Tag Archives: matwaala

IC Live: A Vibrant Community of Desi Poets

IC held its third Desi Poetry Reading, in collaboration with Matwaala, on December 3, 2020, which was moderated by Srishti Prabha and Kanchan Naik. The topic was certainly timely – Uncertainty and Change.

After a quick introduction by Pramila Venkatewaran, the co-founder of Matwaala, the Desi Poetry Reading was kicked off by a prolific and accomplished high school poet.

Sara Garg started the evening with a reading of an experiential poem called 2020, that captured the universal feeling of waiting, waiting for the count to go to zero. Another tender poem was about the mini sparks of light that are the front-line workers who face darkness, terror, and monsters while just having each other while they cope with uncertainty. Blood Questions was hard-hitting, speaking dramatically about BLM and our common humanity as it took on the voice of blood as it poured out of the chest of a Black young man as he is killed by blue and brass. In Sunset Sunrise, she gives eloquent voice to the uncertainty we live with during the pandemic, finally admitting she cannot see if the sun is rising or setting, whether hope is ascendent or not. In an answer to a question, Sara attributed her sense of rhythm to the early influence of Usha Akella (co-founder of Matwaala) when she was in 4th grade, as she learned to write a poem about a banana. This was a story of affection that Sara shared with the listeners, a sweet moment of connection, one that most of us can engage with, and that lifted the weight of uncertainty to one of positive change.

R. Cheran, a poet and professor, writes creatively in Tamil. He shared four parts of a powerful translated piece called On the Street, Anytime. His poem had vivid images, of jackfruits, leaves, and bodies run over by tanks on the street, blood seeping into paddy fields, and leaves being the only witnesses to bodies getting together anytime. Repetitions of Anytime, built into a crescendo as he conjured images of extreme contrast – blood, sperm, and poems written on colored pieces of paper, on the street, anytime. He sets the stage in memories of experiencing and witnessing slices of the genocide in Sri Lanka. The poet shifts to potholes in snowy weather, covered in ice, that refill with the blood of 2 boys who could be his sons, shot by the white policeman. Black brave boys whose blood fills the pothole, not once, but twice. In the final fourth part of the poem, Cheran speaks of poverty of the soul, of being left by a lover, one who takes almost everything away with her, but the poem refuses to go with her, the one whose first line is, On the Street, Anytime.

R. Cheran shared another short poem that was equally evocative of remembered trauma as he sketched out the scene of Indian soldiers, a woman held down, a child thrown into a well, and the well that is now without a voice to even say Aiyyo. Cheran’s poems are certainly not “easy listening” but instead pull the listener into a well of traumatic memories and images, the work of a master story-teller, craftsman, and poet. In response to a question by Srishti Prabha about how he balances violence and beauty, Cheran said that the genocide he witnessed and survived cannot be written in words or taught through a lens of sociology or anthropology, that he has portrayed but the tip of an iceberg and such horror can only be begun to be experienced through an art form such as poetry.

I have to take a break in writing this now, and walk around, as I try to shake off and metabolize the intensity of revisiting and closely listening to this part of the reading.

Kalpna Singh-Chitnis, a poet, writer, and film-maker, continued the evening. In a poem about the pandemic, one of the stark images she drew was of the Faceless One stealing all the faces that have disappeared behind masks, likening it to Kabuki dancers magically stealing faces and tucking them away in their kimonos. In a hard-hitting poem titled E.R., she speaks of holding the ground like a tree in a storm, not collapsing or vomiting, but holding in her internal injuries, and dying inside without being noticed. In The Salt of a Woman, anger and outrage jump off the words, her story older than civilization, questioned, blamed, conquered, gifted, dismissed, shamed. In IF, she writes of the only power a survivor of sexual assault may have, in telling others what not to do if she is killed, do not hang the perpetrators, she says – they will be born again and do it again. Hopelessness permeates the poem but ends with dignity. Tell your sons about me, she asks of women, preach me as a sermon, she asks of the preachers, write me as an epic, she asks of the writer.

I believe the BLM movement’s rise in the summer of 2020, empowered many of us in the desi community to finally speak openly of our own experiences of racial discrimination in the United States. Microaggressions are carried in the body, held on to for years, taken out every now and then, and re-examined through various lenses such as – why did the teacher not speak up, why did I not speak up, as if it would have been easy, as if it would have found validation at the time. I think many will identify with the process, the self-doubt, the worry of being heard, being believed, and the fear of having our experiences being discounted

Singh-Chitnis bravely shares a poem 25 years in the making and birthing. In this final poem, Kalpna addresses these excoriations – I am sitting there like the stump of a tree, still sitting there like the stump of a tree, still sitting there in that classroom. The lectures begin and end, she says, but the question remains. She is still waiting for the professor to speak up for her – she was voiceless and powerless at the time.

As these wounds get more light and air, as more people hear our experiences, as more speak up, as more poetry and art is used to communicate, the more hope there can be. I fully understand how it took 25 years to write that poem.

Indran Amirthanayagam, an author and poet read from his recently published book, Uncivil War, continuing the theme of trauma, displacement, war, and unbelonging. In Fire Department asks displaced refugee peoples from all over the world – Where is your Village Burning even if your home is not in the list. Ready to Move was a poignant ode to those who are witnesses to the only truth worth repeating – ready to move with a toothbrush, a fresh set of clothes. In Father, Indran eloquently mourns his father, moving from speaking of personal loss (watching geese honking on their way to the other side of the sky, poems to survive the fires, he has left us his name we wear it today) to the theme of universal experiences of the death of a father. Indran moved on to poems of upliftment as he hoped that the world would be inspired by the outcome of the American elections, in spite of something rotten in America, life pressed out of George Floyd, there is still hope he said – ordinary decent Joe has my vote – ending by saying he is an American optimist, and that the next war needs to be one that can unite humanity – saving our planet.

Varsha Saraiya-Shah continued the evening with a reading of I Speak from Towers of Silence in which she likens 6 feet of social distancing as a coffin length apart, observing that babies pop out like flowers, and being moved in different ways by the reality of bodies piling up in refrigerated trucks in New York. In Neither Hope nor Miracle, she speaks of science being necessary, that it needs to be unfenced with countless windows, that climate will throw earthly tantrums, warning, exhorting, and pleading with people to heed science. In When the Wind Blows, Varsha goes back to music, drawing inspiration from Miles Davis, saying, listen to what you can leave out. In Headlines, she playfully alludes to hair at different life stages, bound, unbound, and finally to a time to reshape the wildness even if Broadway will be closed till June 2021.

Saleem Peeradina’s poems submitted for this event were read by Pramila Venkateswararan. In The Body in Question Saleem Peeradina examines the world through striking images of different bodies and their symbolizing the various states of humanity, power and inhumanity –the bud of infancy to maternal bloom, migrating bodies washed ashore, body behind bars in solitary, body in whose soil is grown cotton, cane or tobacco, bodies from which coal is mined, in genocide, counted in numbers. In Song of the Makeover, he embodies the split he experiences as someone who never fits in where he is, always travelling, seeking himself or what appears to be himself through vivid phrases like full circle renewing the past, most at ease in a state of passage, two tongues, over there another face goes by my name, and, whose shadow doubles behind me.

In The View from 70, Saleem Peeradina draws playful and delightful images for us of interlopers who take over our bodies and are finally successful. The interloper enters stealthily with unmarked baggage, practice(s) hit and run arts, is the seducer who played for years on the swings slides and seesaws of my heart, a seventh sense, even with a no-vacancy sign. Finally, he concedes that it is best to befriend them, learn about them and co-exist until they (armed and dangerous) eventually win.

I am so glad I made the time for this new (to me) listening experience. It opened my eyes to a whole new vibrant community of poets and lovers of poetry, as well as those who enjoy hearing about the desi experience that we bring to the world of poetry. It seemed generally agreed upon that there has been more poetry written and made available to people all over the world, and that more people turned to poetry during the pandemic. Whether people had more time, needed poetry to make sense of the world, or whether technology brought poetry to more people, the increased interest has been one of the more welcome outcomes of the pandemic.

Desi Poets

Here are all these people

 

Who look like me Sound like me

And they read, and they love

Carry their hearts outside

Like me

speak the same languages

 

Languages

Of love and poetry

Of loss and separation

Of longing and dreams

Old homes and new

Old words renewed

 

Speak the language

Of Jack fruit, mango piquant as

Cilantro and green Chilis

Chai and samosas, sweet as

Jasmine with Thulasi leaves

 

Dusty tropical heat

Musty corner memories

Uncles, aunts, cousins

Clammy hands of first loves

Awkward fumbling kisses

 

Drenching thunderous monsoons

Umbrellas collapse in submission

 

Veins singing 

Gathering with hope

Hearts together 

rising in affection

 

Speaking old tongues in these newer lands

Using our Indlish to praise, protest, love

Finding connection in skin, language, country

 

Are these new cousins I see here?

Watch the Desi Poetry reading below!


Kalpana Asok is the author of ‘Whose Baby Is It, Anyway? Inside the Indian Heart’ and ‘Everyday Flowers’.

Making Space For the Unknown: Desi Poetry Reading

Join India Currents and Matwaala, once again, in our Desi Poetry Reading Series. This time we bring you six poets addressing the ever-present uncertainty and change. The South Asian diaspora is perpetually evolving, breaking new boundaries and forging new connections in every sphere. India Currents presents its third Desi Poetry Reading to discuss how South Asian communities interacting with a year of inconsistencies, trauma, growth, and change.

To join the FREE poetry reading on Thursday, December 3, 2020 at 6pm PST and 9 pm EST, register here:

https://www.eventbrite.com/e/desi-poetry-reading-uncertainty-and-change-tickets-130829912791

Or check to find our Facebook Live Stream at the time of the event here:

https://www.facebook.com/IndiaCurrents/videos

This poetry reading will feature notable writers from various pockets of the South Asian community, including Indran Amirthanayagam, Varsha Saraiya-Shah, Kalpna Singh-Chitnis, R. Cheran, Saleem Peeradina, and youth poet, Sara Garg. India Currents staff, Srishti Prabha and Kanchan Naik will moderate the event, facilitating questions from the audience on Zoom or Facebook Live.

This is effort is in collaboration with Matwaala, a South-Asian poetry collaborative designed to provide immigrant and POC writers with a literary platform. In their own words, Matwaala represents “voices that dare to say the unsaid and hear the unheard…voices that break down barriers…voices that dare to be South Asian, American, and simply human.” Since their formation, they have hosted a number of poetry festivals and writing workshops. Most notably, they recently spearheaded Smithsonian’s Beyond Bollywood Project, where they created a Poetry Wall in honor of South Asian writers at the Irving Museum and Archives.

We hope to see you there!


Srishti Prabha is the Assistant Editor at India Currents and has worked in low income/affordable housing as an advocate for children, women, and people of color. She is passionate about diversifying spaces, preserving culture, and removing barriers to equity.

Learning to Belong: Desi Poetry Reading

To join the poetry reading on Monday August 24th 2020 at 6 pm PST and 9 pm EST, click on this LINK

The South Asian diaspora is perpetually evolving, breaking new boundaries and forging new connections in every sphere. India Currents presents its second Desi Poetry Reading to discuss how South Asian immigrant communities have changed over the years, as well as attitudes surrounding diversity, multiculturalism and belonging.

This is effort is in collaboration with Matwaala, a South-Asian poetry collaborative designed to provide immigrant and POC writers with a literary platform. In their own words, Matwaala represents “voices that dare to say the unsaid and hear the unheard…voices that break down barriers…voices that dare to be South Asian, American, and simply human.” Since their formation, they have hosted a number of poetry festivals and writing workshops. Most notably, they recently spearheaded Smithsonian’s Beyond Bollywood Project, where they created a Poetry Wall in honor of South Asian writers at the Irving Museum and Archives.

This poetry reading will feature notable writers from various pockets of the South Asian community, including Geetha Sukumaran, Ravi Shankar, Ralph Nazareth, Kirun Kapoor, and youth poet Kanchan Naik. India Currents staff Srishti Prabha and Kanchan Naik will moderate the event, facilitating questions from the audience via email.

Use this BigStage link to login: https://zoom.bigstage.online/index.php?event_id=DesiPoetry&client_id=C000004

To find out more about this event and its panelists, stay tuned for updates on our Facebook and Instagram!


Kanchan Naik is a rising senior at the Quarry Lane School in Dublin, California. Aside from being the Youth Editor at India Currents, she is also the editor-in-chief of her school newspaper The Roar, Teen Poet Laureate of Pleasanton, a Global Student Square editor for Newsroom By the Bay and Director of Media Outreach at nonprofit Break the Outbreak

Desi Poetry Reading Hits Home

Can you think of major experiences of your life and community, whether it is to celebrate birthdays or weddings, or to mourn a loss or even at the rituals around a funeral, without some music and song, be it folk traditions or prayer chants? Poetry is so seamlessly woven into our lives that we may turn to its wisdom by sheer instinct, to find what comforts and elevates.

The Indian epics of Mahabharata with the Gita, literally the song of the God, contained within it, and the Ramayana, or the more recent religious text from the five-hundred-year-old Sikh holy text, the Guru Granth Sahib, are all written in verse. These verses are memorized and still sung aloud or chanted privately, as they were before the written word was invented.

Poetry belongs in the community, especially now, as the world goes through these transformative times.

On June 30th, India Currents(IC) and Matwaala held a poetry reading event with five award-winning South Asian women poets addressing activism. Matwaala director and poet, Usha Akella, said that it’s time to bring poetry, a minority art amongst arts, out from the university halls and into the community.

Two of the poets read poems about the Nirbhaya incident of the brutal gang rape and subsequent death of Jyoti Singh, showcasing how poetry can be activism by bearing witness. Sophia Naz, a poet on the panel, described each poem to be an experiment and an act of activism. She sees the process of subjective meaning as a democratic act of a dialog between the poem and the reader. The activism is inherent in poems as the reader must engage to make sense of it, with the meaning changing with every reading. At the end of the 90 minutes, Srishti, IC moderator, said how she found the session cathartic and was glad that several poems gave expression to what she felt.

Poems read in community have a way of connecting us to our spirit and with each other.

This is the first in a series of articles for the new column – Poetry as Sanctuary. Poetry for the poetry lovers and the poetically curious in our community. The articles will be written by our diaspora poets who are from the FB group Poetry of Diaspora in Silicon Valley. This group meets weekly, on Saturday nights at 8:30 pm, to read and listen to poems, in all languages, with impromptu translations. We have poets who read in Hindi, Urdu, Bengali, Gujarati, Punjabi, Telugu, Sindhi, Farsi, Spanish, German, Japanese, Korean, and other languages.

About a half a dozen years ago, Mahendra Kutare, started meetups and formed a group that now goes by the name Kaavya Connections. Many of us met at the monthly gathering in San Francisco that Mahendra hosts. Three years ago, we started meeting once a month in Mountain View and has morphed into a weekly group since the shelter-in-place started in March.

Weekly social distance poetry meetup.

Although the group is open to all, it is not an open mic, since we are not a performance space. Ours is an art practice space for poetry lovers who have a deep and old commitment to poems. Unlike some other poetry groups, we do not expect or provide a critique of poems. Our intention is to connect people through the love of poems, and we end up co-creating poetic conversations. It is an affirmative space by intention, following the Hindustani tehzeeb (protocol/tradition), where praise for the poets attending a mushaira or mehfil, poetry recitation event, is called, ‘daat dena’, where the listeners repeat words that the poet says or ask the poet to re-read some lines (mukarar), as a way to set the pace and punctuate the poems with generous praise, by saying ‘Wah! Wah!’ (great!) or ‘irshad’ (repeat please), depending on the response evoked by the poem being read.

We will be in touch with poems, and until then check out the recordings of the event.

I can recommend Sophia Naz’s the United States of Amnesia, where you might find yourself wanting to soak up phrases like “I know the smell of Genocide” or “I have fallen in your uncivil war of a thousand and one episodes. This beast you thought you tamed? He prowls the profiled night wearing a police uniform.”

Zilka Joseph’s poems on 25 responses to everyday racism, or the ghazal about Jyoti Singh, were immersive and evocative. She calmly stated the obvious, “Poets, words are witness, make darkness burn.” I was taken by her simplicity.

I heard poems about mothers who lost their sons and a reminder that George Floyd was a spark that ignited cataclysmic events brewing for hundreds of years – “take a breath brother because you are more than 400 years of hate and hurt”.

Usha Akella’s phrase, “Sanskrit mantras in my veins” or the poem Enough demanding “bring back our caged children to a field of sunflowers” kept me wanting more.

 “How much of knowing do we need before we say it.” –  I poignant end to a thought-provoking session. I knew I was ready for the next reading, as soon as this one ended.

Thank you, Srishti Prabha and Kanchan Naik for using the IC platform to elevate these minority voices that speak for the disenfranchised communities. I look forward to the next poetry reading.

This article is part of the column – Poetry as Sanctuary – where we explore poetry as a means of expression for voices of the South Asian Diaspora. 


Dr. Jyoti Bachani is on a mission to humanize management using the arts, specifically poetry and improv, as a founding member of the Poetry of Diaspora of Silicon Valley, a co-founder of the US chapter of the International Humanistic Management Association and an associate professor of business at Saint Mary’s College of California.

Finding Our Voice: Desi Poetry Reading

To join the poetry reading on Tuesday June 30, 2020 at 6 pm PST and 9 pm EST, click the button below!

[button link=”https://ncc-zoom.zoom.us/j/97345591211?pwd=ekdQdnZ2ZFNJWkpXSkpsemh3b0dwQT09″ type=”big” color=”red” newwindow=”yes”] ZOOM Poetry Reading[/button]

With America on the precipice of landmark socio-political change, India Currents invites you to celebrate activism through a virtual poetry reading! This effort is in collaboration with Matwaala, a South-Asian poetry collaborative designed to provide immigrant and POC writers with a literary platform.

In their own words, Matwaala embodies “voices that dare to say the unsaid and hear the unheard…voices that break down barriers…voices that dare to be South Asian, American, and simply human.” Since their formation, they have hosted a number of poetry festivals and writing workshops. Most notably, they recently spearheaded Smithsonian’s Beyond Bollywood Project, where they created a Poetry Wall in honor of South Asian writers at the Irving Museum and Archives. 

Poetry has always represented rebellion — against injustice, against hierarchy, against the status quo. And this event, complete with live readings and a stimulating Q & A session, seeks to honor this sense of rebellion by addressing topics such as women’s rights and the Black Lives Matter movement. This discussion features an all-female panel of Desi poets, who will reflect on their own experiences to analyze these issues from an immigrant perspective. 

Poets: Usha Akella, Pramila Venkateswaran, Zilka Joseph, Sophia Naz, Monica Ferrell

Moderators: Srishti Prabha, Kanchan Naik

Use this ZOOM link to login.

To find out more about this event and its panelists, stay tuned for updates on our Facebook and Instagram!

Kanchan Naik is a rising senior at the Quarry Lane School in Dublin, California. Aside from being the Youth Editor at India Currents, she is also the editor-in-chief of her school newspaper The Roar, Teen Poet Laureate of Pleasanton, and Director of Media Outreach at nonprofit Break the Outbreak

“All Around Me Are Words…” at the Matwaala Poetry Wall

The South Asian narrative is always more than the sum of its parts. And the Smithsonian’s Beyond Bollywood project, a tribute to artistic metamorphosis and diaspora culture, serves as a beautiful reminder. The project was spearheaded by ThinkIndia and Matwaala, a poetry initiative designed to give South-Asian voices a platform. Matwaala has organized a number of initiatives, from cultural festivals to university readings to poetry anthologies. In their own words, they seek to represent “voices that dare to say the unsaid and hear the unheard…voices that break down barriers…voices that dare to be South Asian, American, and simply human.” Their name, which in Hindi refers to a sense of drunkenness or delirium, represents the self-liberating nature of Matwaala’s cause. In some of their previous readings, Matwaala poets have explored the nature of religion, healing, displacement, and the current socio-political atmosphere. This collective is home to prolific artists whose origins can be traced back to so many countries across the Asian continent. 

Since their formation, Matwaala has made waves in the literary scene. In 2017, the group launched their first annual Matwaala Big Read in collaboration with the Asian American Writers’ Workshop, which welcomed poets of all ages and experience. The event emphasized community solidarity in the midst of an increasingly polarized political climate. Hallmarks of the Matwaala festivals are perhaps what makes them so comfortably unique. At the Big Read, for instance, a poet-of-honor is awarded a Matwaala mug for their dedication towards poetry and encouraging the craft among others. It’s an interesting touch, a simple and yet thoughtful nod to poets who have spent their entire lives keeping the flame of verse alive. 

Directors of Matwaala , Usha Akella (left) and Pramila Venkateswaran (right).

The poetry wall at the Irving Museum and Archives offers twenty-four poems by twenty-four South Asian Diaspora poets, including Pramila Venkateswaran, Usha Akella, Amut Majmudar, and Ravi Shankar. The exhibit’s grand opening in February was followed by live poetry readings from Venkateswarana and Akella — the co-directors of Matwaala — as well as a conversation with ThinkIndia’s Ravi Srinivasan. 

When asked about their work with the poetry wall, the directors of Matwaala said, “For us, the poetry wall is a testimonial to the range of talent in diaspora poetry. Gustatory delights, environment, nature, music, art, travel, and poetry itself become instances for self-reflection, identity, and self-affirmation. This spread of twenty-four poems on a wall spanning the map of the US is a landmark exhibit in museum history. And that it is within the larger thematic herald of ‘Beyond Bollywood’ the Smithsonian project, is perfect. Diaspora poets are forging, tuning, and channeling words in poetic idiom true to their intercultural experiences. The poetry wall will always be one of our most relevant projects in addition to our festivals promoting visibility for South Asian talent that is inclusive not just of India but its neighboring countries. In a world becoming more divisive, there are some walls that need to be erected such as these bringing in its wake not boundaries but their collapse.”

This collaborative effort does not merely highlight South-Asian art, but rather the Desi experience as a whole. Smithsonian’s display proved to be as interactive as it was illustrative, complete with yoga workshops, dance performances, and musical demonstrations. What is beautiful about the exhibit is how the work forged a careful balance between the personal and collective aspects of the immigrant experience. While the poems themselves offer raw insight into the artists’ self-perception, the wall itself is designed such that each of the works is tied to a map of the United States. It’s an honest reflection of diaspora, a deliberate rejection of the marginalization that threatens to swallow our country whole. 

As an Indian-American poet, I find myself constantly navigating dichotomous cultures and finding myself between the cracks. The poetry wall resonates deeply with me because it’s a poignant commentary on art amid social and personal change. It’s perhaps the first wall of its kind, but I hope it won’t be the last. Matwaala’s latest project memorializes the development of South-Asian poetry and makes way for the voices to come.

To learn more about Matwaala and their work, please refer to some of their latest interviews!

Kanchan Naik is a junior at The Quarry Lane School in Dublin, CA. Aside from being the Youth Editor at India Currents, she is the Editor-in-Chief of her school’s news-zine The Roar. She is also the Teen Poet Laureate of Pleasanton, and uses her role to spread a love of poetry in her community.