It may be no more than an ironic coincidence that I had just finished reading Do Not Say We Have Nothing, a moving narrative woven around a family of Chinese musicians by Madeleine Thien—a compelling fictional critique of the Cultural Revolution, with its crude and class-reductionist understanding of ‘culture’, its indiscreet rejection of everything considered either ‘feudal’ or ‘foreign’, its near-absurd attitude to art and beauty and its unimaginably horrendous and violent attack on some of the best artists of China—when Outlook asked me to write a piece on the radical cultural uprising in Kerala in the 1970s led by the Janakeeya Samskarikavedi (People’s Cultural Forum), linked to the Marxist-Leninist movement. I am by no means making a comparison here; nothing of the sort that happened in China happened in Kerala, though the Cultural Revolution, which later turned out to be little more than a power struggle between two factions of the Chinese Communist Party, was seen with a lot of uncritical admiration by activist comrades, who had no inkling of the ground realities in China. With a slogan like ‘Chinese Chairman, Our Chairman’ and all the intellectual mimicry that automatically followed—like the launching of the cultural publication, Yenan (after Mao’s celebrated Yenan Forum talks) and the entirely mechanical and sectarian view of art and culture that the Marxist-Leninist party upheld—there was little hope that the movement would survive for long. And yet, creativity, as always, proved much stronger than dogma and produced some effective works of art whose impact travelled far beyond party circles.