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- W2291706706 abstract "This paper explores the transcultural critique of gender and nationality in Contemporary Indian artist Nalini Malani’s video and multi-media installation titled Hamletmachine (2000). The piece was produced in collaboration with Japanese Butoh dancer Harada Nobuo during a residency in Fukuoka, Japan in 1999. This layered piece involves three video projections depicting Japanese Butoh dancer Harada Nobuo transposed over images of riots and Hindu-led violence in India, and punctuated with audio quotations from German playwright Heiner Muller’s (1929-1995) play of the same name in order to provide a transnational critique of the masculine-driven violence of Hindu fundamentalism in India. It is through this dense referentiality of three distinct cultures and historical moments that Nalini Malani reveals that multicultural and transnational collaborations do not have to abandon the specifics of the local in favor of a homogenizing global scope. This paper ultimately demonstrates that Malani’s reversal of the gaze onto the male (rather than female) body of the Butoh dancer performs a transcultural critique of the evolution of a nationally dictated violent masculinity that connects postwar Japan, communist Germany, and modern India." @default.
- W2291706706 created "2016-06-24" @default.
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- W2291706706 date "2015-07-31" @default.
- W2291706706 modified "2023-09-25" @default.
- W2291706706 title "Critiquing Masculinity: Transcultural Corporeality, Hindu Fundamentalism, Japanese Butoh, and Heiner Müller in Nalini Malani’s Hamletmachine" @default.
- W2291706706 doi "https://doi.org/10.15685/omnes.2015.07.6.1.33" @default.
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