Forgiveness, Reconciliation, and Individual Choice in Frames: "Limits of Change" Exhibition Illuminates the Forgotten Indo-Korean Peace Story —— M.D.Muthukumaraswamy

 Forgiveness, Reconciliation, and Individual Choice in Frames: "Limits of Change" Exhibition Illuminates the Forgotten Indo-Korean Peace Story

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 M.D.Muthukumaraswamy 

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Day before yesterday, on Monday, February 10th, 2025, I had the opportunity to experience the multi-formatted exhibition 'Limits of Change commissioned and presented by InKo Centre, Chennai, conceived and written by Parvathy Nayar and Nayanthara Nayar, and directed by Yog Japee, currently graces the Lalit Kala Akademi, Chennai, inviting audiences to an immersive exploration of a little-known history of India and Korea. 

Further details can be found at  https://www.inkocentre.org/limitsofchange.html   

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Historical Background:

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In the aftermath of the Korean War, the Custodian Force India (CFI), a brigade-sized unit of the Indian Army comprising nearly 6,000 personnel, embarked on an unprecedented and delicate mission. Dispatched in 1953 as part of the Neutral Nations Repatriation Commission (NNRC), the CFI played a pivotal role in managing prisoners of war (POWs). India's steadfast commitment to neutrality and its significant contribution to the NNRC positioned it as a central mediator in resolving the complex issue of POW repatriation that followed the Korean Armistice Agreement.

The CFI's mandate was rooted in the principle of non-forcible repatriation, a concept both novel and humane in the context of post-war prisoner management. Tasked with the custody of POWs who resisted returning to their homelands, the CFI was responsible for prisoners from all sides of the conflict – the UN Command, the Korean People's Army, and the Chinese People's Volunteers Command. Indian soldiers undertook the establishment and management of POW camps within the Demilitarised Zone (DMZ), bearing the sensitive responsibility of elucidating to the POWs their fundamental rights and diverse options regarding repatriation. This ensured each individual could freely determine their desired destination, be it North Korea/China or South Korea.

Leadership of the NNRC, and consequently oversight of the CFI’s operations, rested with India’s General K.S. Thimayya, with Ambassador B.N. Chakravarty serving as his alternate. The NNRC itself was a unique multinational body, reflecting the complex geopolitical landscape of the Cold War era. The challenges confronting the CFI were immense, navigating a charged political climate with divergent expectations from involved nations. While China advocated for the comprehensive return of all soldiers, the UN Command resolutely opposed forceful repatriation. The CFI skilfully navigated these conflicting demands, upholding the humanitarian principles central to the NNRC mandate. Ultimately, the efforts of the CFI, under the NNRC umbrella, proved instrumental in reaching a resolution to the contentious POW issue, significantly contributing to the establishment of the Korean Armistice.

Upon the successful completion of their mission, the Custodian Force India returned to a hero's welcome. A documentary featured in the exhibition showcases the rousing reception accorded to the returning brigade by the then Chief Minister of Tamil Nadu, Kamaraj, Governor Rajaji, and the Defence Minister of India. A poignant moment captures the soldiers visibly relishing the taste of home-cooked Indian food after their arduous deployment. In the aftermath of the NNRC and CFI mission, a small number of POWs, approximately eighty individuals, who resolutely declined repatriation to either of the Koreas or China, chose India as their neutral haven.

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“Limits of Change” Exhibition Spaces:

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In a compelling departure from conventional exhibition formats, "Limits of Change" unfolds as a multi-sensory journey, inviting audiences to traverse nine distinct spaces and delve into a largely unacknowledged chapter of history: the Indo-Korean connection forged during the Korean War. More than just a historical account, the exhibition, entered around the autobiographical narrative of Parvathy Nayar, daughter of Major Nayar of the Custodian Force India (CFI), masterfully blends personal story with historical occurrences, fiction with fact, to illuminate India's significant peacekeeping role under Prime Minister Nehru's leadership in the 1950s. In a world often dominated by narratives of conflict, "Limits of Change" carves out a unique space to explore themes of forgiveness and reconciliation, using innovative presentation techniques to resonate with contemporary audiences.

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Framing the Narratives of the Exhibition:

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The exhibition's unconventional structure is immediately apparent. Moving through nine carefully curated spaces, the audience embarks on a narrative journey that unfolds layer by layer. Within these spaces, a diverse range of presentation techniques converge to create a rich and immersive experience. One installation features boxes, reminiscent of building blocks in their uneven arrangement, displaying black and white photographs of soldiers. This visual framework, coupled with the multi-part poem “Firefly Prophecy,” which explores themes of forgiveness and peaceful reconciliation, effectively frames the exhibition's narratives. Beneath these visual frames, carefully selected objects are displayed, acting as tangible links to the past. Throughout this spatial and sensory journey, the poem "Firefly Prophecy" acts as a thematic anchor, its verses resonating within each space and subtly guiding the audience towards the exhibition's central theme of forgiveness.

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‘Turtle Messages’ in the Storytelling and Theatre:

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Adding another layer of intrigue are the “turtle messages,” a unique presentational element that, metaphorically speaking, embodies the slow, deliberate, and sensitive communication inherent in the CFI’s delicate mission. The actors portraying Curator P and her assistant skilfully employed “turtle messages” within their storytelling and theatrical interludes, imbuing the technique with a sense of transferred significance. For instance, the actor embodying Curator P would deliberately open a small wooden box, slowly unfurling a message, while the actor portraying the assistant curator would read from the aged pages of a diary, recounting events within the CFI-maintained camp. These actors delivered a commendable performance, holding the attention of the intimately sized audience. Director Yog Japee deserves praise for crafting an interactive storytelling theatre that was both engaging and sensitive. With great consideration, the assistant curator announced at the outset the description of a violent scene within one of the spaces, thoughtfully offering audience members the option to step out momentarily. The interactive storytelling beautifully integrated the subjectivities of the POWs, inviting audience members to respond with “yes” or “no” to questions regarding repatriation, rendering the “turtle messages” a particularly impactful element. 

While the infographics displayed on the passage wall appeared densely detailed and somewhat cluttered, this may have been unavoidable given the breadth of information. A closer look during the guided tour revealed that the infographics extended beyond the 1950s, the exhibition’s primary period, and traced events into the 1970s.

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Personal and the Historical:

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At the heart of "Limits of Change" resides the deeply personal story of Parvathy Nayar and her father, Major Nayar. The exhibition bravely interweaves Parvathy Nayar’s autobiographical exploration with the historical reality of her father’s service within the CFI. Sri Nandan Prasad’s seminal work, “History of the Custodian Force (India) in Korea, 1953-54,” published by the Historical Section, Ministry of Defence, Government of India in 1976, corroborates Major Nayar’s participation as an officer within the CFI brigade. This skilful blending of personal and historical threads allows the exhibition to tap into the emotional core of the CFI’s mission, offering a profoundly human perspective on a large-scale international undertaking. Through Parvathy Nayar’s intimate lens, the audience gains access to the enduring legacy of the CFI, moving beyond conventional textbook narratives to engage with the lived experiences of those directly involved. Adding further dimension, the interactive storytelling element, featuring Curator P and her male assistant as narrators under the direction of Yog Japee, breaks down traditional exhibition conventions, fostering a more dynamic and participatory engagement with the exhibition's central themes.

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Artistic Objects in the Exhibition:

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The exhibition incorporates diverse artistic objects, varying in their modes of reference. From the starkly literal barbed wire evoking a prison wall to a symbolic sculpture of human figurines scattered on the floor, the artistic references span a spectrum from the literal to the profoundly symbolic, juxtaposing beauty and horror. Notably, the installation of paper origami birds spiralling upwards into a tree and the seeds archive stand out as aesthetically profound and deeply moving in their conveyed messages.

Ultimately, "Limits of Change" transcends a mere recounting of historical events. The exhibition resonates deeply with the intertwined themes of forgiveness and reconciliation, concepts powerfully underscored by the recurring motif of the "Firefly Prophecy" poem. By illuminating the often-forgotten Indo-Korean connection, the exhibition underscores India’s historical commitment to peacekeeping and its proactive role in fostering global peace under the leadership of Prime Minister Nehru. In a world still shadowed by conflict and division, "Limits of Change" stands as a poignant reminder of India’s historical contributions to peace and the enduring power of forgiveness and reconciliation.

By prompting profound reflection on forgiveness, reconciliation, and the fundamental importance of respecting the choices and rights of prisoners of war in the aftermath of conflict, "Limits of Change" leaves a lasting impression. It urges viewers to contemplate the enduring relevance of India's peace-centric approach on the global stage. Emerging from the exhibition, one is left to ponder the lives of the approximately eighty POWs who chose India as their home. Their stories, though largely untold, serve as a powerful epilogue to the narrative of the Custodian Force India, emphasising the enduring human consequences of conflict and the profound value of respecting individual choices even in the most challenging of circumstances.