Shrestha Bharadwaj1 & Uttam Boruah2
1Research Scholar, Dept. of English, Rajiv Gandhi University, Arunachal Pradesh. ORCID: 0000-0002-0201-4452. Email: shresthabhardwaj112@gmail.com.
2Research Scholar, Dept. of English, Rajiv Gandhi University, Arunachal Pradesh. ORCID: 0000-0002-4862-1210. Email: uttamboruah2014@gmail.com.
Volume 12, Number 5, 2020 I Full Text PDF
DOI: 10.21659/rupkatha.v12n5.rioc1s29n1
Abstract
Known for their inked faces, the last generation of ‘tattooed’ Apatani women stands as a testimony of this obliterated tradition of tattooing the tribe practiced. Started as a mark of uglification, this practice later turned to be a cultural epitome. A symbol of beauty, it became the celebration of being a culture, a tradition, a strong woman and an Apatani. Outlawed in the 1970s, this tradition is today considered as grotesque and is now only a site of the exotic. The last practitioners of this heritage reside in desolation in the Ziro valley of Arunachal Pradesh, after which this endangered customary paragon goes into extinction. The present paper will try to analyze the tattooed Apatani octogenarian women as Bakhtinian Chronotope. Their spatial configuration will be examined along with the patterns of trauma and identity crisis. In this process Bakhtin’s idea of grotesque will also be analyzed taking into consideration the progressive Apatani frame of reference.
Keywords: Apatanis, Chronotope, Exotic, Grotesque, Tattoo, Trauma.