{"title":"Dark Ages and Bright Futures","authors":"Deepti Misri","doi":"10.1215/08992363-8358710","DOIUrl":null,"url":null,"abstract":"This article examines the shape of time for those living in Indian-occupied Kashmir, focusing particularly on two calendars that became embroiled in a “calendar war” in Indian-occupied Kashmir in the year 2017. The first was the annual calendar of the Jammu and Kashmir Bank, which proudly featured twelve “talented youth[s]” of the state. The second was a “countercalendar” circulated online by the anonymously run pro-azadi (self-determination) Facebook group Aalaw, featuring a rather different image of Kashmiri youth. Situating these calendars against a larger backdrop of visual representations of time in occupied Kashmir, this article examines how each calendar mobilized narratives about the past, present, and future in Kashmir, narratives that were negotiated through competing gendered images of youth via rhetorics of ability and disability. The article takes up the tensions between two strands of disability studies: liberal approaches that emphasize the celebration of disability and biopolitical critiques that foreground the violent production of debilitation, to consider how Kashmiri visual production suggests a vision of crip futures for those now living with disabilities in Kashmir.","PeriodicalId":47901,"journal":{"name":"Public Culture","volume":"32 1","pages":"539-565"},"PeriodicalIF":1.1000,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"8","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Public Culture","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.1215/08992363-8358710","RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
引用次数: 8
Abstract
This article examines the shape of time for those living in Indian-occupied Kashmir, focusing particularly on two calendars that became embroiled in a “calendar war” in Indian-occupied Kashmir in the year 2017. The first was the annual calendar of the Jammu and Kashmir Bank, which proudly featured twelve “talented youth[s]” of the state. The second was a “countercalendar” circulated online by the anonymously run pro-azadi (self-determination) Facebook group Aalaw, featuring a rather different image of Kashmiri youth. Situating these calendars against a larger backdrop of visual representations of time in occupied Kashmir, this article examines how each calendar mobilized narratives about the past, present, and future in Kashmir, narratives that were negotiated through competing gendered images of youth via rhetorics of ability and disability. The article takes up the tensions between two strands of disability studies: liberal approaches that emphasize the celebration of disability and biopolitical critiques that foreground the violent production of debilitation, to consider how Kashmiri visual production suggests a vision of crip futures for those now living with disabilities in Kashmir.
期刊介绍:
Public Culture is a peer-reviewed interdisciplinary journal of cultural studies, published three times a year—in January, May, and September. It is sponsored by the Department of Media, Culture, and Communication, NYU. A four-time CELJ award winner, Public Culture has been publishing field-defining ethnographies and analyses of the cultural politics of globalization for over thirty years. The journal provides a forum for the discussion of the places and occasions where cultural, social, and political differences emerge as public phenomena, manifested in everything from highly particular and localized events in popular or folk culture to global advertising, consumption, and information networks. Artists, activists, and scholars, both well-established and younger, from across the humanities and social sciences and around the world, present some of their most innovative and exciting work in the pages of Public Culture.