After South Asia won its flag-independence from Britain, Pakistani artists pursued two distinct strategies for the shared goal of producing art in the service of national liberation. A group of communist artists sought to innovate new cultural forms to serve movements of the left, while others endeavoured to recover the pre-colonial Islamicate culture of South Asia to serve state-building efforts. During the Zia coup in 1977, protest poetry and art of the Pak Tea House, Lahore’s art and literary salon, inspired (...) resistance against the military dictatorship. This protest was framed not merely against the military dictatorship, but also against US imperialism more broadly. By examining Walter Rodney’s and Frantz Fanon’s ideal role of the postcolonial artist or intellectual, I show how the role of art in leftist politics was rethought in the aftermath of the Zia coup by the artists and leftists who frequented the Pak Tea House. What the discussions about politically engaged art that took place in the Pak Tea House during the Zia Coup reveal is that novelty and abstraction are important strategies in creating art that can combat imperialist dictatorships. (shrink)

While the coffee house as a space of political deliberation has been a common feature across the globe, there are few historical cases in which one can analyze the role of such face-to-face political deliberation under totalitarian moments in heretofore democratic states. Of the analogous cases of democratic reversal, India is one of the most important and under-researched. In 1975, then Prime Minister Indira Gandhi was convicted of corrupt election practices. Rather than concede to the high court ruling, she suspended (...) the constitution and installed herself as India’s sole political authority. The Indian Coffee House in New Delhi became the key site of resistance to the Emergency. The totalitarian moment pushed contentious politics into the Coffee House, initially galvanizing it: even the older members of Indira Gandhi's Congress Party, who were active participants in India's Freedom Movement, were key participants in coffee house deliberations. Eventually, however, Indian Coffee House was bulldozed and political deliberation crushed. The space of the coffee house may foster political deliberation among different viewpoints, but when interaction is concentrated in one such space, it becomes easier for the state and its agents to suppress oppositional politics and more difficult for both establishment and oppositional politics themselves to retain a diversified public sphere character. While coffee houses and analogous institutions are not adequate substitutes for other forms of democratic politics, therefore, they can encourage expression when other avenues are closed off and nourish the memory of a democratic political culture for the future. (shrink)

During India’s Emergency, anti-state poetry of a decidedly amateurish quality proliferated. Anti-Emergency poetry did little to bring about the restoration of democracy, nor could it have reasonably been mistaken for great art. So what was the purpose of writing resistance poetry if it was not meant to directly influence politics nor to be great art? Poetry as politics has a long history in the Islamicate world, dating back to the pre-Islamic Arabian Peninsula. While until the 19th century Islamicate poetry was (...) tied to the Caliphates who employed poets to extol the virtues of the ruling classes, after the so-called ‘Rise of the West’ Islamicate poetry became associated instead with anti-colonial and anti-state movements across the Islamicate world from Morocco to Indonesia and from Central Asia to the Indian Ocean. In this essay, I argue that the utility of resistance poetry in anti-state movements in South Asia has been to build solidarity among social movement participants. The sociology of social movements has long placed emphasis on the role of affective bonds and solidarity building for predicting social movement success, and poetry, in the Islamicate context especially, I argue, does exactly that. By circulating poems, social movement participants inform the reader that resistance and opposition exist, they inspire participants and would-be participants and calm fears that participants might have, especially in moments of political repression. These poems generate emotional and cultural bonds among social movement participants by linking anti-state movements to the centuries-old tradition of Islamicate poetry, thereby fostering solidarity and providing a firm basis for collective action. (shrink)