The project of creating an anti-oppressive composition issue began with multi-disciplinary, multi-institutional collaboration between Julia Havard, Erica Cardwell, Anandi Rao, Juliet Kunkle and Rosalind Diaz, who crafted a call for community-building and community-transformation: to build tools, resources, and spaces for transforming our classrooms, specifically our writing classrooms; and to approach the teaching of composition in community, with accountability, and with urgency. This collaboration started as a working group at the University of California Berkeley, Radical Decolonial Queer Pedagogies of Composition, as a number of instructors at multiple levels of the academic heirarchy struggled with the differences between our writing classrooms and our research. Following Condon and Young (2016), Inoe (2015), and Gumbs (2012), our editing team wanted to create a context and process for rich unraveling of un-teaching oppressive systems through composition.
This is true of Habib Tanvir's 1993 translation/adaptation Kamdev Ka Apna Basant Ritu Ka Sapna, 2 hereinafter Kamdev. It begins thus: the stage is bare apart from a man in a white dhoti 3 wearing garlands of marigold flowers around his neck, wrists, and forearms. He is wearing what seems to be a traditional hat and playing a tune on a snake charmer's pipe. He begins in a seated 1 See Poonam Trivedi's introduction to the volume India's Shakespeare for a detailed account.2 Harris translates the title as "The Love-God's Own Springtime Dream" (56). The MIT Global Shakespeares Archive translates the title as "The Love God's Own, A Springtime Dream."3 A kind of sarong worn by men and tied in a fashion that resembles loose trousers. This is the version of the article accepted for publication in Shakespeare Bulletin, 40 (3). pp. 385-401 (2022) published by Johns Hopkins University Press.
This article examines the representation of Prachi, one of the chief subjects of the Indo-Canadian documentary The World Before Her, as a queer girl who finds the space to articulate her non-heteronormativity in a right-wing Hindu training camp for girls, the Durga Vahini. While made in 2012, this Canadian documentary, written and directed by Indo-Canadian film-maker Nisha Pahuja, was released in India in 2014, soon after Narendra Modi’s election, and was criticized by some as being a form of Hindutva propaganda. Drawing on the work of Antke Engel, Nikita Dhawan, Maria do Mar Castro Varela, Akhil Katyal and Kara Keeling, this article looks at the film-maker’s role in shaping the narrative and moments of linguistic, translational and affective excess to argue that queer politics, especially in postcolonial states, is not merely subversive but is also complicit in reinforcing hegemonic ideologies.
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