Bangladesh is predominantly a monolingual country with the exceptions to its local languages. Correspondingly Bangali is the dominant people of this land. But unfortunately we often forget the existence of some other minor sects of people pejoratively called adivashi or upajati who have settled here for many generations. Chakma is such an ethnic group that is distinct for its language, culture and literature.
A brief introduction to Chakma people will help us to evaluate their genres of literature. The chakmas are a community that inhabits the Chittagong Hill Tracts of Bangladesh, the North-East Indian states like Mizoram, Arunachal, and Tripura and the Rakhine state of Myanmar. Historians argue that they are Tibeto-Burman, and thus closely related to tribes in the foothills of the Himalayas (Majumdar79). One of their epics called Chatigang Chara also includes how they migrated from Arakan and settled in the present regions. Currently about 0.8 million Chakmas are living in the CHT regions of Bangladesh. They are divided into 46 clans, but profess the same religion- Theravada Buddhism. They celebrate a festival called Bizu. Being followers of Buddhism, the Chakmas also celebrate Buddha Purnima. They practice polygamous system of marriage but strictly prohibit exogamy. They live their livelihood mainly by Jhum cultivation. They also weave cloths and hunt wild animals and fish for their livelihood. They speak a language called Changma Vaj which has some similarity with Khamer or Lanna used in Cambodia, Laos and Thailand. They also have their own script called Ojhopath.
Chakma literature like other great literatures of the world began in oral tradition particularly with folk literature. Chakma folk literature basically includes folk songs, folk tales, lullabies, proverbs and some epics. One of their famous songs is Uvageeta” (song of the youth). The young boys sing this song with a special type of flute made of bamboo. There is also religious song called “Gojena Lama” which has similarity with ‘Hamd’ of the Muslims. Tanabee Lama is an excellent piece of folk tale. It is actually a lullaby which chakma mothers use to help their children to sleep. It unveils a vivid description of “Tanabee”- an exceptionally beautiful woman. This song provides a detail description of her beauty and sorrows which will stir every heart of the reader. It is quite similar to “Rupban””Komola Sundori” in Bangla folktale. Proverbs are the unique feature of the Chakma literature. Proverbs are called ‘Dagwa Kadh in Chakma language. These are basically some witty expressions about the philosophy of daily life of the chakmas.
“Nun Ajana Pojjana” collected by Dipak Chakma is an interesting folktale. The story reveals as follows:
Once there were two brothers. When they grew up, the elder brother got married. Then the two brothers separated. The younger one became poor but he was devoted to Buddha. One night he dreamed that somebody was asking him that if he went under a banyan tree without informing others, he would find a golden jar! The voice also added that he would find whatever he wanted from the jar! He got the jar as specified in the dream. He became rich. With the jar, then he could do whatever he wanted. After a few days, the elder brother and his wife became surprised with the sudden riches of the younger. . She got curious to know the secret. Finally she succeeded in finding the secret and immediately planned to possess the golden jar. In the next night, while the younger brother was sleeping, she took the jar away. After sensing the worth of it, the couple planned immediately to go away with the golden jar to a faraway land! They got a boat and boarded on it with all of their valuables as much as they could. At the middle of the sea they planned to see the miracles of it. They ordered salt to be with their rice. The boat was heavy, and sank with all the belongings. Salt never stopped from henceforth. Thus then the sea water became salty.
Chakma literature has got some great epics. Chatigong Chara and Radhamohan Dhanapati are two famous epics of Chakma literature. Chatigang Chara describes how Chakmas migrated from Arakan and settled in the Chittagong Hill Tracts of Bangladesh. According to this epic the Chakmas are from Arakan who later on moved to Bangladesh, settling in the Cox’s Bazar District, the Korpos Mohol area, and in the Indian states of Mizoram, Arunachal Pradesh, Tripura.The Arakanese referred to the Chakmas as Saks or Theks. In 1546, when the king of Arakan, Meng Beng, was engaged in a battle with the Burmese, the Sak king appeared from the north and attacked Arakan, and occupied the Ramu of Cox’s Bazar, the then territory of the kingdom of Arakan. The Arakan king Meng Rajagri (1593–1612) conquered this land, and in a 1607 letter to a Portuguese merchant, Philip de Brito Nicote addressed himself as the highest and most powerful king of Arakan, of Chacomas and of Bengal. Defeated by the Arakanese, the Chakmas entered the present Chittagong Hill Tracts and made Alekyangdong, present-day Alikadam, their capital. From Alekyangdong they went north and settled in the present-day Rangunia, Rauzan, and Fatikchari upazillas of Chittagong District. It is similar to Virgil’s Aeneid.
Radhamohan Dhanapati[1] is another famous epic of the Chakma literature. In around 1118-1119 there was “Roang” war in the reign of king “Sermatia”. The Chakmas fought this war under the general “Radhamohon”. He is as heroic as Achilles to them. It also depicts the conflict between the family of Radhamohon and Dhanapati. It is thematically similar to Romeo and Juliet by William Shakespeare. The conflict between Radhamohon and Dhanapati’s family over love affair corresponds to that between Romeo and Juliet’s family.
The Chakmas have many puzzles (included in their literature) which are very much part of their daily life. The puzzles are the simplistic understanding and philosophy of life. They are also a potential source of entertainment, mutual participation, and sharing the course of life, presenting all its adversities and happiness. Here are some of the popular puzzles:
রক্ত হায় সাচ্চান(মাংস) ফেলেই দে………..
Suck the blood but throw the flesh- sugarcane.
গড়া হাবিলে পিড়ে পেই, আগা হাবিলে পিড়ে নেই…………নখ
If the root is cut, there is a pain. But if the top is cut, there is no pain – Nail.
হাজা লক্কে হবা, পাগিলে বগা………………..চুল
When tender, it is crow. When mature, it is heron – Hair.
মোজোরি ভিদিরি পুঅ ডাঙর অয়………..পুত্তিংগুলো
The child grows inside the curtain – a kind of hilly fruit.
Chiranjeeb Chakma Tawnaw:
ভিদিরে সাস্ বারে আড়………………..শামুক
Inside is flesh but outside is bone – Snail.
এ হুলে এক টেঙ, ও হুলে এক টেঙ……….রেগা
one leg is on this bank and the other is on the other bank – Bamboo Bridge.
জেদা থাক্কে এক মলে দুই…………………সিলোন
When alive, it is one. But when dead, it is two – Oyster.
Bijoybinason Chakma:
গাজ উগুরি সিবিদি তবা…………… ………বগা[2]
The jar of lime is on the tree – Heron.
So, Chakma literature has its origin in the folk literature like folk songs, folk tales, lullabies, and proverbs. Later some chakma people ventured collecting many of the folk literature and penned them down in their own script-Ojhopath. With the influences of the dominant Bangla language they have started writing in Bangla language beside their own language. There were also changes in the theme, style and subject matter of the literary genres. Their earlier literature basically describes the trauma of their migration, subsequent settlement, wars with the rulers in several times. It also includes the description of nature, simplicity of their life and culture. In earlier literature we notice the use of lucid and simple language and a milder tone. In the contemporary literature we see the emergence of prose and narrative form of writing. Now the writers tend to employ colloquial language in their literature. Contemporary literature includes various themes like vigorous protest against the oppression of the dominant class, grievance of the loss of simplicity of life etc in penetrating language accompanied by a tone of retaliation. It is also noticeable that the young Chakma writers are writing more in Bangla language. So, Chakma language may die out under this situation.
The Chakmas have written several short poems in their language. The short poems are like the Japanese haikus. The short poems are short in size but not in content and meaning. They compressed with meaning. The simplicity of life and its philosophy is printed in words. Here are some extracts from the Chakma short poems.
(1) “Lagera dunda chara
pani dibo kan
dungkhya ma dukht possyan
dodu dibo bone.”
–“Here is planted the tobacco tree, who will water it?
Who will care rather than parents to their baby?
(2)
“chikon chyrat chikon chey
hoje jagob tore chigon bey”
-set trap to fishes in the little fountain
darling, I like to call you in little pet name!
See here a beautiful girl says to her enticed lover-
“chotti dogan hale gals
shopone dele nados gale gans”
–In the stationary shop so many blue glasses you can see-
If you see me in dreams don’t curse me.
(3)
“teda de teda dhan kini
daki na parob nab dini”
-I do buy rice with 2-1 taka by your name
but, oh my dear! I can’t call you by name!
(4)
“Dola pari vagna
khadi dilbo khobna
tar pebadaye mui
rot dine gororyor vabna”
-Often I collect “Jagna” fruit
and put it in the “macha” upward.
All day and night I think
How I can get my beloved. [3]
Many young Chakma writers are now writing in Bangla language. Their literature includes various themes like vigorous protest against the oppression of the dominant class, grievance of the loss of simplicity of life etc in penetrating language accompanied by a tone of retaliation. Dipak Chakma is such a writer who writes about the oppression of the dominant people and calls upon his fellow men to rise up against the oppressive forces. One of his poems is as follows:
পাহাড়ের কান্না
Òপরীরা আনলো খবর পাহাড় নাকি কাদঁছে,
এসো পাহাড়ী সবাই এসো কেঁদে কেঁদে ডাকছে|
তোমাদের দূঃখ দেখে ঘূম আসে না মোর,
দিন-রাত চেয়ে থাকি জানিনা কখন হয় ভোর|
তোমাদের তো শান্তি আর হবে নাকো আরো,
এসো তোমরা সবাই এসো আবার অস্ত্র ধরো|
অস্ত্র ধরো যুদ্ধ করো অধিকারের জন্য,
অধিকার পেয়ে আমরা সবাই হবো ধন্য|
আমাদের অধিকার দিতে হবে একদিন,
যতদিন পাবো না কো যুদ্ধ করবো ততদিন|
ও পাহাড়ী ভাই বোন আমার, আগের মত নয়,
তোদের হতে হবে একতা সাহসী, বীরযোদ্ধা, কোশলী ও নির্ভয়|
অধিকার কেউ কাউকে দেয় না, অধিকার আদায় করে নিতে হয়,
হাজার লক্ষ জীবন দিয়েও আমাদের করতে হবে জয়|
এসো হে তোরা সবাই পাহাড়ে চলি,
কেঁদো নাকো পাহাড় তুমি-এ কথা বলি|
…” written by: Dipak Chakma.
“The Hill Weeps
The fairies bring the news – the hills are weeping,
Come, o hill men, come and cry
Never can I sleep feeling your sorrows
Waiting day and night know not when the dawn breaks
No longer get you peace
Come and come all, hold the arms once again
Hold the arms and fight for rights.
Prized will we be with the given right
We will enjoy our right some day
Strive will continue until we meet our goal
O hilly friends, time has changed
Let us be bold, discreet warrior.”
Kabita Chakma is a young activist poet who has written a famous poem called “Joli No Udhim Kittei (Why Shall I Not Resist!”- Originally written in Chakma and Bangla) exposes the issues like politicization and internalization of women with much penetration.
“Why shall I not resist!
Can they do as they please –
Turn settlements into barren land
Dense forests to deserts
Mornings into evening
Fruition to barrenness?
Why shall I not resist?
Can they do as they please –
Estrange us from the land of our birth
Enslave our women
Blind our vision
Put an end to creation?
Neglect and humiliation causes anger
the blood surges through my veins
breaking barriers at every stroke;
the fury of youth pierces the sea of consciousness.
___ I become my own whole self.”[4]
Though Kabita’s poems are an example of the more articulated voices of Chakma women, the feelings she expresses are not exceptional. Women in their own way have admitted that despite differences in culture and language among the different communities, the hill people have been drawn together by the common bond of resistance against the repressive forces of the Bangladesh state. Many women claimed that they needed to participate in the resistance movement because it was the only way to ensure their dignity. Many claimed that it was the only way to ensure their existence, both physical and cultural. Even if they did not directly participate in the movement they gave economic or moral support.
She also writes of the day when the struggle will end. Here she does not talk of revenge but of love.
“Someday
Someday my heartland
will light up in the sun-
This jhum, this forest
will be full of light, wonderful light.
The Kajalong River will overflow its banks
sweeping away the hurt and humiliation
Then may this land, the forests of my heart
drench ecstatically in showers of love.”[5]
The Chakmas have written some rebellious poetry. The entailment of revenue on them, the conspiracy of eradicating their homeland, and their strong protest against these mischievous activities are purposefully described in the following rebellious poem written by Sangma Chakma.
শেষ রক্ত বিন্দু
“ আমরা এখানেই থাকবো ;
রক্তে আবার আগুন জ্বালবো,
যেখানে যেখানে আগুন নিভে গেছে;
প্রতিবাদের আগুন , প্রতিরোধের আগুন।
তোমার যারা পিছিয়ে যাবার
চলে যাও এ স্থান ছেড়ে।
আমরা এখানেই থাকবো;
এখানেই শেষ রক্ত বিন্দু চাষ করবো,
বাতাসে ছড়িয়ে দেবো নবান্নের ঘ্রাণ
এই শ্যামলিমার রূপ সুধা করবো পান।
আমরা এখানেই থাকবো;
এখানেই দেখবো প্রভাত ফেরির মিছিল,
এখানেই করবো বেঁচে থাকার যুদ্ধ
সকাল হলে জেগে উঠবো এখানেই
সবগুলো দিন শেষে এখানেই ঘুমিয়ে পড়বো”
The Last Drop of Blood
“We’ll stay here;
We’ll light the fire in our blood,
Where the fire put off;
Fire of defence, fire of resistance.
Those who will retreat
Leave this place.
We’ll stay here;
Here we’ll cultivate our last drop
We’ll spread the fragrance of new crops in the air
We’ll drink the beauties of the greeneries.
We’ll stay here;
Here we’ll see the procession of the morn,
Here we’ll fight for our life
Here we’ll rise up in the morn
Here we’ll sleep forever after all the days.”
The Chakmas have always remained neglected. This sense of negligence or deprivation has inspired them to produce literature. Their literature is true reflection of their culture and their protest and struggle against the mainstream culture and its ruler who deny them of their rights. Their epic and poetry show how they have come at this stage and their urge to establish their rights by means of struggle. We can cite two poems named “Jolino Uddim kitte (Why shall I not Resist?)” and “Paharer Kanna”. Adherence to nature, devotion to God and mother and so on are other themes of Chakma Literature. We should ensure the coexistence of their culture and literature to enhance our mainstream culture and literature. African and Indian culture and literature are two glaring examples in this regard. In this regard , we can cite Chinua Achebe, who himself belongs to the minority or ethnic community, observes in his essay “ The African Writer and the English Language” :“I do not see African literature as one unit but as a group of associated units—in fact the sum total of all the national and ethnic literatures of Africa.”
[1] The epic may be seen from: http://www.tandfonline.com/doi/abs/10.1080/13264820109478428#preview
[2] (Nima Dewan, Payel Chakma, and Juna Dewan helped to translate the puzzles).
[3] All the poems are translated by the authors themselves, unless specified otherwise.
[4] Meghna Guhathakurta’s translation of Kabita Chakma’s Joli No Uddhim Kiteye (1992.7): (Why Shall I Not Resist).
[5] Collected from Meghna Guhathakurta’s translation).
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