By Our Reporter
Shillong: From the mythological bridge or the heavenly navel (Sohpet bneng) connecting heaven and the land of the Seven Huts (Hynniewtrep) to the precious heritage and the traditional rain shield (Knup) and its fragile existence, the Khasi culture and heritage and the threats it faces, were on Tuesday vividly portrayed through an art installation created by a couple from The Netherlands, Arnos Peeters and Iris Honderdos.
The multi-dimensional portrayal of Khasi culture managed to capture the attention and appreciation of many as the overall illustration came alive with the accompanying natural sounds resonating from the hills, waterfalls, the heavy rains, the twitter of birds and while the sound of traditional drums were heard beating in the background accompanied by the melodious tone of the Duitara.
Held at Don Bosco Hall, Laitumkhrah here on Tuesday, the art installation was unveiled after a month of extensive tour by the couple to various villages and interactions with local academicians, traditional heads, students and others to get an insight into the Khasi culture and society.
The art project is part of a global initiative ‘Visualising Development with Identity’ of the Royal Tropical Institute in The Netherlands in collaboration with Martin Luther Christian University (MLCU) during the course of the project.
The installation unveiled to the public on Tuesday consisted of four rings in which each of the seven elements (referring to the Hynniewtrep) represents a particular Khasi relation: the lowest circle of big cone shaped baskets represents the ‘Gold’ of the Khasis comprising of their rich natural resources and symbolised by rice, limestone, bamboo, coal, medicinal plants, betel nuts and shriew (yam).
The second upper circle of cone baskets represents the more spiritual heritage like language, the matrilineage, sacred groves, music, ethics, herbal healers, beliefs and rituals. The third outer circle of the erected rain shield (knup) represents the need and reason for protection just like the traditional Khasi dances where women are in the centre and the men dance around them in a protective gesture.
The narrator also highlighted the threat to the matrilineal culture “Matrilineage has kept our gene pool pure thereby striking a balance between a man as a protector and a woman as the keeper but the desire to break this chain will bring about inequity in our beliefs and culture”, the narrator said.
There was also a depiction of Khasi politics suggesting that governance could be clean and efficient only if we find our way back to the age- old system of governance where politics was clean and corruption-free.
The outer circle of serpents depicted the dangers that threaten the Khasi culture with unabated influx of aliens, alcoholism, substance abuse, pop-culture and TV, corruption, religion, pollution and urbanization.
According to the couple, the threats depicted here are not always bad in themselves and remain outside the centre of influence unless the Khasis themselves allow these threats to inflict their culture. Influx and pollution are mostly a result of the need for profit and cheap labour. Religion is good in itself if it is not imposed, the artist couple explained.
Finally, in the centre of the installation, a rope ladder going up referred to as the Jingkieng Ksiar but also resembling the double helix of the Khasi DNA. The red corals and golden beads dotting the steps enhanced the DNA like-appearance.
Earlier, poetry from U Soso Tham, and Kynpham Sing Nongkynrih were recited. Artist and flutist Benedict Hynniewta gave an excellent rendition during the art installation programme. Later musical appearances by Acid Row, Benedict Skhemlang Hynniewta, Crytographik poets, Ma H Kerious Wahlang, Serenity Choir and Summersalt entertained the audience.