Ethnographic Poetry in North-East India and Southwest China (original) (raw)

A Poetics of Going Indian 2011 JÁ Kádár

Prints (1987) present identity as textuality, and narrativize the process of going Native (that is, ethnic identity transformation, or, indigenization) in historiographic metafiction and the post-colonial discourse in general. Ethnic identity transformation Ethnic studies may investigate the subjectivity of ethnicity, the concept of emblematic identity, or the symbolic processes to maintain ethnic boundary, and can apply findings in literary analyses. When reading postcolonial literature, it seems that the literary texts not only reflect these aspects of multiethnic societies, but also provide a more intimate understanding of individuals in passing and other ethno-cultural processes, as well as present some new perspectives that traditionally have been hidden by the colonial discourses. Furthermore, ethnic studies may investigate the culture-learning approach to acculturation, too. On the other hand, the literary texts call attention not only to the given central character's acculturation skills and opportunities, but also to our shared cultural sensibilities. Going Indian stories reveal our understanding of the self and Other, beyond the broader sociocultural context of cultural encounters and (ex)change.

Only Strange Flowers Have Come to Bloom": Identity Crisis in Northeast India through the Poetry of Kynpham Sing Nongkynrih

The Southeast Asian Review, 2020

Socio-economic and political changes effected by modernization result in overlapping and muddling of various borders and boundaries, jeopardizing the very concept of a stable identity. Although traditional or essentialist identities have an innate momentum that has made them stand the test of time, conflicts between national and ethnic identities have often led to turmoil and violence, with the former trying to suppress the latter. This is particularly so in the North-eastern regions of India that suffer from an identity crisis owing to invasion by alien cultures, oppressive attitudes of the State aimed at forcefully homogenizing cultures that are essentially heterogeneous, and the adverse consequences of modernization; all of which have jeopardized indigenous cultures and identities. The literatures from these regions respond to these homogenizing tendencies with a strong voice of resistance. Kynpham Sing Nongkynrih is one such voice that blatantly disregards the mainstream poetics...

Diverse Indianness-es: Reading Different Indian Identities in R. Parthasarathy’s and Agha Shahid Ali’s Poems

JETIR Issue 3 www.jetir.org (ISSN-2349-5162), 2021

'Indianness' is often used as an umbrella term in order to cluster poets of Indian origin writing in English despite their diverse contents, styles and locations. This pan-Indian quality which is non-existent in reality and is a figment of imagination, attaining almost a mythical stature, needs to be interrogated. This article explores the different types of 'Indianness-es' that poets writing from geo-political locations exterior to the country engage with. These differences counter the imaginary monolith of 'India'. Drawing upon Nico Israel's theoretical concepts of "exilic emplacement" and "diasporic self-fashioning", I show how the pluralist versions of the place and the space called 'India', in R. Parthasarathy's poem "Exile" and Agha Shahid Ali's poem "A Post Card from Kashmir", create a "metaperspective" (Françoise Král). This singularity and difference go into the making of diverse 'Indianness-es'.

Naga Identity Poetics in Contemporary Naga English Literature (A Kaleidoscopic View)

International Journal of Research, 2020

The Nagas originally a Sino-Mongoloid tribe are substantiated to have originated around 10th century B.C. in the plains between Huang Ho and Yangtze Ho in North Central China. As migration is a process which is reported to have been going on since time immemorial, the Nagas too could not have isolated themselves from being a part of the mass odyssey from their homeland with the anticipation of exploring and settling in naturally upgraded habitats. Hence today, the Nagas have been found to inhabit the banks of Chindwin and Irawaddy Rivers in Myanmar, and Nagaland in India. As far as their language is concerned, it is said to be an affiliate of the greater branch of Sino-Tibetan besides sharing certain similarities with Tibeto-Burman languages. As for the etymology of the word Naga is concerned, it is said to have been derived from either of the Sanskrit word namely Nagna or Nag with respective meanings ‘naked’ or ‘mountain. Frankly speaking both the etymons in question validate the u...

From Anonymity to Identity: Orality in Three Women Poets from North-East India

2022

The expression 'North-East India' invokes an ethnographic monolith in popular imagination without looking into its multilingual setup , heterogeneous cultural locations and diverse literary traditions, most of which are unscripted, orally composed and community-specific. Orality, which appears to be a crucial tool to understand the nuances of the literary landscape of this region, assumes a dual role. On the one hand, it is stratified, textualised, homogenised and commodified by the global market. On the other hand, it becomes a tool to challenge anonymity and reclaim the roots of the people, who had been suffering from a rupture in identity since the advent of the colonial education system and the ever-growing dependence on written communication in the modern socioeconomic structure. This paper, through a close reading of three women poets of NorthEast India-namely, Temsula Ao, Mamang Dai and Esther Syiem, explores the reclamation of identity through the use of traditional tales, formulaic composition and indigenised vocabulary in their poetry. It also argues how orality is constructed within the ambit of the written text using coloniser's language thereby creating a space for cultural hybridity thus subverting the hierarchy between orality and writing.

Ethnicity and Contemporary Assamese Poetry

The paper looks at the intimate ethnic dimension in contemporary poetry in Assamese in Assam as well as in the Garo Hills of Meghalaya. The contemporary writings in Assamese has been preeminently characterised by the enduring presence of ethnic voices articulated from the vantages of their respective mores. This recent trend in Assamese writings has provided an extraordinary richness to its narrative as well to its world view and to the universe of its imagination. The paper seeks to critically understand the myriad nuances of Assamese poetry of recent times that has significantly evolved through a complex and enriching reconfiguration of multi ethnic cultural manifestations and negotiations.

Translocating Identity in Sino-Indian Diasporic Literature: Kwai-Yun Li's The Last Dragon Dance

asiatic.iium.edu.my

The Last Dragon Dance and Other Stories (2008) by Kwai-Yun Li is a collection of short stories that trace a triangular trajectory of geographical movement from origin in China, birth and growing up in India and then emigration to America. Kwai-Yun Li is a diasporic writer who just does not move from one country to another but also inhabits an intermediary home at some point of time in her life. This paper examines the themes of the twice-migrant Sino-South Asian diaspora and focuses on where we can situate writing that is Chinese in ethnicity, Indian in upbringing and North American in location. The stories in the collection are set among the Chinese community in Calcutta in the 1950s and 60s. In locating the stories in Calcutta, Kwai-Yun seems to displace the importance of the West and of the home country, a displacement it achieves by describing the tension, richness and complexity of Chinese life in India.

Culture and Identity in Contemporary Indian English Poetry

The Creative Launcher

Indian English poetry with a view to achieving modernity, tries to do different kinds of experiments. Rhyme and Stanzaic forms had replaced free verse. Verbal melody came to be evoked through the use of alliterative words. The tone was one of the intellectualized irony and sarcasm. The stance of the poets was one of the complete detachment and objectivity. The other innovation of the modern Indian poets is the use of symbolism. The poets use modern techniques used by the film industry and advertising industry besides the stream of consciousness and free association of ideas. There is much “word hunting” and “image hunting” which reflects the medium of consciousness on the part of the poet. The Indian, poets therefore borrows words from their regional languages. To be Indian, poets have to be rooted in Indian-geographically, historically, socially or psychologically. Poetry is the expression of human life from times eternal. India, in fact has a long tradition of arts and poetry from...

'Lest We Forget': Mapping the Written and the Unwritten in the Tales of North-east India

Dialogue Journal, 2018

The world of story is not a simple one. Every story is a story of something imagined or real, experienced or narrated, personal or political, and, mythic or modern. Issues such as nation, nationality, identity, home, country, being and belonging enter the arena of creativity whenever a writer pens his or her story from the margins. For the voices from northeast India every story, every reading creates a new meaning- a new construct. They create, rewrite and share their identity through collective culture, shared history or ancestry very often. Such one writer who contemplates in her works within these frameworks and boundaries from the point of an individual and the community is Temsula Ao. Hailing from the region, she delivers an extremely sensible and almost firsthand experience of the happenings in the region in her writing that is so evocative at the same time. The present paper aims to explore the short stories by Temsula Ao from her Sahitya Academy Prize-winning collection Laburnum for My Head (2009) from the perspective of both written and oral accounts of emotional identities and aspects of showing multiple ways of being, becoming and belonging. The Northeast has long been on the fringe of mainstream literary consciousness, edged out by its complex socio-politics, crisis of identity and the prolonged rule of the gun. Temsula, through her narratives,has expressed a strong political awareness to interrogate the violence that has ravaged the Northeast region as a whole and the 'Naga nation' in particular due to the tussle between the insurgents 'underground extortionists or rebel forces' and the Indian government in complex ways. Keywords: short story, identity, culture, north-east, history.

Edited by Tatiana Dubyanskaya Crossing over on the Birds' Wings " : " South Asian Literature in Local and Global Contexts

SUMMARY: The Himalayan setting-especially present-day Himachal Pradesh and Uttarakhand-has fascinated many a writer in India. Journeys, wanderings, and sojourns in the Himalaya by Hindi authors have resulted in many travelogues, as well as in some emblematic short stories of modern Hindi literature. If the environment of the Himalaya and its hill stations has inspired the plot of several fictional writings, the description of the life and traditions of its inhabitants has not been the main focus of these stories. Rather, the Himalayan setting has primarily been used as a narrative device to explore and contest the relationship between the mountain world and the intrusive presence of the external world (primarily British colonialism, but also patriarchal Hindu society). Moreover, and despite the anti-conformist approach of the writers selected for this paper (Agyeya, Mohan Rakesh, Nirmal Verma and Krishna Sobti), what mainly emerges from an analysis of their stories is that the Himalayan setting, no matter the way it is described, remains first and foremost a lasting topos for renunciation and liberation.