week 7 Postcolonial and Diaspora

LAAL SHAARI

The colour Red has a significant colour in a Indian Woman’s life, it is a colour of love and marriage. Through the journey as a teenager, she forgets if she will ever wear it.

Amina Khayam as Kathak Dancer. Tells a story of a woman.

This compelling tale of a woman denied the most important thing as a young bride – a Laal Shaari (a red dress) explores theatricalisation of the classical Indian dance form of Kathak.

The collaborators rethink Kathak through a process of deconstructing of tatkar, bhav and abhinaya. The production engages a sceneography that engage with the notion of emptiness as presence

http://www.aminakhayyam.com/projects/

A journey within migration is just as significant representation of bodies, clothes and skins, Artist such as Giorgia Volpe comments in her interview with Mariette Bouillet, Reinventing Textiles,

” I find that there is a relation between the photographic image and the textile creation. What links them is the notion of contact. In the photographic image there is a desire for contact, to get closer, to touch

with the gaze, the material, the forms, surfaces, and light. The photographic image it self is the result of a contact that develops over time, as does the photographic image. Both of them reveal a tactile memory.

Fabric is kind of envelope like the skin… The skin is like fabric. We need this envelope to live in our body to dwell in our body, a body in a space, a body in a place. Because the skin is also a house, you live in your house. You dress it , you live in it, and thus you exist.

It is the transformation that you construct and deconstruct, you remember and you forget, you stitch and you unstitch, you leave a trace and you erase.

It is an identity in metamorphosis.

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2 Responses to week 7 Postcolonial and Diaspora

  1. Your post reminded me of something that I didn’t have time to bring up last week – When looking at international intercultural spaces and the problems of translation of other – I had thought about the use of color in art, especially when all figurative reference is removed and color is relied upon to attain a meaning, as used by Rothko for example. The associations linked with different colours vary dramatically between cultures – That of the colour red has both positive and negative associations depending on culture, such as: Danger
    Heat
    Warmth
    Blood
    Energy
    Passion
    Lust
    Mars, God of war
    Life
    Vitality
    Survival
    Anger
    Prosperity
    Joy
    spiritual

    Strength
    Power
    War
    Love
    Highly visible
    Courage
    Malice
    Stop
    Dominance
    Sin
    Warning
    Loyalty
    Honour
    Success
    fortune

    Summer
    Purity
    Beauty
    The goddess Lakshmi
    Death
    Health
    Communism/socialism
    Guilt
    Pain
    Sacrifice.
    Does this mean that the threatening and glowering atmosphere that I feel about Rothko’s “red on maroon” and “Maroon on black” in the Tate are differently interpreted by people from different backgrounds (China say – where red has predominantly positive associations) or is the influence of Western culture too pervasive????

  2. lleenaa says:

    Thanks Claire for your interesting comments. I personally don’t think its just the western influence. In india Red is also symbolised for prostitution. Here is an image from Chandni Bar.

    Red is used as a symbol of guilt, sin and anger, often as connected with blood or sex. A Biblical example is found in Isaiah: “Though your sins be as scarlet, they shall be white as snow. Also, The Scarlet Letter, an 1850 American novel by Nathaniel Hawthorne, features a woman in a Puritan New England community who is punished for adultery with ostracism, her sin represented by a red letter ‘A’ sewn into her clothes. This all comes from a general Hebrew view inherited by Christianity which associates red with the blood of murder, as well as with guilt in general. Often, things will be in red to scare. Another popular example of this is in the phrase “caught red-handed”, meaning either caught in an act of crime or caught with the blood of murder still on one’s hands. At one point, red was associated with prostitutes, or now, with brothels (red-light districts). In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins. In Christianity, Satan is usually depicted as colored red and/or wearing a red costume in both iconography and popular culture.[39] Statistics have shown that red cars are more likely to be involved in accidents.

    The color red is associated with lust, passion, love, and beauty as well. The association with love and beauty is possibly related to the use of red roses as a love symbol.Both the Greeks and the Hebrews considered red a symbol of love, as well as sacrifice. Psychological research has shown that men find women who are wearing red more attractive.

    However my concern is how colours are being represented is a major issue, Red is my favourite colour but Men represent red in a very negative way, I am interested in positive meaning of how women are represented through photographic imagery or painting. In the current Media women have becoming more of a product of advertising with negative connatation and the impact it has on young people which raises real issues in the society.

    For Example if you look at Gottlieb Schick (1776-1812) Frau Wilhelmine von cotta, 1802.
    on the other hand of positive meaning of western perception, is a serious effort at suggesting actual classical form; and modern fashion was advanced quite at the time to further support the attempt. The sitter’s looks are far more classical than either Lady Charlotte’s or Dona Joaquina’s; but where they had no frivolous adornments, you will see that Frau von Cotta’s red mantle has a fringe, her neck is adorned with beads, her sleeves and hem are edged with lace, she even wears striped shoes with bows and holds handbag. Her open parasol sits nearby, green enough to resemble a tree. Her setting is uninhabited nature, but she is plainly very wordly, with an amused and sociable air. Schick’s Neoclassical convictions have nevertheless made him dignify this womans image with great success. her ungirded dress is unevenly gathered on a drawstring, not fixed on a band, and the fullness concentrates between her modest breasts, to emphasise them without showing them. Her seated posture lets the painter compose the front folds into a symphony of graceful arcs that drape her torso, suggesting all her intimate charms without revealing any of them.

    Photographers now days feel free to re-invet the world in a pervasive way they seuzed the right to infuse it with personal vision and idiosyncratic fromal invention, to see and re-make it again and again according to individual drive and need. Any ugliness or awkwardness in clothing would arise from the lack of such aptness and distinction, or from noticeable of the stuff. Beyond that the aesthetic quality of clothing needs to be enhanced according to the way its folds behave.

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