A Brief History Of Adivasi Socio-Educational and Cultural Association (ASECA)

 

Pandit Raghunath Murmu created the “Adivasi Socio-Educational and Cultural Association (ASECA) in 1960 to promote santali script “Ol-Chiki”, santali culture, santali traditions etc. A dynamic force that is striving to uphold the rich cultural heritage and empower the indigenous communities that have long inhabited the region. The Adivasi Socio-Educational and Cultural Association (ASECA) stands as a testament to the resilience, determination, and unity of the Adivasi people. Through its multifaceted initiatives, ASECA is carving a path towards a brighter future while honouring the past.
 
Adivasi : Original Inhabitants
The term “Adivasi” translates to “original inhabitants,” reflecting the indigenous status of these communities. Spread across different regions of India, Adivasi communities boast distinct languages, cultural practices, and spiritual beliefs that have evolved over centuries. Despite their deep connection to the land and their valuable contributions to society, Adivasi populations have often faced marginalization, economic disparities, and limited access to educational opportunities.
 
History : Origin Of ASECA
The movement to promote Ol-Chiki spread widely. The scale of the movement was more in West Bengal. So we see that the West Bengal government considered Ol-Chiki script suitable for the Santali language and recognized it in principle on two dates in June 1979. However, it can be said that the local language or provincial  many people could not accept Ol-Chiki script due to being used to the script of the language. A storm of controversy arose. Although there are many debates about the script among the Santals, this much can be said, Raghunath Murmu was not a linguist. But his knowledge about language and phonetics had more direct knowledge than others.

Vision : To Preserving Language, Culture and Traditions
When Raghunath was in school as a child, it was very difficult for him to study in the Oriya language.  It raises questions in his mind as to why he is not getting the opportunity to study in his mother tongue.  He came to know that he is not getting the opportunity to read his mother tongue because he does not have the script of his mother tongue.  Since then, the idea of inventing a script for the Santali language came to his mind.  In fact, like Sadhu Ramchand Murmu, Pandit Raghunath Murmu also understood that the development of a nation is impossible without the development of literature and its own script is absolutely necessary for the development of literature.  So he stared work hard to create the Santali script and in 1925 Pandit Raghunath Murmu finally invented the script of santali language and named it ‘Ol-Chiki’.
 
Missionaries were Christian missionaries. They connected with the Santal community in the interest of evangelization.  Under their patronage, the educated Santals who were Christians, became familiar with the Roman script and practiced writing and reading the Santali language in that script.  A few lakhs of Santals outside the small number of Christians and educated communities did not have any problem with the script of the Santali language, because their contact with schools and colleges was very poor.  Later, when education spread among them little by little, the Santal students of Bengali, Bihar, Odisha who took the lessons of their mother tongue through the script of the local language i.e. Bengali in Bengal, Devanagari in Bihar, Oriya in Odisha. 
 
Then in 1925, Raghunath Murmu invented the ‘Ol-Chiki’ script for Santali.  In 1938, Ol-Chiki developed a wood printing machine for expansion.  At a meeting in Baripada in February 1939, Pandit Raghunath Murmu brought the printing machine of  “Ol-Chiki” to the public. From here the ‘Ol-Chiki’ campaign was actually begins. Pandit Raghunath Murmu got the support of Jamshedpur “Kherwal Zarpa Samiti”. Pandit Raghunath Murmu went to the “Swadeshi Type Foundry in Kolkata” and made the type of ‘Ol-Chiki’.  Under the initiative of Muniram Baskey, ‘Chadan Press’ was established and the publication of Ol-Chiki script started in small phase.
 
After that Pandit Raghunath Murmu created the “Adivasi Socio-Educational and Cultural Association” (ASECA)  in 1960 to promote Ol-Chiki. This organization spread in Odisha, Bihar, West Bengal and Assam. Along with the vision of preserving the language, traditions, and cultural heritage of Santal community.
 
The roots of ASECA can be traced back to a shared vision among Adivasi leaders and activists. Recognizing the need to protect and promote their unique identity, as well as to bridge the educational gap prevalent within their communities, ASECA was founded. The association’s overarching mission revolves around three key pillars:
 
1.      Cultural Preservation: ASECA takes pride in preserving santal cultural practices, traditions, and languages. By celebrating festivals, organizing cultural events, and documenting oral histories, ASECA ensures that these vital elements of identity are not lost to the currents of time.
 
2.      Education Empowerment: Education is a cornerstone of social progress, and ASECA is committed to breaking down barriers to learning for santali youth. Through scholarships, mentorship programs, and the establishment of educational institutions, ASECA is opening doors to a brighter future for young minds.
 
3.      Community Development: ASECA recognizes that holistic development goes beyond cultural preservation and education. The association is actively involved in initiatives related to healthcare, livelihood improvement, and environmental conservation within santal communities.
 
 
4.      Advocacy and Rights: ASECA is a vocal advocate for the rights of santal communities. The organization works tirelessly to ensure that santal have access to basic amenities, additionally ASECA lobbies for policies that address land rights and social justice issues, aiming to create a more equitable environment for Santal populations.
 
 
Publication : Written Books Of Pandit Raghunath Murmu
He conceived the Ol-Chiki script in accordance with those phonetic features. It is not impossible that there may be some errors in his plan but they need to be corrected and that can only be done under the kind advice of linguists.  Pandit Raghunath did not stop at inventing Ol-Chiki script to spread proper education of Santal race.  The children wrote about the future of the nation, with a compassionate mind and with special educational ideas and imagination in the illustrated children’s text book “All Chemed”. Swadeshi foundry’s own wooden type began printing first.  He made the wooden blocks himself.  The blocks themselves are carved with art forms of familiar animals or landscapes.  Sheep fighting, fox-goat wits fight, mice and jackals, old man teaching archery to grandson, flying kites, moonlit night, beautiful nature at dawn etc. He has depicted on wooden blocks with amazing artistry. 
 
·        The book “All Above” is also a children’s book.  A set of eternal truths or natural laws written to suit child psychology.  “Parsi Poha” is the primary form of Ol-Chiki script.
 
·        The emergence of the Ol-Chiki script in the “Parsi Apat”-book.
 
·        Health is the wealth for the development of the nation—this philanthropic idea is beautifully depicted in his play “Dare Ge Dhan”.
 
·        For children’s mathematics education written in Ol-Chiki script, addition-subtraction, multiplication and division etc. Is included in the book “Elkha”.
 
·        “Persi Itun” is the English teaching book written by him.
 
·        Pandit Raghunath Murmu wrote a simple grammar book “Ranarh” for learning the basics of Santali grammar. In this book, he has said some similarities between Santali language and Sanskrit language. 
 
·         “Bankher” the book about the birth-death-marriage policies of Santals.
 
 
·        The self-inquiry and motivational progress of the entire Santal race is depicted in the book “Raag Andorh”.
 
·        “We were born first, why are we lagging behind now” – Pandit Raghunath Murmu wants to take the people of the tribe to the roots of their own national beliefs.  He wrote the play “Kherwal Veer” so that the developing Santal nation, through the audio-visual form of his play, could get the inspiration of mass struggle – on the path of future generations.
 
·        “Sidhu-Kanhu” play is about the heroic aspect of the historical struggle led by Sidhu-Kanhu to protect the traditions of Santal society.
 
·        The play “Bidu-Chandan” is a very popular work of his.  Published in Oriya in 1942, Bengali in 1948 and Ol-Chiki script in 1952.  Pandit Raghunath himself staged this play.
 
·        Pandit Raghunath Murmu's didactic hymn book “Lakchar”. 
 
·        “Hital” is an epic of Santal which was published in three volumes.
 
Impact : On Culture, Traditions and Society
The impact of ASECA’s initiatives extends far beyond the santal communities it serves. By promoting inclusivity, understanding, and appreciation of Adivasi culture, ASECA contributes to the cultural diversity that enriches the tapestry of Indian society. Moreover, the educational programs initiated by ASECA not only empower individuals but also contribute to the socio-economic growth of the regions they operate in.
 
Challenges and Future Prospects
ASECA operates in an environment that poses various challenges, including limited resources, infrastructural gaps, and the need for continuous advocacy for the rights of Adivasi communities. However, the association’s successes are a testament to the dedication and passion of its members, who work tirelessly to overcome these obstacles.
Looking ahead, ASECA’s roadmap includes expanding its reach, strengthening its educational infrastructure, and collaborating with governmental and non-governmental organizations to amplify its impact. By leveraging technology, partnerships, and the global movement towards cultural preservation, ASECA is poised to create lasting change for santal communities.
 
Last Words
The Adivasi Socio-Educational and Cultural Association (ASECA) stands as a beacon of hope, not only for Adivasi communities but for all those who value cultural diversity, education, and inclusive development. Through its unwavering commitment, ASECA is redefining the narrative for indigenous communities in India, fostering a future where ancient wisdom and modern progress coexist harmoniously.

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