A Cartography of Angry Indian Goddesses towards Nomadic Affect
| Autor: | Indrani Mukherjee |
|---|---|
| Jazyk: | angličtina |
| Rok vydání: | 2020 |
| Předmět: |
Women friends
media_common.quotation_subject Nomad 0603 philosophy ethics and religion General Works 0502 economics and business Amigas women friends embodied interstitial space hybrid non-human becoming nomad media_common 05 social sciences No-humano 06 humanities and the arts Art Cultural studies Embodied Interstitial space Hybrid Corporalidad Híbrido Non-human Proceso 060302 philosophy Espacio intersticial 050211 marketing Nómada Cartography Mysticism Becoming |
| Zdroj: | Indialogs: Spanish Journal of India Studies, Vol 7, Iss 0, Pp 11-25 (2019) Dipòsit Digital de Documents de la UAB Universitat Autònoma de Barcelona |
| Popis: | espanolEste articulo se propone trazar una cartografia del “becoming” (proceso) en el film Angry Indian Goddesses como nomadismo transnacional, con el fin de reconsiderar la amistad femenina desde una perspectiva fisica y material que va mas alla de los sistemas binarios. Todas las amigas son profesionales conectadas a nivel global, cuyas mentes pensantes y cuerpos insumisos se alejan de cualquier modo normativo de pertenencia en sus ambitos personales y profesionales. Estas amigas cartografian una espacialidad post-humanista de conexiones rizomaticas con otras entidades animadas e inanimadas, proponiendo una nueva etica del afecto nomada y la responsabilidad. La pelicula empieza con una mirada panoramica del paisaje de Goa al que se superponen rapidas imagenes de diosas hindues con sus mascotas animales, mientras que la banda sonora consiste en la poderosa pieza de rap “Kattey”, de Haard Kaur, en interseccion con la energica version folk que Bhanwari Devi hace de la tradicion mistica del siglo XV de Mirabai. La combinacion de la musica y la violencia del rechazo que sufren las mujeres pone en evidencia un becoming angry goddesses mediante un pastiche de las diosas enfadadas y las mujeres que habitan un eje de diferencia re/desvalorizada. Goa se convierte en un potencial tercer espacio imbricado con todo lo anterior, pues aparece como elemento redentor dentro del marco contemplativo de esta cartografia, y propone una re-humanizacion de objetos fragmentados y esquizofrenicos mediante el amor y el afecto. EnglishThis paper attempts to draw a cartography of becoming Angry Indian Goddesses as transnational nomadism towards an embodied and material rethinking of women’s friendships from outside the constraints of systemic binaries. The friends are all professional women who are globally wired, whose thinking minds and non-docile bodies detach themselves from any normative modes of belonging in their respective personal and professional realms. They map a post-humanist spatiality of rhizomic linkages with other animate and non-animate entities, throwing up a new ethics of nomadic affect and responsibility. The film begins with a panoramic gaze of the Goan landscape, overlapped with flash images of Hindu goddesses and their animal escorts framed within a power packed song “Kattey”, which intersects Bhanwari Devi’s powerful folk composition of Meera Bai’s 15th century mystic tradition with Haard Kaur’s rap. The crossing of the song and the violent events of rejection that the women face, unbridle a becoming angry goddesses through a pastiche of the anxious goddesses and women sited on an axis of re/de-valorised difference. Goa becomes a potential third space entangled with all of the above, as it dwells on the contemplative scope of this cartography as redemptive and suggests a re-humanization of schizophrenic splintered objects through love and affect. |
| Databáze: | OpenAIRE |
| Externí odkaz: |
|