing (GST incl). For US and international, please add $10 this new vision. We remain convinced that if the vision is to have any for postage and handling. Canadian Publications meaning, it must be grounded in an understanding of our various Mail Sales Product Agreement Number 83712. histories as told by us and not for us. It must ultimately rest upon a foundation of respect for one another’s past. RUNGH welcomes inquiries about feature articles, Milan Kundera writes, “the struggle of man against power is the struggle reviews, art projects and other submissions. of memory against forgetting.” By examining the roots of the South RUNGH accepts no responsibility Asian community in Canada, this issue of the magazine strikes a for unsolicited material. blow in the battle of memories. It is only by remembering the pain of Funding assistance from past injustices that contemporary South Asian artists and cultural Canada Council; Secretary of State, Multiculturalism & workers can remain vigilant: vigilant against racism, and vigilant for Creative Programs; Employment and Immigration, empowerment. Challenge ’93; Province of BC, Cultural Services Branch; City of Vancouver, Social and Cultural Planning. ISSN 1188-9950 Printed in Canada ©1993 3 i n this issue Editorial 3 Letters 6 From the Roots Introduction 8 The History of South Asian Immigration to British Columbia When the Ship Came In 14 Remembering the Komagata Maru So We May Always Know 19 The Vısion of Inderjit Kohaly Vancouver Sath 22 A Profile by Sadhu Binning Interviews To Drum is Not to Pound 27 Trichy Sankaran in conversation with Salvador Ferreras The Long Journey of Rohinton Mistry 31 In conversation with Ali Lakhani Artist Run Centre Burn These Pages 35 An art project by Shauna Beharry 1908 – Sikhs and Hindus employed in BC sawmills. Photo courtesy of I. Koholay 4 Personal Journeys, Personal Vıews Searching for Another Cypher 39 Alia Syed in conversation with Atif Ghani The Migration of Memory 43 Ayesha Abraham profiled by Saloni Mathur The Colour of Dance 44 Roger Sinha in process In My Mother’s Image 46 A Note From a South Asian Woman Artist by Sur Mehat New Writings A Garden of Her Own 48 A short story by Shani Mootoo Autobiography: Awhereness 53 A Poetic Journey by Damian Lopes The River 54 Poetry by Sadhu Binning Reviews A Suitable Boy 55 Vıkram Seth’s novel reviewed by Ali Lakhani Chandralekha 58 Alicia Peres at New Directions in Indian Dance Telling Relations: Sexuality and the Family 61 Vısual art in review by Karlyn Koh A Balancing Act: Family and Work 65 NFB Video reviewed by B.K. Gosh Latifah & Himli’s Nomadic Uncle 66 Alnoor Dewshi’s film reviewed by Ian Iqbal Rashid Desh Pardesh 1993—Are We Family? 67 Amir Ali Alibhai responds Gains Made by Women of Colour... 69 Nazlin Nathu at NAWL Samachar 70 5 Dear Kit, It doesn’t surprise me that people you talked to about the motion on (mis)appro- priation interpreted both its intent and scope so variably, sometimes self-servingly, condescendingly. And you are right on many etters points—the revised version is so diluted that This exchange is reprinted from The Appropri- and said, “Oh, that’s all right; I wouldn’t do it may be little more than a wave of the ate Voice, Newsletter For The Racial Minority that.” hand in the direction of minority writers Writers’ Committee, (Vol. 1, No. 2). It contributes Comments like these scare me—that these and the work of the Racial Minority Writers’ to ongoing dialogue about cultural appropria- writers feel they need The Writers’ Union Committee. On much of what you say about tion. (See: Rungh, Vol. 1 No. 4). approval for what they write. They also seem responses to the motion, I can only say I am It includes, first, Kit Pearson’s note in Writer’s both a misunderstanding of and an insult to saddened, and in full agreement about the Confidential (September 1992), a section of The the hardworking and eloquent members of dilution of the original wording. But. There Writers’ Union of Canada newsletter (printed the Racial Minority Writers Committee. I’m are so many buts. with permission), in response to the motion on sure that even if they were disappointed by It astonishes me that writers should be Cultural Appropriation at the TWUC AGM how much the motion was watered down wary of seeing themselves both as responsible which had been brought forward by the from their original one, they meant a great and accountable—surely the guarding of Racial Minority Writers Committee, followed deal by it. Because there was a motion, how- the principle of ‘freedom of expression’ by Aruna Srivastava’s reply. ever watered down and muddled it is, I will pay (whatever that means, and to whom) involves them the respect of taking it seriously; and if recognizing the responsibility that comes with As I sat through the debate about cultural I take it seriously, I cannot accept it. the very burden of such a principle. Surely this misappropriation at the AGM, and as I talked I sympathize strongly with the position of motion does no more than remind writers to people afterwards, it became apparent to the Racial Minority Writers Committee. of the importance, responsibility and me that there were two reasons the motion I would search my conscience very carefully accountability that define ‘freedom.’ was passed: as a gesture of goodwill towards before using material from another culture.
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