This book reopens the debate on colonial nationalisms, going beyond ‘derivative’, ‘borrowed’, political and modernist paradigms. It introduces the conceptual category of samaj to demonstrate how indigenous socio-cultural origins in Bengal interacted with late-colonial discourses to produce the notion of a nation. Samaj (a historical society and an idea-in-practice) was a site for reconfiguring antecedents and negotiating fragmentation. Drawing on indigenous sources, this study shows how caste, class, ethnicity, region and community were refracted to conceptualise wider unities. The mapping of cultural continuities through change facilitates a more nuanced investigation of the ontology of nationhood, seeing it as related to, but more than political nationalism. It outlines a fresh paradigm for recalibrating postcolonial identities, offering interpretive strategies to mediate fragmentation.

This book reopens the debate on colonial nationalisms, going beyond derivative , borrowed , political and modernist paradigms. It introduces the conceptual category of samaj to demonstrate how indigenous socio-cultural origins in Bengal interacted with late-colonial discourses to produce the notion of a nation. Samaj (a historical society and an idea-in-practice) was a site for reconfiguring antecedents and negotiating fragmentation. Drawing on indigenous sources, this study shows how caste, class, ethnicity, region and community were refracted to conceptualise wider unities. The mapping of cultural continuities through change facilitates a more nuanced investigation of the ontology of nationhood, seeing it as related to, but more than political nationalism. It outlines a fresh paradigm for recalibrating postcolonial identities, offering interpretive strategies to mediate fragmentation.

This book serves as the corridor to one’s ‘self’. It began as a humble attempt to interrogate the performance history of Swadeshi Bengal. The burgeoning public space and audibility of voices hitherto unheard presented a two-way problem, for the colonisers, as well as for the colonised. The thinking mind that hid behind a facade of obedience suddenly appeared before all. The transparent veil separating the hidden from the manifest was torn apart. In the context of swadeshi and boycott agitation, performative spaces like theatre, jatra, and songs did not just serve as a forum for disseminating the notions of nationhood put forward by the intellectuals. The ideas gained a life of their own once they were placed in the performative space. Encompassing both the performer and the audience/recipient of the ideas, the notion underwent a change at various planes of consciousness. The notion of nation, as disseminated by the performances, acquired a different meaning at the level of enactment, and attained an entirely new substance when received by the audience. None of these exchanges occurred in complete passivity of any one party present in the performative space. Consequently, the emergent emotion of nationhood developed as a nuanced image of ‘self’. This book has tried to locate the beginning of that emotion of national ‘self’.

This volume serves as the corridor to one's 'self'. It began as a humble attempt to interrogate the performance history of Swadeshi Bengal. The burgeoning public space and audibility of voices hitherto unheard presented a 2-way problem, for the colonisers, as well as for the colonised.

Articles with reference to Bengal, India, and erstwhile East Bengal (Pakistan), now Bangladesh.

This work claims that there were many different nationalisms in colonial Bengal. It shows that Bengali Muslims were not opposed to Hindu-Muslim unity, but keen to work on this unity on a regional level. It also shows that Bengali Hindu nationalism was also not a homogeneous body of thought.