South Asia

The Idea of the Border in the Digital Age

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Debra A. Castillo1 & Parthasarathi Bhaumik2

1Professor, Cornell University. Email id: dac9@cornell.edu. 2Associate Professor, Jadavpur University, India. Email: parthasarathi.bhaumik@jadavpuruniversity.in

Rupkatha Journal, Vol. 14, Issue 3, September 2022, Pages 1–16. https://doi.org/10.21659/rupkatha.v14n3.07

First published: September 29, 2022 | Area: Latin America | License: CC BY-NC 4.0

(This article is published under the themed issue “Across Cultures: Ibero-America and India”)
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The Idea of the Border in the Digital Age

Abstract

Our history of border wars and entrenched positions has given us officially drawn lines, that notwithstanding their obvious irrationality, are so deeply embedded in our psyches that we no longer even register them. At the same time, during the digital age, the rise of different ways of looking at the borders in Mexico and South Asia has explicit and implicit relations to these brutal histories, defining ways we continue to negotiate national and transnational identities and ideological projects.  This contribution looks at theoretical and artistic examples from both continents to ask about the effects of new media on our experiences of our bodies and our sense of human agency.

Keywords: Border, Digital Age, Mexico, South Asia

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Refugees from South Asian Islamic States at the footsteps of Global North: Reading Moshin Hamid’s Exit West as an Anticipation of Postnational Future

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Minakshi Paul

Assistant Professor of English, Kandra Radhakanta Kundu Mahavidyalaya. Email: mp951204@gmail.com

 Volume 13, Number 3, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n3.34

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Abstract

 One of the essential aspects which have been perpetually constituting and reconstituting the tumultuous geopolitical space of South Asia is its interface with the Global North. An inherent element of this interface materializes in terms of the rapidly escalating proportion of the displaced population from the Islamic South Asian and Central Asian countries afflicted with intense political tensions seeking shelter in the Global North regenerating the ground for the imperialist exclusionary politics in a newer manifestation. Considering the tensional position of the Islamic communities in global politics, British-Pakistani writer Moshin Hamid’s novel Exit West (2017) provides a platform for exploring the plight of the refugees from Islamic states of South Asia in the fortress regime of Global North who are denied being assimilated either in their home state in Global South or in the host countries of the Global North thus problematizing their political status. Corroborating Giorgio Agamben’s dismissal of national borders, Hamid deploys the trope of magical doors in his novel that instantaneously delivers the protagonists to different nations rendering the geopolitical borders meaningless. As the concerned conference aspires to obviate the thick smog of western critical theories which fail to address the local issues and local cultural experience, the present paper in this context examines the novel as an aesthetic and poetical account of the hostility and resentment of the indigenous population and assimilated citizenry towards the refugees, the primal loss of their psychic experience of ‘home’ challenging the ‘ethnonationalism’ and the right-wing populism of the western nations invoking the readers to acknowledge the truth of ‘Postnationalism’. This paper thus attempts to diagnose the methods of negotiating the tensional correspondence between Global North and Global South on account of these refugees with contested political and social identities imploring the readers to reexamine the gaps in the complacent, coherent identity of South Asia as a geopolitical unit.

Keywords: South Asia, Refugee, Postnationalism, citizenship, Global North

 

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Home, Ethnicity and Sexuality in Shyam Selvadurai’s The Hungry Ghosts

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Rajorshi Das

Assistant Professor (ad-hoc), Indraprastha College for Women. Email: dasrajorshi@gmail.com

 Volume 9, Number 2, 2017 I Full Text PDF

DOI: 10.21659/rupkatha.v9n2.32

Received May 10, 2017; Revised July 23, 2017; Accepted July 25, 2017; Published August 18, 2017.

Abstract

This paper explores the ways in which Shyam Selvadurai’s The Hungry Ghosts (2013) conforms to the national underpinnings of the Sri Lankan and by extension South Asian diaspora while simultaneously choosing mourning over rage as a way of living together. In his overt reliance on a mythical structure and Buddhist philosophy, the author betrays the entry of the homonational body as an ideal citizen within the complex geopolitical aspirations of South Asia where family and ethnicity are integral to the formation of self. Race and region therefore reign supreme over questions of desire and companionate bonding.

Keywords: Shyam Selvadurai, The Hungry Ghosts, Queer Diaspora, Sinhalese, Tamil, Sexuality, South Asia, Buddhism

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Ajitesh Bandopadhay: In the Neighbourhood of Liminality

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Rajdeep Konar, Jawaharlal Nehru University, New Delhi, India

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Abstract

In my essay I would like to investigate the shift of paradigms in the relationship between theatre and politics that director, playwright and actor Ajitesh Bandopadhay (1933-83) was bringing into Bengali theatre. I would like to analyze how in the field of theater he was trying to form a threshold space: a threshold where politics and ethics, community and the individual, global and local can exist together as equals not imparting the hegemony of one on the other. How Ajitesh strove to conceive a theatre which puts forth itself as an analytical presence of life and society unmediated by an ideological or ethical regime. I would like to argue that it is in such a liminal presence in theatre, politics and the world; that the key to our future community of equality lie. This would also be an attempt at reclaiming the legacy of Ajitesh, whose influence on Bengali theatre has been hugely underplayed by the rather scanty posthumous attention being paid to his work. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

“Acrobating between Tradition and Modern”: The Roots Movement and Theatre’s Negotiation with Modernity in India

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Anuparna Mukherjee, English and Foreign Languages University, Hyderabad

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Abstract

When playwrights like Girish Karnad joined the stage after the nation’s independence in 1947, the Indian theatre was suffering from acute identity crises being torn between its ancient cultural past and its more recent colonial legacy, which gave birth to hybrid dramatic forms. Several theatre personalities at that time articulated the aspirations of a newly independent nation through their attempts to decolonize the aesthetics of modern Indian theatre by retracing its roots in the repository of India’s classical and folk traditions.  In the light of these developments my paper aims to look at some of the diverse indigenous forms that had been deployed with much success in plays like Karnad’s Hayavadana or Tanvir’s Charandas Chor, thereby significantly contributing to the larger project of decolonization after independence. At the same time the paper also wishes to interrogate whether this ambivalent process of Indianization, sometimes loosely brought under the umbrella of ‘Roots Movement’, is quintessentially ‘anti-modern’, or whether it is actually an attempt to evolve a discourse of an ‘alternate modernity’ by subverting some of the paradigms of its European counterpart which are actually a by-product of both capitalism and imperialism in the West. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

People’s Art or Performance of the Elites?: Debating the History of IPTA in Bengal

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Binayak Bhattacharya, EFL University, Hyderabad

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Abstract

This article attempts to re-read the cultural history of the Indian People’s Theatre Association (IPTA) within the larger context of the progressive nationalist politics of Bengal. The purpose of this re-reading is to engage in a debate to locate the political status of the various non-urban, non-elite, non-middle class performative practices within the political strata of IPTA. The article reiterates that the Left politics of Bengal maintained an inseparable alliance with the Bhadralok class since its early days and by virtue of this alliance, the hegemony of the Bhdraloks remained secured. Consequently, within the practical domain of the Left politics vis-a-vis the IPTA, the middle class intelligentsia kept controlling the performative arena by restraining the movements of various non-Bhadralok forms. By citing references from the writings of Sudhi Pradhan and Hemango Biswas, this article contemplates to enter into a lesser-known chapter from the glorified history of IPTA. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

The Entangled Vocabulary of Performance

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Sruti Bala, University of Amsterdam, Netherlands

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This article attempts to map the concept of performance, in terms of its genealogy and the diversity of its application. Such a mapping is an unavoidably reductive step, since the productive force of the concept partly relies on the difficulty of pinning it down to a precise typology or set of definitions. The act of mapping out the concept can itself be interpreted as a kind of performance, as has been argued by Richard Schechner (Performance Studies, 40-42), it is not a neutral or interest-free undertaking, and however persuasive the mapping may be, it may not necessarily simplify the application of the concept, nor resolve the disputes around it. As a “keyword” in the sense of Raymond Williams, performance is an operative concept, “whose meanings are inextricably bound up with the problems [they are] being used to discuss” (Keywords, 13). The concept is not merely descriptive, but programmatic, in that the choice and justification of the uses of the term lead to and imply specific effects. German theatre scholar Erika Fischer-Lichte describes the concept in terms of the range of its semantic shades, ‘Begriffsabschattungen’ (Kulturen des Performativen, 9), arguing that these shades need to be seen in relation to each other in order to trace the histories and contexts of the concepts of performance and the performative. Fischer-Lichte derives the semantic shades of the performative with reference to different disciplinary influences and deployments of the term, such as anthropology, linguistics, language philosophy, technology, economics and aesthetics. A typology and historicisation of the concept is a necessary though not entirely sufficient step in understanding its usage. Even if one makes sense of each of the shades of the term, one does not know how to make sense of the entire range of these shades. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Two Cosmopolitan Friends: Tagore and Cousins

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Utpal Mitra,Visva-Bharati, Santiniketan, India

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Abstract

The word cosmopolitanism has different connotations. According to the philosophical cosmopolitans, who are also designated as Moral Universalists, there does not exist any boundary between nations, states and cultures, as they believe all human beings to be fellow citizens and compatriots. This article attempts to address the cosmopolitan ideas of Rabindranath Tagore and James H. Cousins. Moving beyond the parochial notion of nationalism, both Tagore and Cousins adopted the notion of universalism that assimilates all cultures, races and religions under the broader category of Humanism. Keep Reading

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Rabindrasangeet Today: a Sociological Approach

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Saurav Dasthakur, Visva-Bharati, Santiniketan, India

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 Abstract

Through a cursory discussion of the history of production, dissemination and reception of Rabindrasangeet since the early twentieth century till date, this article tries to question the dominant (middle class) notion of traditional wide Bengali “popularity” of Rabindrasangeet and a gradual “decline” in its culture in recent times. In the process it attempts a brief exploration of the complex relationship of Tagore’s music with the tradition of north Indian classical music and local “folk” musical traditions on the one hand and the larger logic of aggressive, Eurocentric, hegemonic and homogenising colonial modernity on the other. The dual role of technological modernity in strengthening as well as weakening the tradition of rendition and reception of Rabindrasangeet in this context makes any simplistic perception of the relationship of music and modernity banal. Tagore’s music, thus, the article argues, constructs a space of “alternative modernity” that has conspicuous affinity with his “non-modern” ideas of education and social development. So far as Rabindrasangeet holds an element of critique of and “protest” against the cultural logic of capitalism, despite its unavoidable participation in the market-dynamics today, it will remain close to the heart of those still on the lookout for a cultural space outside the Hollywood-spawned “culture industry.” Keep Reading

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Signifying The Self: Intersections of Class, Caste and Gender in Rabindranath Tagore’s Dance Drama Chandalika (1938)

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Sutapa Chaudhuri, Dr. Kanailal Bhattacharyya College, Howrah, India

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Abstract

Much has been said about the way Tagore views his women in his poems, essays, novels and drama. Yet it is the dance dramas of Tagore, a genre quite unique in his time and milieu, which portray the radical nature of Tagore’s conception of women and the maturation of their selfhood. The dance dramas illustrate Tagore’s bold and perceptive experimentation with various literary forms and techniques and the radical nature of his ideological orientation. Among the dance dramas of Tagore, Chandalika has a special place as it foregrounds the theme of female desire in an untouchable girl, a tabooed subject in his times, indeed even now in Bengali writings. This paper tries to show how Tagore uses the nuances of the dance form to showcase the intersections of caste, class and gender as well as the evolution of selfhood in Prakriti, the Chandal girl. Keep Reading

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