As Baghjan burns I find myself (almost like everyone of us) entangled in heap of anxieties that comes from my association and experience with societies and institutions across the region. As Baghjan is not a case in isolation I find myself compelled to inform what cause my anxiousness. I should add, reliving and writing the self is not always a happy exercise even when one knows one is politically and morally obliged to do so. Yet, I write because much about Baghjan will be determined by what we choose to see in the sufferings and loss. What we see determines how we respond, how we care and for how long. It will decide what we will fight for in the various phases of its healing/curing. It will tell us when we will choose to withdraw our love and responsibilities.
On December 15th 2019, the Sri Rama Vidyakendra High School in Dakshin Kannada, staged a play with its children, in which the demolition of the Babri Masjid was enacted. In a scene that has gone viral on the internet, the children are seen to be screaming “Jai Shri Ram” as the set collapses and a narrator on a loudspeaker eulogises this moment claiming that the devotees of Hanuman have brought this structure down with whatever they could find.Kalladaka Prabhakar Bhat, who is the owner of the school and a leader of the Rashtriya Swayam Sevak Sangh (RSS) has gone on record saying he was proud of the students and more such programs are planned in the future.
Contrast this with a play that Bidar’s Shaheen School staged opposing the controversial CAA bill. Although the text has not been made public (only an excerpt is what the author has had access to) at one place , allegedly a question is asked about what will happen if the Prime Minister Narendra Modi comes to ask for papers, in response to which someone says “Chappal se Maro“ ( hit him with slippers), which could be a literal dialogue or more commonly in Hindi / Urdu usage it refers to the act of shunning someone completely for the ridiculous nature of their proposition. The meaning rests in the proposition than in the literal image. In this case, the police issued a notice to the school.
One of the first ethnographic accounts of Ka Shad and Pomblang of Hima Khyrim was by Fr. Christoph E Becker SDS who served as the…
Absolute ‘consistency’ is perhaps not a desirable quality and much more so with questions and figures of culture. But Bhupen Hazarika’s jajabor/nomadic inconsistency, and so perhaps the ups and downs of the journey of those whom he sang for and about, is historic. Riding on the energy of the communist-led peasant uprisings which lasted up to the mid 1950s in Assam, Hazarika’s radicalism borrowed directly from the ‘people’s singer’, the communist legacy of Comrade Bishnu Rabha and Jyoti Prasad Agarwala…
With the ever more naked rightist turn in the political life of Assam’s middle classes in the late 1990s, Hazarika followed suit. With the formation of the NDA government (Asom Gana Parishad or AGP was part of the coalition) in 1998, his political journey came to its culmination with viewing the rabidly communal RSS as the authentic agent of social transformation. He even contested a Lok Sabha seat from Guwahati (which he fortunately lost) on a BJP ticket in 2004, with its cadres blaring his humanist plea ‘mahuhe manuhor babey, jodihe okonu nabhabey…bhabibo kunenu kuwa, xomonia’ (‘if man doesn’t think of man … who will?’) on their election vans…
On August 15, 1947, when India gained independence, Bishnu Prasad Rabha led a black flag demonstration in a village named Dighelia, shouting “Ye Azaadi Jhootha Hain, Sirf Chamra Ka Badal” (This freedom is a hoax : only a change of skin), and he was promptly arrested and put behind bars. After he was released, Rabha went underground for years – presenting a serious challenge to the establishment. He took up arms and engaged in guerrilla warfare against the government.
Entering Ri Bhoi is the first sign for me that I have come reached home. It was not just the low hills and the wide valleys nestled within them that elevated my heart but the sight of the shops littered along the highway and the people sitting inside them. Stopping and having tea and jingbam in these shops is one of my favourite moments of the journey.
It is very hard to actually begin to categories and study Khasi Comics. It is an even harder task to actually find the copies of these comics. However, if you are fortunate and lucky enough to find such comics, you become a privileged witness and an amazed observer to the history of the comic book in Meghalaya; specifically the Khasi Comics. In Meghalaya, the comic book art form is very young; starting approximately around the 1980s and from that period until the present date, very few works have emerged.
Roads arrive with an announcement of some form of modernity. Roads arrive with the spirit of the State. Roads arrive with the echo of the law.
The Anime Culture which comprises of people who follow anime mainly from Japan, Korea and China is a growing trend that can be seeing all over the world and slowly but surely touching even in this part of the world especially in Mizoram, Nagaland, Meghalaya, and Arunachal Pradesh. Different organisations like Project Z.E.R.O, Nagaland Anime Junkies, NEOtakus, etc are slowly spreading this new culture through different events such as Cosplay Competitions, Anime Meets, Anime Cons, Comic cons, etc. For those who are already keen followers of this new cultures must have had experiences where they are shunned by friends, society and even their own parents for simply spending too much time on these ‘kids’ show but I say why not? This is not a review of each anime or Director as that would take more than just one article to do justice to each of them but just a gist of what each has to offer to its viewers
It was early July 2013 that we descended to a village in Raid Tyrso, looking for the remaining fragments of the Lakympong Dance in individual and collective memories of people.
I remember a time back when I was in Catholic school; I was speaking in my mother’s language, Khasi during break time. A teacher walked…
I Bah Webster Davies Jyrwa i kren Maitphang ha ka ‘KA MARYNTHING RUPA’ jong i Bah L Gilbert Shullai kaba i thoh shaphang ka put ka tem, ka rwai ka siaw ha kito ki por mynbarim mynbajah bad ka jingiaid lynti ki nongtem ka Jaiaw Orchestra bad ki paralok jong ki.