Language Movement
The Language movement was a political and cultural agitation in East Pakistan that centred around the recognition of the Bengali language as an official language of Pakistan and a broader reaffirmation of the ethno-national consciousness of the Bengali people. Discontent against Pakistan's "Urdu-only" policy had spilled into mass agitation since 1948 and reached its climactic strength after police fired upon and killed student demonstrators on February 21, 1952. After the creation of Pakistan in 1947, the central government under Muhammad Ali Jinnah ordained Urdu to be the sole national language, even though the Bengali-speaking peoples formed a majority of the national population.He did so because Urdu was a neutral language;not the mother tongue of any one of Pakistan's ethinicities. The policy, compounded by sectional tensions served as a major provocation of political conflict. Despite protests in 1948, the policy was enshrined into law and reaffirmed by national leaders, including several Bengali politicians. Facing rising tensions, the government in East Pakistan outlawed public meetings and gatherings. Defying this, the students of Dhaka University and other political activists started a procession on February 21. Near the current Dhaka Medical College Hospital, police fired on the protesters and numerous protesters, including Abdus Salam, Rafiq Uddin Ahmed, Abul Barkat, and Abdul Jabbar were killed. The deaths of the students served to provoke widespread strikes and protests led mainly by Bengali political parties such as the Awami League (then Awami Muslim League). The central government relented, granting official status for Bengali. The Language movement served as a catalyst for the assertion of the Bengali cultural and national identity within Pakistan.
Read more about this topic: Bengali Nationalism
Famous quotes containing the words language and/or movement:
“The writer’s language is to some degree the product of his own action; he is both the historian and the agent of his own language.”
—Paul De Man (1919–1983)
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (1878–1979)