Those who have ro­man­tic and sex­ual de­sire for oth­ers ir­re­spec­tive of their gen­ders Those who are at­tracted to men and mas­culin­ity Those who are at­tracted to woman and fem­i­nin­ity Also spelt as skoli­sex­ual. At­trac­tion to gen­derqueer, trans­gen­der and non-

Hindustan Times (Delhi) - - NATION - Source: Web­sites of LGBTQIA Re­source Cen­tre, Univer­sity of Cal­i­for­nia, Davis; Par­ents, Fam­i­lies and Friends of Les­bians and Gays, At­lanta; Ur­ban Dic­tionary & var­i­ous oth­ers Source: Coun­sel­lors Megha Sheth and Vi­nay Chan­dran

It is how one la­bels one­self; how one thinks of one­self in terms of to whom one is ro­man­ti­cally, emo­tion­ally and/or sex­u­ally at­tracted. The most com­mon sex­ual iden­ti­ties are ho­mo­sex­ual, or bi­sex­ual or straight It is dif­fer­ent from sex­ual iden­tity. Iden­tity is the core of one’s be­ing. It is un­change­able, like gay or straight. Pref­er­ences can change - one can sex­u­ally pre­fer tall or short peo­ple (which can be change­able) that I stud­ied. For ex­am­ple, they all have a wa­ter prayer or ritual,” Bu­tail says. More­over, most tra­di­tions use cop­per ves­sels to store wa­ter, adds Reha Sodhi, cu­ra­tor of the ex­hi­bi­tion. “To mir­ror this, a cop­per wa­ter pipe runs through the show.”

Where the tra­di­tions dif­fer most is in sound and rhythm of the hymns. These are key el­e­ments and ‘al­go­rithms’ from that Bu­tail in­cor­po­rates in her art through the use of au­dio clips, geo­met­ric sculp­tures and in­ter­ac­tive in­stal­la­tions.

Videos play above a pitched white tent, offering glimpses of Bu­tail’s jour­ney and the per­for­mances of var­i­ous prac­ti­tion­ers that she in­ter­acted with. What the viewer ex­pe­ri­ences is an im­mer­sive jour­ney through time and space.

“I am a very big fan of Astha’s and have seen the de­vel­op­ment of her prac­tice of the last cou­ple of years,” says Jagdip Jag­pal, di­rec­tor of the In­dia Art Fair. “I thor­oughly en­joyed this show and felt it dis­played her tal­ent and unique ap­proach.”

At a time when in­for­ma­tion is most com­monly ac­cessed at a click, ‘In The Ab­sence Of Writ­ing’ re­con­nects the viewer with a more tan­gi­ble, vis­ceral al­ter­na­tive.

“Even in the con­tem­po­rary world, it is pos­si­ble to in­cor­po­rate the prac­tice of oral his­tory tra­di­tions in mod­ern ed­u­ca­tion sys­tems,” says Reha.

As an in­stal­la­tion of a Rig Veda phrase puts it, “There is room for ev­ery­one.”

Newspapers in English

Newspapers from India

© PressReader. All rights reserved.