I AM… memoirs of addiction recovery is my journey to understand better, the lives behind much stigmatised taboo of addiction. Fingers point, eyebrows frown, people suddenly become ‘they’ and ‘we’ jump to hasty conclusions in demonising the addict.There are many kinds of addictions, substance dependence or what is commonly called drug addiction. Indeed there is much controversy in understanding the very nature of addiction itself, which essentially is the ‘loss and ‘regain of control’. Continue reading Addiction, the addict and their recovery
With a three tier name Nila Madhab Panda, Madhab is one of the most unassuming film directors I know.
Back in 2007, whilst researching for an Indian creative associate for my project 60×60 Secs, his name was mentioned several times by different people. 60×60 Secs; one-minute film commissions from Britain India Pakistan to reflect on migration, displacement and cultural identity in the 21st century. Having met several artists in Bombay and Delhi, finding none to be suitable for the project, I met Madhab at Cafe Coffee Day a day before my return. Continue reading Connections – Nila Madhab Panda
As an artist who is forever challenging and teasing perceptions of identity, cultural positioning and representation, and enabling other voices to creatively do the same… I feel immobilised by the demands put on the geographical DNA of people of certain ‘origins’.
Recently my Mum wanted to spend some time in India for a sort of family reunion. She planned to be with her siblings, some who live there and two others currently visiting Mumbai. They are all getting on in age.
The Kashmiri migrants carry a miniaturized, idealized Kashmir in their hearts. The memory of Kashmir is also a ritual of remembrance. Some of these narratives stemming out of personal experiences might seem suspect when measured up to certain facts about the life of these migrants in Kashmir but nonetheless they hint at a complex reality. A complex reality which involves a rejection of what the French historian Pierre Nora calls “the terrorism of historicized memory”.