In this issue

“Identity”, begins with the existential question “Who am I?” and then, in the larger scheme of things, “Does it matter?”. The latter query can take you into meditations on the brevity of life, as well as the necessity of coexistence. For over twenty-two years and forty-five volumes, Gallerie has been encouraging understanding and appreciation of cultural diversity, in its conviction that culture humanises; in its belief that peaceful coexistence can repair and redeem this fractured world.

IDENTITY IN DIVERSITY: ESSENCE OF INDIAN CLASSICAL MUSIC

Music in India has had an all-pervasive existence permeating every walk of life. We have a bewildering variety of musical categories, systems, and forms, many of which are specific to region, community, age, gender and occasion. In fact, while these musical streams have had a parallel existence, there have been several instances of them having drawn from each other and having moved across these boundaries. This musical plurality is hardly surprising given the fact that the arts reflect the immense cultural diversity that we live amidst.

3 mins

THE MAGIC OF MUSIC

At some point in our lives, we have all heard phrases like, “Find your true voice,” “Sing your own song,” or “Dance to the rhythm of your own drum.” Could it be that these musical metaphors have deeper truths within them? Maybe it is not only what we find in music that enriches our lives; rather what music helps us discover within ourselves. Can music, like a good teacher or a close friend, help us discover things about ourselves that we might not otherwise recognise? Does music actually help us form a vision of who we are as children and who we will become in the world?

3 mins

WHEN YOU... ARE THE DANCE

Kathak, one of eight Indian classical dance forms, originated it is said, in the 3rd or 4th century BC with mythologies like the Mahabharata having mentioned Kathak in their narratives. “Kathak” is derived from the Sanskrit word Katha [Story]. Hence this dance form which narrates a story through the expressions and body movements came to be called Kathak. It was during the Mughal era, in the 16th century A.D. that Kathak received Royal patronage and was performed in the courts. During this period, Kathak received elements from other dance forms like the Persian dance form wherein the art of straight leg movements was introduced along with the spinning movement. Similarities have also been noted between Kathak and the Spanish dance of Flamenco especially in the way feet movements are done. However, Lucknow and Banaras in India, became the two regions specialising in the Kathak dance form. Farah Yasmeen Sheikh shares with us her own travels with Kathak and how she identifies with its rich tradition.

2 mins

THE STAGE LETS YOU “BE”

Indian theatre has experienced many forms of perspectives on identity issues. Around a century ago, Narayan Shripad Rajhans, better known by his stage name Bal Gandharva, held sway in the world of Marathi sangeet natak [musical], playing top-billed women characters like Vasantsena in Mruchchakatika [or, The Little Clay Cart an approximate 5th century play] and Sindhu in Ekach Pyala, a Marathi language drama by Ram Ganesh Gadkari [1885-1919]. Rajhans’ hyper-femininity created a distinct archetype, setting trends and “visibilising” women long before they were “allowed” on stage to portray themselves. Such an entity created the presence of womanhood even if it was conspicuously absent, and was very different from the naachyas of Nautanki — male dancers whose exaggerated femininity acted as a foil to performers who were authentically women, explains theatre practitioner Vikram Phukan.

3 mins

I LOST MY IDENTITY. BUT I FOUND THEIRS!

Jimmy Nelson believes that exposing the world to the richness and range of indigenous peoples is the way to safeguard not only their traditions and ways of life, but also to bolster one of humanity’s greatest values: cultural diversity. Having witnessed a sharp decline in cultural diversity in the last decades he felt the need to make people aware of this global issue. As he says, “The decline of cultural diversity would perhaps seem a less urgent problem than some of our other global issues. However, the erosion of cultural identity on this planet and the loss of traditions have profound effects on all of us. By inspiring people to create a deeper connection with their own cultural identity, we will be able to stand united in diversity.”

2 mins

Identity. Lost And Found

Identity, as one’s sense of self and its persistence, shaped through ascriptive and subjective processes, is natural to humans as social beings. Identity politics, however, is not natural.

4 mins

BULBUL CAN SING

Rima Das was born in 1981, in Chayygaon, Assam, India. She is a remarkable self-taught filmmaker, wearing multiple hats of writer, producer, director, cinematographer and editor. GQ India named her as one of the “Most Influential Young Indians, 2018”. She is one of the ambassadors of TIFF’s ‘Share Her Journey’ campaign that champions the cause of gender equality in cinema. Her film ‘Village Rockstars’ premiered at TIFF, screened at over 80 international film festivals and won over 50 awards. The film won the National Film Award for the Best Feature Film in India 2018 and was India’s Official Entry to Oscars 2019. ‘Bulbul Can Sing’, her recent film, also had its premiere at TIFF and screened at over 40 international film festivals. The film won 14 awards, and bagged the Special Mention Award: Generation 14 Plus at Berlinale and the National Film Award for the Best Assamese Film, to name a few. Das lives in Gauhati, Assam, India.

3 mins

THE RIVER BEARS OUR HISTORY

The Citizenship Amendment Act [CAA] has become a contentious legislation in India after the President’s green signal to have it implemented on December 11, 2019. As per the Act, Hindu, Sikh, Buddhist, Jain, Parsi and Christian communities who have migrated from Pakistan, Bangladesh and Afghanistan until December 31, 2014, and who “have faced religious persecution there” will not be treated as illegal immigrants but given Indian citizenship. This bill, driven by religious biases is clearly initiated by Right-wing parties and is a discriminatory act against Muslim migrants who have been threatened to be sent back to wherever they arrived from. As of now, those most impacted in the Muslim community are from Assam in North-east India. Journalist Shalim Hussein gives us an insight into the targeted minority community from the region.

4 mins

ZAINAB SALBI. BEYOND THE STEREOTYPE

Zainab Salbi, [1969] was born in Baghdad, Iraq. She was named as one of the “25 Women Changing The World” in 2016 by The People magazine.

3 mins

AQUI THAMI. DO IT YOURSELF

Aqui Thami [1989] was born in Kurseong, Darjeeling, India.

2 mins

Read all stories from International Gallerie

International Gallerie Magazine Description:

A Journey of Ideas
Gallerie is a celebration of life.
As a tribute to the creative excellence of the world, it features painters, sculptors,crafts-people,
writers, poets, photographers, designers, film-makers, and performing artists, humanists.
It covers lives and cultures in India and around the world with a socio-political-human
interest perspective. While it represents India abroad, it carries international stories for India.
Gallerie is a sharing of ideas, inspiring and uplifting. Features have informative, in-depth stories
treated in a lucid, reader-friendly style accompanied by high quality pictures.
In a generous 10"x13" format of approximately 130 pages, the layout is designed to create an
oasis of calm amid the cacophony on magazine stands today. It is processed, printed and
published in India with international quality production values.
A bi-annual, thirty two issues and eight-awards-old, Gallerie is steadily reaching a
large readership in India and worldwide. Museums, galleries and educational institutions
are among others who subscribe to the magazine. In India, readership is not only with the
discerning decision-maker, but also with a wide spectrum of art and literary enthusiasts.
Overseas, a loyal subscription list is growing with institutions and individuals. Readership
includes the Harvard University, Victoria University, the Freer & Sackler Galleries,
Smithsonian Institution, the Metropolitan Museum, NY, the MOMA, NY,
the New York Public Library, the MOMA, San Francisco, the Asia Museum San Francisco,
the Asia Society, NY, the Tate Gallery, London, the Hayward Gallery, London.
The response has indeed, been encouraging. Today, Gallerie is a collectible, a journal
that readers value and associate with excellence.