Paper short abstract:

This paper will depict how the chronotope is used to make the visual images of the mythologies and histories of the Bodo community which are used in the poems of the Bodo poet,named Dr. Anil Boro. The film is an Ethno documentary and also a biographical film on the poet.

Paper long abstract:

The film named SANMWKHANGARI SIMANG [THE DREAM THAT LED YOU TO THE SUN] is a biographical documentary film on a poet from the Bodo community of Assam. His name is Dr. Anil Boro.

In this film the protagonist recalls the memories of his childhood and youth to the other character by sitting beside a river bank. He recalls the forest, river and his village which was his birthplace. Here chronotope is used to retell the past in the present time when he is growing older. He has used mythologies and histories of the Bodo community in his poems.

For example, in his one poem he described the war among the Bodo and Naga communities and the migration of the Bodos to near Assam from the Naga region.

I shot a Naga palace in Dimapur which is now broken and preserved under the Archaeological Survey of India. I used the recitation of that poem by the poet and incorporated the shots of that broken palace in the recitation.

Though I was not aware of the term CHRONOTOPE at that time, now I may say that according to the definition of CHRONOTOPE I have used that form in the film perfectly. The images which are created by using the CHRONOTOPE, give messages to the audience about the past history of the Bodos in the present time. At this point,it can be said that it is not just a poem, or film, it depicts something else where TIME plays a big role.

Paper short abstract:

Starting as a teenager, over 40 years, I documented in evolving media the richly diverse, vanishing world of the American Doo-Wop music microculture, which impacted global popular culture. This glimpse of the evolution of a genre exemplifies a great resource for partnering with anthropologists.

Paper long abstract:

Starting as a teenager, over 40 years, I documented in evolving media the richly diverse, but vanishing world of the American Doo-Wop music microculture, which impacted global popular culture from then on. This glimpse of the evolution of a genre exemplifies a great mutual resource for partnering with anthropologists. As with documenting endangered species, these glimpses involve capturing lightning in a bottle, and words or pictures alone simply cannot convey the soul of this midcentury phenomenon. Partnering with anthropologists studying the mirroring of society in its music is especially essential when that music is created by kids, for kids- -as was the case in Doo-Wop, and, now, its natural successor, rap. The genesis of who we are and who we may become is there, in the words, music and faces- -the heart & soul of the film.

You had to be there.

Paper short abstract:

This paper shares insights from the making of the artist’s short film Ritual of Rejoin investigating the spiritual practise of a speculative society living on the edge of a global flood. The process is built on an experiential study of immersing oneself to the speculative conditions.

Paper long abstract:

This paper shares insights, methods and inspirations from the making of the artist’s short film Ritual of Rejoin investigating a ritual of an oceanic spirituality inspired by the hydro-feminist posthumanism theory. It is about surrender, fear, re-birth and immigration in the context of a society living on the edge of a global flood. The speculative film depicts a group of women performing a ritual of this society to re-immigrate to the ocean. An unexpected attendee of the ritual starts the turn of events that changes the path of humanity towards a cetaceanic dream as the narrator reveals their identity in a meditative poem. While the ideation and the inspiration of the film has started with an internalised anxiety towards the rising ocean levels, the speculative fiction process is built on an experiential study of immersing oneself to the conditions that requires to think, act and feel from an imagined condition of reality. The process explained offers a new perspective on how to use auto-ethnography and performance for speculation, while the final form suggests a framework of a guided meditation investigating the ideas of experiential moving image, healing and posthuman imagination.