writings and visual art by women from
2019年2月12日 ペットThe Northeast is home to eight different states and multiple ethnic communities.We find similar theme being explored in Nabina Das’ ‘Chitro of the dung buckets’ , Jacqueline Zote’s ‘The other side of the looking glass: Retelling of Mizo folktales’ and Nitoo Das’ ‘How to cut a fish’. Parismita Singh has made an honest attempt to bridge the gap between the margin and the mainstream. It is either portrayed as an area of darkness untouched by civilisation and modernity or as a land of trigger happy insurgents.It will not be erroneous to claim that Centrepiece problematises this kind of misrepresentation.Mamang Dai’s short fiction.
‘The story of Tanik — the mythmaker’, which is an extract from one of her novels, deals with the implications of living in a society at the crossroads of tradition and modernity.In a globalised world where disseminating and accessing information have become so much easier than before, it is a matter of immense perplexity that majority of the people’s knowledge about the Northeast is still so painfully limited. The short story, Women’s literature, by Sanatombi Ningobam is a powerful critique of the oppressive structures of the patriarchal world that often silences a woman’s voice.The writing and art manage to delineate the complexities and contradictions associated with the Northeastern identity without exoticising the region or its people.
Representation of the region in the mainstream media remains trapped in stereotypes. In Moitra’s narrative, Dimapur is much more than a backdrop.Prashansa Gurung’s photo project documents the moments in the life of a stylist called Josie Paris who has left her home behind to work in the entertainment industry.Something common to most of the works included in this compilation is that they deal with the experiences of being a woman. Centrepiece, edited by Parismita Singh and published by Zubaan, brings together a diverse range of art and writings from the region. Assertion of identity by the “otherised” have taken the shape of violent armed struggle against the Indian state in many cases.11Shares.Edited by Parismita Singh, ‘Centrepiece’ brings to the readers stories of a region which still remains largely absent in the popular imagination.
Though all the works included in this book distinctly bear the imprint of the Northeast, they differ greatly in terms of their medium, style and tenor thereby highlighting the striking diversity of the region. In fact, many are of the opinion that even the term Northeast is a misnomer that downplays the diversity found in the region. The author paints a unique picture of the place, carefully highlighting the complex negotiations that one has to make in the course of their daily lives while living in the politically troubled district.In ‘The objects of everyday work: A photo essay’, Aungmakhai Chak subverts the established iconography for indigenous women by shifting the focus from the women’s body to that of objects of everyday work. Manipur-based artist Kundo Yumnam too deals with this same issue in her evocative self-portraitthat these authors do in their writings.Nandini Kalita is a Doctoral Fellow and a Teaching Assistant, Department of Humanities & Social Sciences, IIT, DelhiThePrint’s YouTube channel is now active and buzzing. Despite being an extremely heterogeneous space, recognisable markers of cultural, ethnic and linguistic difference in the people of the region from the rest of the population of the country often create a flawed notion about the Northeast being a homogenous entity. Her narrative will find resonance with all those who have migrated from the Northeast to other parts of India in search of better opportunities but feel disillusioned away from home.However, this term can also be an indicator of a shared identity and solidarity. Thingnam Anjulika Samom’s set of amusing poems aptly titled ‘China Sports Towel Suppliershashtag poetry’ shows how form and content of art too changes with changing times.Centrepiece through a wide variety of writings and images brings to the readers, stories of a region which still remains largely absent in the popular imagination. The picture of the region that emerges through the works included in the compilation is very different from the one that we find in dominant discourses. Gurung captures several images of Josie at work in Goa.The racial distinctiveness of the inhabitants of the Northeast often make them victims of a kind of “otherisation” in the rest of the nation. A photograph does not only serve the purpose of documentation but also goes on to shape our notions of what is worthy of being focussed upon. Please subscribehere. Aheli Moitra in her powerful essay “Naga neki” traces # her own journey as a journalist with a newspaper based in Dimapur, a district in Nagaland. Using textile art she recounts the story of her journey as a designer from the city back to her hometown and in the process perspicaciously underscores the contesting pulls of tradition and modernity that she experienced during this transition.Alyen Leeachum Foning’s contribution too is about the journey of self discovery.As the publisher’s note itself claims at the very outset, this edited collection of writings and visual art by women from northeastern India and “one or two of its neighbours” was conceived with the intention of addressing the marginalisation that the region faces.
‘The story of Tanik — the mythmaker’, which is an extract from one of her novels, deals with the implications of living in a society at the crossroads of tradition and modernity.In a globalised world where disseminating and accessing information have become so much easier than before, it is a matter of immense perplexity that majority of the people’s knowledge about the Northeast is still so painfully limited. The short story, Women’s literature, by Sanatombi Ningobam is a powerful critique of the oppressive structures of the patriarchal world that often silences a woman’s voice.The writing and art manage to delineate the complexities and contradictions associated with the Northeastern identity without exoticising the region or its people.
Representation of the region in the mainstream media remains trapped in stereotypes. In Moitra’s narrative, Dimapur is much more than a backdrop.Prashansa Gurung’s photo project documents the moments in the life of a stylist called Josie Paris who has left her home behind to work in the entertainment industry.Something common to most of the works included in this compilation is that they deal with the experiences of being a woman. Centrepiece, edited by Parismita Singh and published by Zubaan, brings together a diverse range of art and writings from the region. Assertion of identity by the “otherised” have taken the shape of violent armed struggle against the Indian state in many cases.11Shares.Edited by Parismita Singh, ‘Centrepiece’ brings to the readers stories of a region which still remains largely absent in the popular imagination.
Though all the works included in this book distinctly bear the imprint of the Northeast, they differ greatly in terms of their medium, style and tenor thereby highlighting the striking diversity of the region. In fact, many are of the opinion that even the term Northeast is a misnomer that downplays the diversity found in the region. The author paints a unique picture of the place, carefully highlighting the complex negotiations that one has to make in the course of their daily lives while living in the politically troubled district.In ‘The objects of everyday work: A photo essay’, Aungmakhai Chak subverts the established iconography for indigenous women by shifting the focus from the women’s body to that of objects of everyday work. Manipur-based artist Kundo Yumnam too deals with this same issue in her evocative self-portraitthat these authors do in their writings.Nandini Kalita is a Doctoral Fellow and a Teaching Assistant, Department of Humanities & Social Sciences, IIT, DelhiThePrint’s YouTube channel is now active and buzzing. Despite being an extremely heterogeneous space, recognisable markers of cultural, ethnic and linguistic difference in the people of the region from the rest of the population of the country often create a flawed notion about the Northeast being a homogenous entity. Her narrative will find resonance with all those who have migrated from the Northeast to other parts of India in search of better opportunities but feel disillusioned away from home.However, this term can also be an indicator of a shared identity and solidarity. Thingnam Anjulika Samom’s set of amusing poems aptly titled ‘China Sports Towel Suppliershashtag poetry’ shows how form and content of art too changes with changing times.Centrepiece through a wide variety of writings and images brings to the readers, stories of a region which still remains largely absent in the popular imagination. The picture of the region that emerges through the works included in the compilation is very different from the one that we find in dominant discourses. Gurung captures several images of Josie at work in Goa.The racial distinctiveness of the inhabitants of the Northeast often make them victims of a kind of “otherisation” in the rest of the nation. A photograph does not only serve the purpose of documentation but also goes on to shape our notions of what is worthy of being focussed upon. Please subscribehere. Aheli Moitra in her powerful essay “Naga neki” traces # her own journey as a journalist with a newspaper based in Dimapur, a district in Nagaland. Using textile art she recounts the story of her journey as a designer from the city back to her hometown and in the process perspicaciously underscores the contesting pulls of tradition and modernity that she experienced during this transition.Alyen Leeachum Foning’s contribution too is about the journey of self discovery.As the publisher’s note itself claims at the very outset, this edited collection of writings and visual art by women from northeastern India and “one or two of its neighbours” was conceived with the intention of addressing the marginalisation that the region faces.
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