It is laconic, not quite cynical, resigned yet nevertheless still searching sensibility that Nongkynrih fully realizes in Time’s Barter. Given his ability to convey multiple competing impressions within a few lines, Nongkynrih’s turn to Haiku and Senryu in the collection makes sense.
His work is a demonstration of how to rescue inauthentic from the jaws of reality. How to make spontaneous look orchestrated and vice versa – an art where so many rights are turned into one big wrong. He has mastered the skill to turn all conversation into a monologue, and then ignore one’s own voice, remove irresolution, and erase all personal music in the service of his war-like ‘humanism’
The refusal of Khilnani to question the very idea of India that somehow makes all 50 lives part of a large nationalist story indicates the limits of the entire endeavour. This is the limit set by a belief in the modern nation state of India. It is a limit because it then shapes the choices of the lives made, as well as the stories that are told about them.
Ri’s idea of justice and peace resides in the militants’ surrendering of arms and not in the State taking similar responsibilities.
Amar Kanwar began as a documentary filmmaker, later expanding his practice to multi-channel video installation. While he works strictly with documentary and archival images, Kanwar employs various methods of editing and presentation to exceed their immediate facticity, conjuring atmosphere, underlying motives, and furtive histories. This is a (re)viewing diary of Amar’s latest work The Sovereign Forest
It is fair to say that in any writing of the history of western music in India, Shillong would deserve a chapter. It is just that the writing of this chapter has become way too problematic – too many loose ends, too many grand unifying theories. The culture of western popular music in Shillong has no shortage of hagiographers. In fact most of the writing on this field has been gushy, uncritical and downright fallacious (there have been so many that it would be worthwhile to bring out a compendium of these).
Only aspect of this work that depicts matriliny and what it does to girls lies in the context behind the pictures. Without that background, this is, sad to say, a blatant exhibitionism of the girls of the village, culminating in a series that doesn’t quite capture the empowered status of these girls but antithetically subjugates them to the desired outcome of the viewer who in this case is Karolin Klüppel.