Tuesday January 16, 2018
Home India State Governm...

State Government asks Dalit Christian and Muslim Farmers to quit Temple Lands in Andhra Pradesh

Under the new order by AP Government, Muslim and Christian farm tenants are forbidden to work the lands of Hindu temples

2
//
489
Land in Andhra Pradesh (Representational Image). Image source: www.propveda.com
Republish
Reprint
  • The government only wants Hindus to cultivate temple lands
  • The order was issued in November 2015 but has now been put into action, as leases on lands need to be renewed
  • Dalits were asked for proof from Church that they are not practicing Christianity

There was an order issued in November of 2015 stating that the Andhra Pradesh government forbid Dalit Christians and Muslims from cultivating Hindu temple lands. This order is now being put into action as it is the beginning of the agricultural season when land leases get renewed. The Andhra government began taking action earlier this month. They issued notices to tenant farmers saying they needed to hand over the land immediately.

Temples in Andhra Pradesh (Representational Image). Image source: Wikimedia Commons
Temples in Andhra Pradesh (Representational Image). Image source: Wikimedia Commons

Follow NewsGram on Facebook: NewsGram.com

Dalit tenants (those from the lowest caste system) were asked to provide paperwork from the church. This paperwork was needed as proof to show that they are not practicing Christianity. In recent times, many members of this lowest caste system have converted to Christianity. Since many of the Dalits have not changed their names, it is hard to tell who is practicing Christianity and who is not.

A senior endowments commissioner stated, “We’ve issued notices to Dalit farmers to obtain certificates from the church in accordance with the GO.” This worries some of the Dalits. They fear if they do not receive the correct paperwork from the church in time, they will lose the lease on the land, said the TOI report.

Muslims, on the other hand, were completely banned from cultivating the temple lands under the new rules.

The continuation of current land leases directly correlated with the new kharif season. Since the rules and guidelines have been changed, things will change with this kharif season. The order clearly states, “No person professing a religion other than Hinduism is entitled to obtain lease either through tender-cum-public auction or otherwise.”

Follow NewsGram on Twitter: @newsgram1

According to the TOI report, There have been different responses to this new order. Habib-ur-Rehman, a Muslim United Front member claims the order is weird, “For that matter, 80 per cent of tenants of Jumma Masjid in Guntur are non-Muslims.” Traditionally the temples in Andhra are cultivated by tenant farmers. They control nearly 3 lakh acres of the farmland; 30 percent of them are Dalits.

One example of this is the Sri Raghu Rama temple in Gollapalli in the Krishna district. There are over 1,200 acres owned by this temple, with 1,568 farmers tending to the land. Of these farmers, 199 are Muslims, 204 are SCs and five are tribals. All of these farmers have been notified by Temple authority of the changes in law.

Similarly, the tenant farmers who work the 300 acres of land of the Sri Venugopala Swamy temple are Muslims. In this case though, police authorities were brought along to help the field officers move the tenants off the land if they failed to produce the correct paperwork.

-This report is compiled by a staff-writer at NewsGram.

ALSO READ:

 

Click here for reuse options!
Copyright 2016 NewsGram

  • Vrushali Mahajan

    This should be looked into immediately. You cannot separate people on the basis of religion at least in the field of agriculture which is the main occupation of most of the Indians

  • Aparna Gupta

    One cannot ask anyone to leave their lands on the name of religion. This is totally non sense.

Next Story

Is Chutney out of place in Carnival?

Chutney has been able to resist the domination of calypso as the heartbeat of Carnival music

0
//
21
Chutney has been able to resist the domination of calypso as the heartbeat of Carnival music. Wikimedia Commons
Chutney has been able to resist the domination of calypso as the heartbeat of Carnival music. Wikimedia Commons
  • Chutney soca music is a crossover style of music incorporating Soca elements
  • The satire on Prime Minister Rowley’s mother has been arguably the most controversial song in the history of calypso, soca and chutney in the country.
  • It is the International Chutney Queen Competition to be held on February 2 at Guaracara Park in San Fernando, the second largest city in the country

By Dr Kumar Mahabir

When people get angry, they tend to speak their mind. Their emotions explode in words that they have been suppressing for some time. Psychologist Dr Jeffrey Huntsinger proved this theory after conducting experiments at Loyala University in Chicago in the USA in 2012.

Chutney Soca promoter George Singh really spoke his mind when he became upset on learning that his 2018 show was not funded by the National Lotteries Control Board (NLCB), an agency of the Afro-dominated Government in multi-ethnic Trinidad and Tobago  (T&T).

At a news conference which he convened, Singh said that “the decision by the Government not to support chutney soca was an insult to the art form” (Express 05/02/17).

George Singh is a Chutney Soca promoter. Wikimedia Commons
George Singh is a Chutney Soca promoter. Wikimedia Commons

Singh raged: “The Government, over the last three years, has consistently reduced funding to Chutney Soca Monarch and various members of the present administration have stated directly to me that chutney soca brings no value to Carnival” (emphasis added).

At the same news conference, Singh said that the Government had approved a budget of TT $146 million to the National Carnival Commission (NCC).

Also Read: When shall we see a Turkey-less Thanksgiving Day?

“I think this administration is hell-bent on seeing that it [chutney soca] has no place in Carnival. It is a slap in the face to Indo-Caribbean entertainment,” he said.

Singh’s outburst was a public exposé of what the Indo-Trinidadian (Indian) community had always known i.e. Indian culture (e.g. chutney, pichakaree ) is given marginal or no space in “national” and regional shows (e.g. CARIFESTA).

Sing’s rant is more revealing since he has admitted that he has “family ties” to Attorney General Faris Al-Rawi (Express 27/12/17).

Carnival in Trinidad has long been the cultural preservation of the Afro-Trinidadian (African) community. Wikimedia Commons
Carnival in Trinidad has long been the cultural preservation of the Afro-Trinidadian (African) community. Wikimedia Commons

In all his anger, Singh was careful not to confirm what almost every Trinidadian suspected i.e. that Government initially denied him funding because he was allowing Massive to perform his hot chutney hit “Rowlee Mudda Count.”

The satire on Prime Minister Rowley’s mother has been arguably the most controversial song in the history of calypso, soca and chutney in the country.

I have always contended that chutney concerts, competitions, tents and fêtes must be recognised as part of Carnival and must be a given an equitable share of culture funds, media space and stage presence.

Also Read: Western intellectuals’ overwhelming love for Sanskrit literature

My argument is contained in detail in a chapter entitled “Chutney Music in Carnival:

Re-defining National Identity in Trinidad and Tobago” in the book Caribbean Dynamics:

Re-configuring Caribbean Culture (2015). The book is edited by Drs Beatrice Boufoy-Bastick Savrina Chinien and published by Ian Randle in Jamaica.

In the chapter, I discussed how Carnival in Trinidad has long been the cultural preservation of the Afro-Trinidadian (African) community. To this day, the major players and champions of calypso, soca, extempo, steelpan and masquerade, whether in Jouvert (“Jour Ouvert”) or Dimanche Gras, remain participants of African descent.

The emergence of chutney music and artists in 1995 – when Basdeo Panday was elected as the first Indian Prime Minister of T&T – was historic. In 1996, the rendition of Sonny Mann’s runaway hit “Lotay La” by DJs in soca parties, and by steel bands as their Road Mach tune during Carnival signalled the advent of chutney into the national urbanized festival/centre.

Chutney is being strongly influenced by calypso and soca rhythms and dance styles. Wikimedia Commons
Chutney is being strongly influenced by calypso and soca rhythms and dance styles. Wikimedia Commons

In the following years, Indians continued to change the ontology of “the national festival” to the extent that Carnival has to be re-defined to include Chutney Monarch, Chutney Brass, Chutney Soca, Chutney Calypso, Chutney Glow and Chutney Mardi Gras.

For the first time this year, a new chutney show is being introduced to the Carnival calendar. It is the International Chutney Queen Competition to be held on February 2 at Guaracara Park in San Fernando, the second largest city in the country. The event is being hosted by Randy Glasgow Productions.

Also Read: Race as a tool to keep people Divided: Will Science break the Shackles?

Chutney is being strongly influenced by calypso and soca rhythms and dance styles, but the genre is also used as an alternative to the Afro-Creole music formats. There have been two institutionalised chutney calypso theatres: “D” Massive Gosine Roving Calypso/Chutney Tent and the National Chutney Calypso Touring Tent.  Now in its eighth year is the National Carnival Schools Intellectual Chutney Soca Monarch Competition held at the Queen’s Park Savannah in Port of Spain.

These chutney competitions cum fêtes allow Indians to gain a sense of inclusion in this grand “national” festival, although on the periphery of the capital city. These cultural incursions also allow Indians to actively participate in Carnival without losing their (sense of) ethnic identity.

Dr Kumar Mahabir is an anthropologist who has published 11 books
Dr Kumar Mahabir is an anthropologist who has published 11 books

In 1998, cultural critic Burton Sankeralli wrote: “Indians are claiming Carnival space as Indians…. [and] … The flagship of this Indocentric presence and contestation for space is chutney …” With the re-creation of chutney, Indian artists are refusing to be subjected to silence and invisibility on mainstream radio, television, newspaper and the stage.

Chutney has been able to resist the domination of calypso as the heartbeat of Carnival music. The subversive spirit of calypso and Carnival is perhaps being re-incarnated in chutney.

(Dr Kumar Mahabir is an anthropologist who has published 11 books)