The pandemic has opened up a whole new, yet familiar backdrop of self speculation through my lens. The images chronicle the mundane setting around my own domestic space, featuring my family of six members and the choices I make to freeze moments for eternity. They have been created alongside many thoughts running through my restless mind during the lockdown appending my state of mind, my political stance, my privileges, my body image, my space, my relationships, my priorities, my future and how we would turn out after all this is over.
Torrential rains, this monsoon like every other has worsened the flood situation in Assam. This year already around 1.1 million people have been affected in 23 districts and the fatalities due to flood this year has gone up to 24 and counting. While the state administration is doing its best to tackle the situation, locals of villages near the rivers are being moved to safer places as their villages are being inundated by flood waters. Soon the public cry will be about the ineffectual bureaucracy and aid programs on the ground as lakhs of rupees will be once again spent and pocketed.
māti is a short documentary film (22 minutes) that attempts to understand this annual cycle. This film is in Assamese and English (with subtitles in English) and remains institutionally unfunded, made in partnership with the local communities by the river.
Cooped up in a little apartment in New York, Mir Suhail, Koshur (Kashmiri for the uninitiated) artist extraordinaire, has been struggling, like the rest of us, to make sense of the arcane pandemic. Perhaps the talented cartoonist’s art ensures that he has better tools at his disposal in this endeavour than most of us. On the other hand, he shares a burden all Kaesher (Kashmiris) must bear—the India occupation of Kashmir and the utter lack of compassion for and solidarity with Kaesher by most of the global community. That probably balances out any advantages his art might supply.
In a letter to the editor of The Shillong Times dated June 24, 2016, a member of the public addressed what he believed to be a nuisance caused by hawkers. He compared them to cow dung. In comparing the working-class community to cow dung, the author of the letter stripped them of their humanity and, in its place, assigned them bestiality or even worse ―what bestial nature itself rejected. After reading the letter, I thought, “These are not the women I know/knew.” As the great-granddaughter of a woman who sold moonshine/kyiad and the granddaughter of a tea seller (both of whom belonged to the unorganized sector of the Shillong working-class community) I knew differently. The working-class women I knew possessed ethics, morals and they also possessed that most human of attributes, dreams. If mainstream society refused to see them for who and what they are, then I had to do something about it. I had to write. Hence, apart from the obvious sociological implications this essay is also intended to unravel the human attributes of the women whose identities are, more often than not, concealed and made politically “savvy” by their being working-class.
This Graphic Novel contains the linkage between Tribal (khasi) folktales and Living root bridges construction. It also speaks about the cultural aspect of the matrilineal social structure, the myths and beliefs of the tribe, the geographical aspects and the materials used and the process of construction. When I was a school boy, the school library had a great collection of Comics, Graphic novels and illustrated books about Tin Tin, The Ramayana, The Bible, Japanese folktales, Celtic tales etc. Being inspired by these tales at such a young age, I had the passion to create a Graphic Novel that can communicate and narrate the stories of my land : The Khasi Hills. I hope with this graphic novel I can contribute at least a fraction if not a whole to my culture in sustaining and preserving it.
Despite Kashmir valley experiencing a crippling communication blackout for the last sixty days, with massive restrictions and curfew imposed, where it has impacted life beyond one’s imagination, one comes across the launch of a fashion campaign (Zooni) directed by Avani Rai for a label called Raw Mango. It is not just that the campaign is ill-timed and insensitive, but it does damage by further fetishing Kashmiri women.
Colonial politics of labelling communities have had disastrous consequences which continue to impact the lives of the colonized. Identities were created and circulated through this act which in turn had categorised, included and excluded the communities living in the colonial fringe. Karbis were labelled ‘heathen’, ‘worshippers of malignant demons’, ‘unwarlike’, ‘timid’, ‘coward’ ‘bloodthirsty’ and such other colonial vocabularies which continue to haunt them. Colonial authorities persisted with the misnomer, ‘Mikir’, over the ancient indigenous nomenclature Karbi and the label remained in force for centuries. Colonial categorisation of Karbis into Hills and Plains simply because of geographical locations continues to divide and distance the tribe psychologically, socially, culturally and politically. The colonizers however saw in the Karbis their ‘industriousness’ as it served the colonial enterprise.
Luz Almanza, Jaime Peña and Rocio Campos have more in common than living around the same football field, the site of one of Colombia’s most horrific massacres. On 16 May 1998, all three lost a family member. Their organizing in search of the disappeared and defiance of state impunity is what binds them.
“The Ken is considered to be one of India’s cleaner rivers. It is part of the Ganga basin and meets the Yamuna at Chilla Ghat in Banda District, Uttar Pradesh. To closely understand the Ken, this walk along the Ken was organised by SANDRP – South Asia Network on Dams, Rivers and People from Delhi and Veditum India Foundation from Kolkata. The difficult terrain of the Ken River and the harsh weather required this journey to be undertaken in multiple parts (June 2017, October 2017 and April 2018) and took 33 days to complete this over 600 km journey on foot, where they discussed issues of the river, water, agriculture, the proposed Ken Betwa project and other socio-environmental topics with villagers in over 60 villages.”
Born and brought up in Guwahati, I have a bond as deep as an umbilical cord with the city. Living outside the city and the state for almost fourteen years now, I have been through my academic and creative pursuits in the recent past, trying to explore non-mainstream narratives of Assam. This is a project that I embarked on since 2016 where I am trying to map the cityscape through my camera.
Northeast India is littered with concrete. From winding flyovers to towering churches on village hillsides to surveillance towers housing paramilitary forces, concrete is an integral to the region’s urban and rural landscapes and everything in in between. What can all this concrete tell us? What stories does it open up? What can questions about politics, power, development, and culture concrete rais
Six freelance photographers document the ‘Bhima Koregaon’ protests on the 3rd of January in Mumbai, representing themselves not as members of the mainstream press who clearly ‘not welcome’, but as people who wanted to document history in the making
Here is a place where it is a matter of pride to be casteist and a matter of pride to be against people who are not your own creed or clan. With relation to the current election, one thing I heard repeated over and over again by the people I met (privileged upper caste) was that Congress is a “Muslim” party and will bring back the riots of the 80s and we have already shown them their place on the other side of the river and we don’t want them back.
After receiving the recent accolade of “Festival capital of Europe” – Meghalaya gets its first participatory festival of BAD ROADS.
Tagging two of his friends, Mizanur Rehman, a young primary school teacher of Naskara Lower Primary School in lower Assam’s Dhubri district, uploaded a photograph in the morning hours of 15th August on his Facebook timeline. The photograph featured an elderly man, a male adolescent, and two toddlers saluting the fluttering Indian flag while murky flood waters rose upto their chest, threatening to engulf their salutations. By afternoon, most people had seen and shared the post, the image itself had been catapulted to the heavenly skies of social-media circulation. Detached from the original context, it moved freely as a lone object.
Remembering Prof Yashpal – Scientist, Progressive & Science Populariser
Souvid Datta’s work has always been problematic, that is independent of the recent plagiarism charges or the ethics of photographing a trafficked minor being raped. The fact that his work got to travel tells you all you need to know about the nature of what constitutes the photographic industry today.
Mrigank Kulshrestha’s photoessay on the journey of silk from the moth to fabric in Assam
Bhogtoram Mawroh ridicules the Right
STICKBOY EXPLAINS MEGHALAYA GOVERNMENT OFFICER PRIVELEGE
Download & Print 2017 Calendar for a taste of Shillong
#shillongFTW #touchmyself #kobornor #dorphang #kissoncheek #gothejob #meme
LBWWWWW ESCALATION!!!! #JustShillongThings. SHILLONG FTW reads the weather
The story of Nangeli is a disputed one. Academic historians have yet to find sufficient external evidence of the events the story describes. For me, the veracity of the facts is less important than the singular fact that the story exists, and continues to be told. It narrates the protest, anguish and anger of those who are excluded from the reach of our collective conscience because they have no text, and therefore no ‘history’. This comics story first appeared in Art Review Asia and is dedicated to Rohith Vemula (1989-2016), who, like Nangeli, chose death over a life of indignity.
Dear Raiot readers, after the year-end monetary megalomania of Modi-bhaiya, Bhogtoram Mawroh brings us some black humour as respite from the RBI madness.