Kuhaimaravasigal, those who left in large numbers, in poverty and from war, chased away from their mineral-full mountains, their water, land, displaced and as migrants, wander all over the lands, growing wings, tired of society and tired of being human. Rejecting the institutions and documents that are not for them they bring the word and voice of the open earth, with hope, in the dolls of the land, in the ancestors, in the Bharathwar (fisher) women who keep safe lands, beyond the seven seas and seven mountains. Through their pain and anger, sharing their hunger made meagre roti (bread) of the cave, speaking the language and wisdom of the ripe withering Bodhi leaves, Kuhaimaravasigal opens up a new politics of no borders.
When people are disappearing, when languages are vanishing, when seeds are lost, when people are becoming numbers, when people are being pushed, forced, into cities, as workers, for livelihood, for refuge, displaced, then it is this person, of the village, of the forests, of the mountains, rivers, trees and non-human life forms, who teaches and can teach, the ‘civilized’ in the modern city. Through local rooted cultural props, dolls, local ornaments, tattoos, local and indigenous musical instruments, all bound to the human body in daily life, they bring the village and vibrant life, to the city and its static and depressed life, speaking through their local craft. In the metro tunnels, the bridges, the high rise buildings, the symbols, and signs, of developments are the bones of the indigenous woman, chased away from the forest, working like slaves. Casting them away, using them, only to make the city infrastructural, it is everywhere that the city and its dwellers stand. In modern life, they are seen only as props, as machines, only needed to be stood on, with no space for dialogue with them. But, confronted, finally, with questions, of who I am, who the other is, the why, when, how and for what, of our existence, especially modern, and urban, it is the Kuhaimaravasigal who provide directions, non-anthropocentric, conversing, textually, visually and musically, using rooted cultural props of villages and forests.