Police Brutality, Custodial Torture

Examples of police brutality which escape the medical attention:

1.On the floor was seated a screaming, half-naked man as two men were stretching his legs apart, while one man twisted his arms backwards and immobilised his back with his knees. We, the beginners, were gleefully ‘enlightened’ that this technique of unnatural joint movement would not leave any visible injury marks on his body even if he managed a medical examination later.

2. Cops loved the ‘roller treatment’ in which a smooth wooden roller was placed on the thighs of a prostrate victim. Then two cops stood on the roller as it was rolled forward and backwards was excruciatingly painful but left no marks.

3. A popular, filth-free technique involved giving low-voltage (approximately 80 volts DC, produced by a hand-cranked generator) shocks to the testicles of a man. Kashmiri author Basharat Peer has narrated horrifying stories of this form of torture in his book Curfewed Night. Many victims suffered permanent damage; most of them could not muster the courage to approach doctors out of shame and spent their lives in mental agony.

4. One old-timer proudly told me he had invented a technique of masking powder marks on the dead body if they had to kill someone in a fake encounter. A wet towel placed on the body of the victim blocked the muzzle flame as well as trapped the un-burnt powder particles!

Words: @_sword_with_floral_dots_
Drawing form gray Book

 

Nine present and former Jadavpur University students were arrested and allegedly severely beaten up on the night of February 7 by police at Narendrapur on the southern fringes of Kolkata, when they were holding a deputation against police action against a Dalit civil society activist. The students were protesting against the detainment and questioning of Dalit civil rights activist Sharadindu Biswas by Narendrapur police on February 4, which they felt amounted to harassment and a curb on the freedom of expression.

Source: https://t.co/mHHSpUdHLB

 

43rd exhibition of "pat o tuli"... Organized by the halisahar cultural organization.

“What is an Author -what is an artist''

Title- untitles, medium- organic pulp, 2020
 

Michel Foucault in this particular context could be considered a theorist of history and also a post-structuralist thinker, it’s very difficult to definite him to a particular school of thought. We can consider him as an augural figure of a school thought by himself. In his lifeline, it is important to draw a number of ideas, and methods from a range of schooling traditions from Marxism, literature, phenomenology,history, etc.   

In “what is an author” Foucault uses the term “Author Function” a concept that primarily replaces the idea of the Author a portion, and this essay is a response to the criticism of Foucault’s use of Authorial figures in different discursive clusters in the order of his critical writings. In the process of this criticism, Foucault also theorized the function of the author in a pre-given discourse. “The question of the author demands a more direct response. Even now, when we study the history of a concept, a literary genre, or a branch of Philosophy, these concerns assume a relatively weak and secondary position in relation to the solid and fundamental role of an author and his works”. Foucault tries to also tell us the figure of the author, how prominent in the western traditions and is often invoked as a stable entity, that we have to revisit. There’re many ways in which we could read and discourse about the author’s socio-economic state, but Foucault also tells us in the essay to stay in a none relationship between the author and the text, it can also seem the author also stays out of the text. What Foucault trying to assert here, in the era of modernism and postmodernism any kind of authorial attention has been set, so that means the composition or the act of writing claimed to capture reality and represent the scientific explanations, it’s no longer staying scientific frictions anymore. In the modern era authors not only lives in any frictional reality but they also work with various languages and push the limitations. So, the writings and get more about, what language does and within that how the act of signification is worked and how the author’s functionality and the “act of writing” are changed. Writings are no longer to capture something and represent a particular sign. Now it comes to redder to receive the nonrepresentational existence of author in the texts or narratives, is the primary task to erasing author themselves from narratives and employing the languages and the playfulness to establish the narratives takes over its own from.

The idea of the Author’s functionality is a concept that primarily Replaces the idea of the author as a person, and instead refers to the discourse that surrounds an author’s body of work. When it comes to the case of recognition that authorship and the different values and meanings associated with the cultural products vary widely from time to time and also signified place or sudden space. For example, scientific texts are mostly valued for their content rather than their authorship, while in the case of literary texts and authorship becomes the most interesting aspect of the work. According to Foucault, critics invent a variable idea of an author and of authorship that depends entirely upon their preconceptions.

A major contribution of Foucault is that he developed the idea of “discursive” or specific in this paper discursive formation as an alternative conception of orthodox theories and ideologies in his contemporary time. According to Foucault, a discourse consists of the whole range of related utterances that shape a particular question, of the field of thought and inquiries. discourses’ produce a kind of knowledge and illusion of powers, and they follow the orthodox and rules. In the case of an artist or art-practitioner, the discursive formation into which they fit includes not only their statements but also the critical writing on their work, popular representations, and myths are institutional conditions of stern categories. There’s also a tendency of the institution to incorporate and legalize the general ideas about art and artists. art practice as a form of human understanding whose cognitive processes are delivered through various language mediums and contexts which are often used to separate and make meaning from images and objects. ‘Artists’ and other places where artists choose to create an object of art or other such places chosen for the creation of a critique for the emergence of new ideas, are theatrically powerful and methodologically represent robust sights of inquiry. Any kind of drawing and sketch has the agency to argue about the way of taking an account of art practice.

So, what does Foucault’s account to the idea of the author a stable point of origin a concept of the fundamental model of the artist and the genre of the art history? Those critics are invested in the idea of the author as the utility of meaning, a stable entity who precedes and originates the wok by depositing any closer significance into it. According to Foucault, it can assume that the idea of the author is fiction invented by the critic to provide a unifying principle that sets limits on the text’s infinite meanings. There the author contains the theatres posed by the work complexities also here author serves to naturalize or generalize those contradictions and structures, through repressive stracture4s of power.

 

 

Bibliography

 Akbar Naqvi. 2010. Image & Identity Painting and sculpture in Pakistan. 2nd. Edited by Ameena Saiyid. Vol. 2. 4 vols. Karachi-74900, Karachi, no 38, sector 15, orange Industrial area: Oxford University Press.

Edward Lucie-Smith. 2019. ART TODAY. 3rd. Edited by Edward Lucie-Smith. Vol. 4. 6 vols. LONDON, LONDON: ART TODAY.

Graeme Sullivan. 2010. Art Practice As Research inquiry in visual arts. Edited by Diane McDaniel. Vol. 2. 3 vols. London, 55 City Road: sage. Morris, William.

Natta Community and Their Cultural Practice

Jit Natta M.Phil., Sem-I   

Jadavpur University, Department of Comparative Literature

2022

 

With historical shades of evidence in the late 17’th century “Natta Community” migrated and arrived at Barisal jhalo2- Kathi, Bangladesh, in pre-independence era. In this paper, I address the historiography to revisit community peoples and their cultural and social practices to trace the history, of where they came from before the 17th century before arriving at Jalokathi. From government of Indian cast records, we can find also similar communities named “Natt” community they also had the major history of migration over the Madhya Pradesh and Maharashtra. From” Natt” community some villagers are over the those who were also engaged with cultural practices folk theatrical and musical practice, so it can assume it’s not error of history, but the accounts lying under the hegemonic understanding of culture. In the early 18th century after many migrations, there was a shifting paradigm of the economy and social dominance they noticed by their actual talent, not fishery this time, traditional practices of the” Community” folk traditions of performative arts like popular theatre, musical performances. Soon there noticed by the native feudal lords and cogmen community members “Natta” and shifted them to an isolated land named machrong village, it was an obvious thing on behalf of the cultural practices they were also treated as other Dalit and Namasudra communities. As well as “Community “get some major mobilization around the native area of Barisal and letter all over the east-Bengal. Around the same time, the community members who are engaged in theatrical and musical performances were often invited to perform Jatra, koban, jorigan, kiKirtonroyani, kawali, etc. which are one of the finest examples of Bengal folk traditions. From ‘Gandarvalok’ written by Haridas Chakroborty, 1978 and oral interviews of community members, it can be assumed that after the 18th century within the traditional practices British cultural influences are started getting visibility, with accumulating musical instruments and performative aspects of theatrical forms which then raised debates within the inner community circle and their ethical sheds and religious values. In the late 16th century, were many incidents of massive attacks on Baul, Fakirs, and other marginalized religious ideologies, they took to participate and collaborate with the native cultural practices. It also seems in the late 18 th century there theatrical trup called nagdutta sindha ray company, with is a very popular opera house in Bengal before partition, in many folklores and oral traditions of east-Bengal many fallacies are also separated by nagdutta singjharay company as a big group of performers. In 1902 century, it started to get abolish the vastness of the collective and one new fraction was come up named’ Thakur company’, but in 1912 Tagore company closed, but the fourth and one-half partnership was owned by Natta Community’’ is remained, and Baikuntha Natta claims and moves towards to create another fraction. In 1913 Baikuntha Natta and Sri Natta stars the matching Baikuntha sangeet samaj, in native oral traditions it’s founded as the name of “Natta der dhal”. If we put much focus on history collective practice it can seem it was going from major separation and fractions, after many debates and contradictions in the leadership of Sasi Natta and surja Dutta successful to lunch Natta company as a group of popular theatrical and musical performances. At that time Sasi Natta was the manager and Nakul Dutta was the director and Surjo Dutta was a dance teacher in “Natta Company”. In 1916 in Midnapur Natta company performs with the idea of the 3rd Visual as mentioned in ‘’‘Gandharvalok’’written by Haridas Chakraborty. Sri Natta takes the term “Tritiya Mancha” as a strategy of performance, In an interview with Makhanlal Natta in 2013, documented by Shantanu Maitra. According to Makhanlal Natta, They tried this kind of method from traditional times and that is similar also in many indigenous performative traditions. According to Makhanlal Natta Tritiya Mancha works in the middle of the ordinary public those who are busy with everyday life, by using these kinds of performing methods are intentionally formed to asset their viewer space and say what u want to say. even The Community had its group of ‘Lathials’ for the protecting community in the time of long waterway journeys to the far land, 1913 they started to going other major Areas In India to attend their performances. In 1920 Natta company started shifting towards West-Bengal in 1937 Natta Company shifted on Calcutta shova bazar, in this time Sasi Natta was in charge of Natta company. In changing circumstances, the ‘Natta’ community witnessed much exploitation during the Bengal partition. The majority of the ‘Natta’ population migrated from East Bengal to West Bengal and started their struggle as refugees. Borders of any kind physical or mental, represent a deviation of humanity from itself. As a creative practitioner my attempt to relocate the practice endorsed by my community into a contemporary realm. In the late 18th century community successfully launched ‘Natta Company’, a ‘Jatra’ group in East Bengal, operated as a folk theatrical group and started to perform all over the rural areas and cities of British occupied India. Around the same, time the community members who are engaged in theatrical and musical performances were often invited to perform kobigan, jori Gan, Kirton, royani etc. which are one of the finest examples of Bengal folk traditions forms. From oral interviews of community members, it can be assumed that after 18th century within the traditional practices British cultural influences started getting visible, Boikuntha Natta and Joggeswar Natta formed the inner schooling system of ‘Bara Bari’. In pre-part the edition era, the ‘Natta’ Community started to travel all over Bangladesh and India. The post-partition times it can seem the ‘Natta’ community successfully established the ‘Natta Company’ again in the Sova Bazar area. It started to perform at various theatres and opera houses the likes of which include Star Theatre, Minerva Theatre, Mohaand jati Sadan, and Rangmahal Opera House. The countryside and marginal locations too had their presence. During the 19th century they had already established their popularity in the northern side of Odessa, Bihar, Gujarat, Madhya Pradesh, UP, and Tripura. Many industrial intellectuals like Girish Ghosh and later Utpal Dutta, Satyajit Ray also collaborated with the community and gifted some major influential popular plays like ‘NotiBinodini’ ‘OkalerDesh’ (1943), ‘Poroshmoni’ (1948), ‘Pabon’ (1960) e.t.c. If one seems to follow the scripts of popular plays organized within the wing of ‘Natta Company’ chronologically, one would notice that the performances have started to shift their basic contents to regional context displaying social and domestic environments inherent in the same cultural context. Natta Company thus became popular in Kolkata. Social and political contents become more relevant and drew mass audiences, and most significantly matched the aesthetic of mass culture. The mainstream cultural industry however had always played the dominant role in suppressing the targeted voices of dissent. The industrial revolution and colonial hangover introduced the post-internet era to cultural industry, noting down the shift in the paradigm in popular culture. Slowly folk theatrical forms and others as she started to fade away with time. The practitioners of those groups, as a result, scattered around and started changing their profession. My son, therefore, re promises to revisit the inner community struggles- their experiences of violence, regional hegemony other und working areas. Comparative literature can be defined as an interdisciplinary, cross-cultural, and transnational literary analysis. here we can say the study of literature and other art forms, are beyond the conflicts of one particular country or state. It also allows itself to study other areas of knowledge and creative expression of humankind, such as the arts (painting, sculpture, graphics, drawings, installations, graffiti, performance art, etc.) philosophy, history, the social sciences, (politics, economics, sociology), etc. on the other. Comparative literature also has an ideology of inclusive other disciplines. like marginal literature and its several meanings of marginality, various zoners of text and oral traditions etc. Here it can be also seemed the scope and the rage have been constantly reviewed and revised, since the 60’s new possibilities and alternative thought of Eurocentric biases had been emerging from cultural studies and by the uprising of post-colonization enforced a radical revaluation and decanonization of literary texts and other forms of creative practices. This movement triggered a major border shifting of comparative literature, it also crosses the line of hierarchy and also drew the line between high and low, also in canonical and popular literature as well. It is necessary to look at how cl get a much wide escape by collaborating with other arts and cultural studies. Exploration of literature and other arts manifests itself, it’s a genuine possibility only then the experience or suffering literature and other art forms take to the viewer or reader to a horizon of experiences and expectations. Cultural studies were primarily concerned with common objectives and everyday life and popular culture, it is concerned with everyday visuals, to films theatre, and television as multimedia interfaces. It also addresses the question of identity, cast, class and ethnicity over the marginalized area of literature and other arts.it also measure the line of common scenic knowledge more critically, it also interrogates the social hierarchy and dominance of class cast and gender and their hegemonic exploitation over the majority. The major objective of cultural studies is popular culture because it provides important clues to understanding the structure of domination in society. In the context of India from centuries to recent decades, register lots of information about the persecution of the followers of different ideologies which questioned the hegemonic position of the dominant ideological discourses along with the societal structure and the conditioning which facilitates that position. Such instances of atrocities brought down upon the subjugated ideological positions found their existence in various folk tales and even Haridas’s in‘Gandharvalok’ mentions it. Contemporary times are no stranger to such repression treatment of marginalized communities whose legitimized exploitation by the Brahminical forms. ‘Matua’ move, though minor, is still a pioneer Namkasudra movement of the 18th century against feudal lords for establishing their fundamental rights and social recognition. Harichand, the leader of the ‘Matua’ community, in his lifetime, successfully established more than five thousand Madrasas as mentioned in ‘Gurulilamrito’ written by Guruchand, the son. In the ‘Natta’ community, the kind of leaders, aforementioned are a regular reference within the discussions of oral history and texts; for example, Haridas had mentioned Gadadhar Gosai as a religious leader who then gets revered as the main ideologue of the community. After partition, the ‘Matua’ community and ‘Natta’ community parallelly shifted to North 24 pgs. My further research work will have a mixed approach as my research Methodology- ‘Gandarvalok’ written by Haridas Chakraborty in the 18th century concerned as the primary text. The Various kinds of drawings, posters of popular plays, audiovisual interviews of the members of the community who are presently within the practice, an oral history about the displacement of the community, play scripts, and lyrics composed within Natta Company’s patronage and labeled as ‘popular’ works will also be important to measure aesthetic reliance around ate visual and the literary texts. In this paper I want to relocate the changing themes of Natta company was changing their prating paradigm through the time early 19th century to late 19th century to inquiry the themes of various plays from east-Bengal through the partition and migration how the popular themes are remarks and cross the dominant hierarchy in the context of challenging or countering the Brahminical supremacy inside the community also in the broader field of culture, contemporary society to “Cultural industry”. I also interrogate the performative forms of Natta company, through the times and after many migrations how they sifted the performative strategy. If we see i9n early 19’s play we can see they use the concept of “Tritiya Mancha” to get closer interaction to viewer. we see the performers who are always men, and men also costumed as women, no women’s are allowed to performing to the stage , but from the shifting paradigm and major influence by contemporary intellectuals and their participation Makhanlal Natta established a parallel group called Natta company ii. In the 1970’s with help of Grish Ghosh Natta company runs The Pala called ‘’Noti Binodini’’ first time in the history of popular theatre Binodini Devi played as a woman to a female character in days when women used to perform as males. If one sees in the journey of Biondini Devi she also used to perform as male corrector in many plays. It can be also observed through an interview of Makhanlal Natta Many female actresses are also involved in the time of early 19th, but they have to perform as a male in men’s outfits, there are some names of the female performers’ names and addresses from “Natta Community’s’’ archive like Binod Rani from Barisal, from palang Durga Rani, Reboti Rani Faridpur, also Foni Rani, Dhira Rani, Chapal Rani from farid pur. If we see the traditions and carreakterstices of contemporary Opera houses we can easily assume, over the time state aperators and its patriarchal premises can also seem inside the community structure till now it carries the same tradition of dominance and discrimination. As a practitioner of the ‘Natta’ community, I want to make a bridge between my practice and my community's popular aesthetics, which carries the history of Dalit literature and arts. I took many visual elements from my community to enrich and establish my practice as a counter language. In this research program I am trying to address the potentiality of certain elements from the Community’s practice of popular art forms. The theatrical troupes of the ‘Natta’ community have always been mobile and had appealed to the audience of the common masses. Through my practice with installations and public artworks, I have always wanted to go closer with mass audiences when art galleries have already proven their limitations when it comes to communicating with marginalized audiences. Popular posters, handbills, and litho prints produced by the Natta company, as popular 'poor images'' and some personal notes of being exploited in the past were put forward in order to recreate a counter narration against the Brahminical hegemony.

exhibit at conflectrioum museum on 14/4/22, Raipur.

 

 “...Bombing happens frequently all over the night; at the time when we cross the ground zero, we have to cover ourselves from bombing airplanes. We used to cover ourselves with kitchen containers boats, and a lethal troop guided us in the dark...” -Gita Natta 

 in this drawing titled as- Natta Nama (exhibit at conflectrioum museum on 14/4/22, Raipur), I want to put that oral narrative as the text of a first-hand testimonial narrated by the victim. I introduce this image for revisiting my argument practice as research. In this research program, I am trying to address the potentiality of certain elements from the community’s practice of popular art forms. The theatrical troupes of the ‘Natta’ community have always been mobile and had appealed within the audience of the common masses. Through my practice with installations and public art works, I have always wanted to go closer with mass audiences when art galleries have already proven their limitations when it comes to communicating with marginalized audiences. Popular posters, handbills, and litho prints produced by the Natta company, as popular 'poor images'' and some personal notes of being exploited in the past were put forward in order to recreate a counter narration against the Brahminical hegemony. Throughout the last decade, I have specialized my practice with sculptural discipline. In this research, the focalization lies in the presentation of my practice as a research method. The current arrangement aims to present visual art practice as a form of human understanding whose cognitive processes are delivered through various language mediums and contexts which are often used to separate and make meaning from images and objects. ‘Artists’ and other places where artists choose to create an object of art or other such places chosen for the creation of a critique for the emergence of new ideas, are theatrically powerful and methodologically represent robust sights of inquiry. Any kind of drawing and sketch has the agency to argue about the way of taking an account of visual art practice. as a practitioner of visual arts and comparative literature, the artist-theorist can be seen as both the researcher and the researched. It’s also a quest and thrust of a practitioner to expand practices used by the artist to advance one’s understanding of who one is, what one does, and what one knows. It has also opened up many opportunities to get a closer understanding of digital interventions, new forms of media outlets, cultural collaborations, and community spaces, thus creating new pockets for creative and critical inquiry, which would offer opportunities for different forms of research and imaginative practices. In this paper, I want to target another objective is a comparative analysis of popular theatrical performances and the contemporary realm practice in visual arts specific to performance art and how to address the history of Dalit literature and art through the practice of arts. Performance is an act, which obtains a reaction as a result, in everyday life. It always refers to live events only, executed by one or more performers. They can be in theatre, popular theatre, music, dance, and operas. Art forms that create art through the body of performances behalf creating objects forms of art that have an attitude of communicating with ant human body, where it gets reproduced in mediums (television, and the internet). Performing arts hold the social appeal to collect people around the happening occurred. Followed the state the term “art” itself had a hegemonic dominance of colonial aesthetics in art, performing arts comprise forms that were not had the status of art in the previous time, such as popular arts (pageants, mummery, and the circus arts, etc.) and the artists were performed at street or other non-traditional spaces. Those forms are aimed to provoke the reaction of the audience rather than its admiration could be described as committed performing arts, and this particular possibility is called “performance art”. Performances are social events performed in front of the public and unconventional; sights. and inter vain on the space of the viewer sometimes inside of the gallery or sometimes from the outside between the public domain and unconventional spaces. In performance art it is also possible to act live, in performance art scripted and properly directed acts are only presented on the stage or in public spaces, but performing is directly interacting with the viewer and all happenings are happening in front of the viewer. If opera houses show viewers dealing with false props there in performance art sometimes performers are allowed to harm themselves during the act. comparative literature also acknowledges the reader or viewer’s experience of the happenings.

                                                       Performance One, image- i 

                                                       Performance One, image- ii

 

                                                       Performance One, image- iii

 

                                                       Performance One, image- iv 

                                                Performance One, video
 

 

Performance One In this performance (image no. I, ii, iii, iv) I try to trace religious and communal oppression on a body. Here I used Traditional religious materials (sandalwood pedestal) and surgical materials (bandage, blood) to create a performative and interactive space. When those materials interact with the body during the performance, it creates a fierce and paradoxical dialogue. Witch counters Brahmanical patriarchy and hegemonic rituals. Interacting with viewers, some particular parts of this performative space itself produce resistance and paradoxically exposed growing communal violence around the nation. A body always carried its own wounds of suffering from oppression and humiliation by capitalist reality, Brahmanical patriarchy, Islamophobia, and patriarchal repression. Simultaneously the body itself resists and tries to find its own identity. Sometimes it's may not be fulfilled. As a visual art practitioner, I'm trying to raise that kind of contractionary discourse by creating a ‘headless’ body on two-dimensional and three-dimensional surfaces. Starting with exploring my past experience I started my practice with figurative forms on two and threedimensional surfaces Sometimes with semi-sculptural forms. I studied and revisit subaltern struggle from my own past experiences of violence, regional hegemony around my native fieldwork area. With using a post-structural framework, I try to understand more deeply about that heterogeneous group of people, those who are not able to acknowledge their present exploitation. By collectively archiving oral evidence from various subaltern (Gramscian sense) groups of people I'm trying to archive their short narratives, those expose alienation, precariousness, agitation, resistance against the state agendas.

                                           performative space, image no- ix

 Audio visual links

 https://youtu.be/neEfCYj9Qy8 https://youtu.be/lZ8YP6I3Vz8 https://youtu.be/WwXNszIdqmA https://youtu.be/swMA6igoly4

 

                                            performative space, video

 Audio visual links-

https://youtu.be/lZ8YP6I3Vz8 

 

 

performative space

  A body always carried its own wounds of suffering from oppression and humiliation by capitalist reality, Brahmanical patriarchy, Islamophobia, and patriarchal repression. Simultaneously the body itself resists and tries to find its own identity. Sometimes it's may not be fulfilled. As a visual art practitioner, I'm trying to raise that kind of contractionary discourse by creating a ‘headless’ body on two-dimensional and three-dimensional surfaces. The theatrical troupes of the ‘Natta’ community have always been mobile and had appealed to the audience of the common masses. Through my practice with installations (image no v, vi, vii, viii, ix) and public artworks, I have always wanted to go closer with mass audiences when art galleries have already proven their limitations when it comes to communicating with marginalized audiences. Popular posters, handbills, and litho prints produced by the Natta company, as popular 'poor images'' and some personal notes of being exploited in the past were put forward in order to recreate a counter narration against the Brahminical hegemony.  

 Bibliography

 Akbar Naqvi. 2010. Image & Identity Painting and sculpture in pakisthan. 2nd. Edited by Ameena Saiyid. Vol. 2. 4 vols. karachi-74900, karachi, no 38, sector 15,korangi Industrial area: Oxford University press. Biswas, Monosanta. 2016.

 banglar motua andolon somaj sonoskriti rajniti. Edited by Archana Das and Subrata Das. Vol. 1. 1 vols. kolkata, West-Bengal: satu prokasoni. 

Chakroborty, Haridas. 1978. Gandarvalok. Edited by Jagadish Basak. Vol. 1. nabadwip, West-Bengal: Alfa Publishing Concern. edword luice-Smith. 2019. 

ART TODAY. 3rd. Edited by edword luice-Smith. Vol. 4. 6 vols. LONDON, LONDON: ART TODAY. Graeme Sullivan. 2010. 

Art Practice As Research inquiry in visual arts. Edited by Diane McDaniel. Vol. 2. 3 vols. london, 55 City Road: sage. Morris, william. 2006. 

Marxism and the History of Art. Edited by Andrew Hemingway. Vol. 1. 1 vols. Ann Arbor, london: Pluto Press

Acephele

 

Performance One

Acephele

  https://youtu.be/WwXNszIdqmA

In this performance (image no. I, ii, iii, iv) I try to trace religious and communal oppression on a body. Here I used Traditional religious materials (sandalwood pedestal) and surgical materials (bandage, blood) to create a performative and interactive space. When those materials interact with the body during the performance, it creates a fierce and paradoxical dialogue. Witch counters Brahmanical patriarchy and hegemonic rituals. Interacting with viewers, some particular parts of this performative space itself produce resistance and paradoxically exposed growing communal violence around the nation. A body always carried its own wounds of suffering from oppression and humiliation by capitalist reality, Brahmanical patriarchy, Islamophobia, and patriarchal repression. Simultaneously the body itself resists and tries to find its own identity. Sometimes it's may not be fulfilled. As a visual art practitioner, I'm trying to raise that kind of contractionary discourse by creating a ‘headless’ body on two-dimensional and three-dimensional surfaces. Starting with exploring my past experience I started my practice with figurative forms on two and three-dimensional surfaces Sometimes with semi-sculptural forms.I studied and revisit subaltern struggle from my own past experiences of violence, regional hegemony around my native fieldwork area. With using a post-structural framework, I try to understand more deeply about that heterogeneous group of people, those who are not able to acknowledge their present exploitation. By collectively archiving oral evidence from various subaltern (Gramscian sense) groups of people I'm trying to archive their short narratives, those expose alienation, precariousness, agitation, resistance against the state agendas.