A Cartography of Angry Indian Goddesses towards Nomadic Affect

This paper attempts to draw a cartography of becoming <em>Angry Indian Goddesses</em> as transnational nomadism towards an<strong> </strong>embodied and material rethinking of women’s friendships from outside the constraints of systemic binaries. The friends are all professio...

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Autor principal:	Indrani Mukherjee
Formato:	article
Lenguaje:	EN ES
Publicado:	Universitat Autònoma de Barcelona 2019
Materias:	women friends, embodied, interstitial space, hybrid, non-human, becoming, nomad. General Works A
Acceso en línea:	https://doaj.org/article/1c27a6b0991949eab2a5e16885b908f6
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id	oai:doaj.org-article:1c27a6b0991949eab2a5e16885b908f6
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spelling	oai:doaj.org-article:1c27a6b0991949eab2a5e16885b908f62021-12-02T16:48:35ZA Cartography of Angry Indian Goddesses towards Nomadic Affect2339-852310.5565/rev/indialogs.150https://doaj.org/article/1c27a6b0991949eab2a5e16885b908f62019-12-01T00:00:00Zhttps://revistes.uab.cat/indialogs/article/view/150https://doaj.org/toc/2339-8523This paper attempts to draw a cartography of becoming <em>Angry Indian Goddesses</em> as transnational nomadism towards an<strong> </strong>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 “<em>Kattey</em>”<strong>,</strong> 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 <em>becoming</em> 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.Indrani MukherjeeUniversitat Autònoma de Barcelonaarticlewomen friends, embodied, interstitial space, hybrid, non-human, becoming, nomad.General WorksAENESIndialogs: Spanish Journal of India Studies, Vol 7, Iss 0, Pp 11-25 (2019)
institution	DOAJ
collection	DOAJ
language	EN ES
topic	women friends, embodied, interstitial space, hybrid, non-human, becoming, nomad. General Works A
spellingShingle	women friends, embodied, interstitial space, hybrid, non-human, becoming, nomad. General Works A Indrani Mukherjee A Cartography of Angry Indian Goddesses towards Nomadic Affect
description	This paper attempts to draw a cartography of becoming <em>Angry Indian Goddesses</em> as transnational nomadism towards an<strong> </strong>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 “<em>Kattey</em>”<strong>,</strong> 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 <em>becoming</em> 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.
format	article
author	Indrani Mukherjee
author_facet	Indrani Mukherjee
author_sort	Indrani Mukherjee
title	A Cartography of Angry Indian Goddesses towards Nomadic Affect
title_short	A Cartography of Angry Indian Goddesses towards Nomadic Affect
title_full	A Cartography of Angry Indian Goddesses towards Nomadic Affect
title_fullStr	A Cartography of Angry Indian Goddesses towards Nomadic Affect
title_full_unstemmed	A Cartography of Angry Indian Goddesses towards Nomadic Affect
title_sort	cartography of angry indian goddesses towards nomadic affect
publisher	Universitat Autònoma de Barcelona
publishDate	2019
url	https://doaj.org/article/1c27a6b0991949eab2a5e16885b908f6
work_keys_str_mv	AT indranimukherjee acartographyofangryindiangoddessestowardsnomadicaffect AT indranimukherjee cartographyofangryindiangoddessestowardsnomadicaffect
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A Cartography of Angry Indian Goddesses towards Nomadic Affect

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