‘Opposite Dreams: The Politics of Local’: Art raises awareness around social issues in Nepal · Global Voices
One of the artworks from the exhibition ‘Opposite Dreams: The Politics of Local’. Image by the author. Used with permission.
ArTree Nepal, a group of six Nepali artists, is on a mission to make communities aware of social issues and foster meaningful dialogue through their contemporary art. The group has raised pertinent issues like Dr. <PERSON>’s hunger strike to reform the medical sector, Nepali youth migrating for foreign jobs, discrimination on the basis of caste and ethnicity, and human trafficking among others.
<PERSON> and <PERSON>'s strong Performance art #Protest to support Dr. <PERSON> with Artree #IamwithDrKC #SaveDrKC pic.twitter.com/r9fvk8c7T9
— ????? ?????? <PERSON> (@aannda) July 23, 2016
In March 2019 and earlier in October-November 2018, they exhibited their work titled ‘Opposite Dreams: The Politics of Local’ showcasing how Nepal’s history has excluded the stories of marginalized, underprivileged, and indigenous peoples.
The group wrote on Facebook:
For hundreds of years, the mainstream historical narrative of Nepal has excluded the stories and experiences of numerous marginalized, underprivileged and indigenous communities. Although there have been sporadic instances of vocal demands and protests for an equal representation of diverse identities, cultures, languages, and religions, the state has consistently and strategically oppressed them.
The exhibition, ‘Opposite Dreams: The Politics of Local’, draws attention to these problematic social hierarchies and invasive international influences. It attempts to highlight the misuse of power and state sponsored violence by focusing on acutely localized situations with an empathetic eye. By using an anthropological perspective and inquiring the socio-physical environments, the exhibition seeks to unfold these deeply entrenched unjust laws.
‘Opposite dreams’ exhibition- it challenges the ‘mainstream Nepali history’ as we know it, as we were taught, as we've been made to believe. Great to see such critical discourses happening in an accessible manner! Convinced, art can do a better job than words! #ArtreeNepal pic.twitter.com/8AnxuFhMOk
— <PERSON> (@Sangita_Thebe) November 18, 2018
Have a look at their artwork:
‘Mahendra Mala’ by <PERSON>. Image by the author. 765
Used with permission.
Artist <PERSON>'s installation art ‘Mahendra Mala’ delves into the chapters of the Nepali book of the same name that promoted a single religion, a single language, and a single culture. He has minutely carved the chapters on slates used for roofing in rural areas. The slates can be flipped around and they have chapters from the book on one side while the other sides make up the name of the book.
The artist spoke with Global Voices, stating that “One day, a Danphe (Nepal’s national bird Lophophorus) pecked the grains left to dry on the sun by Lamas, the Tamang people.” Explaining one of the stories in the book, he added, “The <PERSON> drove the bird away northwards. In the winter, the Lamas descend to warmer Terai but <PERSON>, afraid of the <PERSON>, never ventured a journey to the Terai, the southern plains. The information given in the book itself is wrong. While <PERSON> is a Himalayan bird living in the Himalayas, the <PERSON> have been presented as cruel in nature.”
‘Death of Civilization’ by <PERSON>. Image by the author. Used with permission.
In ‘Death of Civilization’, <PERSON> has carved the Basantapur Durbar Square on pieces of wood and bulldozed parts of it with huge tire prints.
In ‘How I Forgot My Mother Tongue’, <PERSON> showcases a collection of books read by his father. His artwork emphasizes how the curriculum promoted a single language Nepali, thus making others forget their vernaculars.
‘Masinya’ by <PERSON>. Image by the author. Used with permission.
The artwork ‘Masinya’ by <PERSON> delves into the issue of categorization where the Tharu people were grouped as Masinya Matwali (enslavable alcohol drinkers). 765