The last song

Discuss the theme of militarization and its impact on civilian life in The Last Song.

Temsüla Ao’s The Last Song powerfully portrays the theme of militarization and its
devastating impact on civilian life, especially in the context of the Naga people caught in the
crossfire of political conflict. The story is set in a remote Naga village during a time of
insurgency, where the Indian army’s presence becomes a source of fear, trauma, and
suffering for ordinary villagers.

The military enters the village under the pretext of national security, suspecting the locals of
harboring insurgents. What follows is a brutal crackdown, marked by torture, violence, and
the systematic targeting of civilians—especially women. The climax of this militarized
oppression is seen on the day of the church inauguration, when the army storms the village,
turning a day of peace and celebration into a horrifying massacre.

The story’s main victims, Apenyo and Libeni, become symbols of civilian casualties in
militarized zones. Apenyo, a young girl known for her singing, is raped and murdered, while
her mother Libeni meets the same fate when she tries to protect her daughter. The army not
only kills them but also burns the church, a sacred space, along with villagers hiding inside.
This transformation of a place of worship into a site of mass violence underscores the depth
of militarization’s reach.

Temsüla Ao critiques not just the physical violence of the army but also the psychological and
cultural destruction it causes. The trauma extends beyond death: the community, influenced
by patriarchal values and fear, refuses to bury Libeni and Apenyo in the village graveyard.
This reflects how militarization also corrupts social values, making people complicit in the
oppression of their own.

Through vivid storytelling and emotional depth, Ao reveals how militarization dehumanizes
entire communities, silences voices (literally, in Apenyo’s case), and reinforces systemic
inequalities. Civilians are not just collateral damage—they are central to the tragedy. Women,
in particular, bear the brunt of this violence, suffering not only from external attacks but also
from the social stigma that follows.
Ultimately, The Last Song is a haunting reminder of how militarization affects the fabric of
everyday life, leaving behind not just bodies, but broken communities and silenced stories.

How does Temsüla Ao portray gender-based violence in The Last Song?

In The Last Song, Temsüla Ao presents a powerful critique of gender-based violence through
the tragic story of Apenyo and her mother, Libeni. Set in a Naga village during a time of
political unrest, the story exposes how women become the primary victims of both
militarization and deep-rooted patriarchal norms.

Apenyo, the protagonist, is a young girl celebrated in her village for her angelic singing voice.
Her identity as the “singing beauty” symbolizes hope, innocence, and cultural pride.
However, this voice—representative of her agency—is brutally silenced when the Indian army
invades the village under suspicion of harboring insurgents. During this raid, Apenyo is gang-
raped by the soldiers, and Libeni, in a desperate attempt to protect her daughter, is also
sexually assaulted and murdered. These acts of sexual violence are not just physical
atrocities but also political tools used to humiliate and control the civilian population.

Temsüla Ao does not shy away from portraying the emotional and cultural destruction caused
by such violence. Apenyo’s rape is not only an attack on her body but also an attack on her
identity. Her voice, which was once admired, is forever silenced—hence the title The Last
Song. The silence following the violence becomes symbolic of how women’s trauma is
erased, especially in societies that discourage open discussion about sexual assault.

What intensifies the tragedy is the response of the community. Instead of mourning the
victims with honor, the villagers deny Libeni and Apenyo burial in the sacred graveyard,
implying that they brought shame upon the community. This reaction highlights the
patriarchal mindset that often blames victims rather than perpetrators. It shows how women
continue to suffer even after death, as they are stripped of dignity by both the state and
society.

Through The Last Song, Temsüla Ao exposes the double violence women face—first from
militarized oppression and then from cultural patriarchy. Apenyo’s silenced voice becomes a
haunting metaphor for countless unheard voices of women in conflict zones. The story
ultimately challenges the reader to confront not just the brutality of war but the social
complicity in perpetuating gender-based injustice.

Why were Libeni and Apenyo denied a proper burial?

Libeni and Apenyo were denied a proper burial by their own village community because of the
deep-rooted patriarchal mindset and the social stigma surrounding sexual violence. After
being brutally raped and murdered by soldiers during a military raid, both mother and
daughter were treated not as victims deserving of compassion, but as symbols of dishonor.

In many traditional societies, including parts of Naga culture as portrayed in the story, a
woman’s worth is often linked to her sexual purity. When that is violated—even through no
fault of her own—society tends to blame the woman, rather than the perpetrators. This
victim-blaming mentality leads the community to see Libeni and Apenyo’s suffering as
shameful rather than tragic.

Their refusal to grant them a burial in the village graveyard reflects how patriarchal norms
devalue women and punish them even in death. Instead of offering empathy, the villagers
uphold rigid moral codes that silence and erase the dignity of women who are already victims
of violence.

Temsüla Ao uses this act of denial to powerfully expose how social traditions can perpetuate
injustice, especially when they are influenced by patriarchal and conservative beliefs.

In what way does Temsüla Ao highlight the role of women in Naga society through the
story?

In The Last Song, Temsüla Ao powerfully portrays the role of women in Naga society by
focusing on the lives of Libeni and Apenyo. Through them, she explores themes of resilience,
motherhood, and gender oppression in a deeply patriarchal and conflict-ridden context.

Libeni, Apenyo’s mother, symbolizes sacrifice and maternal strength. After the early death of
her husband, she raises her daughter alone, nurturing her talent and spiritual values. Her
determination to protect Apenyo, even at the cost of her own life, reflects the profound
determination to protect Apenyo, even at the cost of her own life, reflects the profound
resilience of mothers in the face of danger and trauma.

Apenyo, a gifted singer, represents hope and feminine creativity. However, her rape and
murder by the army highlights the brutal gender-based violence women suffer during
conflict. What’s even more tragic is the community’s patriarchal judgment, which denies
them a proper burial, blaming them for their own victimhood.

Ao thus shows how Naga women, though strong and central to their families and
communities, are marginalized and silenced in both life and death. Through this story, Ao
gives voice to their struggles, celebrating their inner strength while exposing the deep
injustices they endure in both public and private spheres.

Comment on the significance of the title The Last Song.

The title The Last Song holds deep symbolic meaning in Temsüla Ao’s short story. It refers to
the final act of Apenyo, a young Naga girl known for her enchanting voice, who is chosen to
lead the choir at the village’s church inauguration. Her voice symbolizes hope, innocence,
and cultural identity. However, this voice is tragically silenced when she is raped and killed by
the Indian army during a violent crackdown. The “last song” thus becomes a metaphor for
the end of not only Apenyo’s singing but also her life, dreams, and freedom.

The title also suggests the broader silencing of women’s voices in times of conflict and
within patriarchal societies. Apenyo’s final song is never heard, reflecting how victims of
gender-based violence are often denied justice and dignity. In this way, the title encapsulates
the themes of loss, trauma, and the erasure of female identity.