As has been stated earlier, the Khasi community is bereft of any visual art tradition and the present generation of Khasi artists will be responsible for creating a certain visual identity that could be termed as Khasi art, otherwise most of the artists are general in their image creation endeavour if not ordinary. Therefore, certain distinct visual imagery could be created that will reflect Khasi folklore, which will not happen overnight as the refinement process has to be articulated in earnest, without an iota of external influence. However, this exercise might require further research, discussion, critical analysis with resourceful persons, cultural exponents, shamans, traditional practitioners of various folk customs and even religious rituals and ceremonies.
In this respect, two young artists, Afreen Kraipak Khyriem and Naphisabiang Khongwir appeared to have been more engaged with a different outlook. They formed the North East Art Initiative, which is more like a movement for positive development of art practice, rather than an organisation for holding events. During the lean period of the Covid 19 pandemic, they conducted regular online deliberations involving resource persons from different parts of the North Eastern Region of India, particularly from the home State of Meghalaya. Both are very articulated and well versed with the relevant subject they brought forward during the discussion and interaction with the participants. Moreover, the engagement of veteran and young artists provides a synthesis of mature ideas and contemporary innovative elements. Several thought-provoking topics have been discussed in the course of the literary events and among the significant themes are Cultural Nationalism, Swadeshi and the Occidental Orientation, An Introspection into the First Indian War of Independence and a few other wide-ranging issues pertaining to art and the region. North East Art Initiative aims to bring artists, writers and researchers together into an integrated space where artistic discourses, nuances of artistic perception, art appreciation and art education are celebrated. It endeavoured to bring attention to this region of India by closely examining the untapped and overlooked gamut of talent that makes up the North East.We are a digital online art gallery and art community. The online art gallery enables artists to share a platform to feature their oeuvre of artworks. NEAI also featured art writers and researchers art and cultural research and writings through interactive art talks, seminars,curated art exhibition including art education that seek to reach a wider audience of people from the region who may not be acquainted with the art techniques and appreciate in order to bring about a coherent discourse on art.
Conclusion: The inception of postmodern expression will to a great extent assist the local Khasi artists in their endeavour to invent or discover the distinct identity of Khasi art. It may not be possible any longer to discover something that is vague with mere assumptions; but with the vibrant folklore, a new art expression depicting Khasi heritage could be invented with a proper understanding of the ethnic culture and tradition. The numerous materials culture found in weaving, metallurgy, basketry, costumes and ornaments, agricultural and hunting implements, domestic articles and ancient artefacts will provide an extensive source of visual images for creation of any ethnic illustration representing Khasi heritage. However, mere incorporation of authentic cultural materials might not be relevant. Therefore, there is a need for a concerted effort to create a method and technique that will conform and convince the people of its relationship with the community. It is like creating a feature of a certain portrait painting or bust sculpture of a particular person. The appearance might not be as important as the character of that particular person being painted or sculpted. It may be recalled that Benedict Skhemlang Hynñiewta made the clay model of Bull N Lyngdoh through the pictures provided by the client and his faint memory of the person. Conversely, it was the factual narrative that was provided by myself {Raphael Warjri} and the sketches that I drew for more reference to depict his character, which is more pronounced in his feature as the vociferous student and righteous political leader. It was more challenging in the endeavour because the pictures provided by the client were small, and blurred and his actual facial appearance lacked the personality of the strident leader. In the photograph, he looks meek and pitiable, but our {Benedict and Raphael} aesthetic chemistry succeeded in bringing about a bust statue worthy of his stature. On the contrary, there are other portrait sculptures done by qualified artists with excellent technical finesse of the actual features of every eminent person, but they want the actual character of their stature, even as few of them have the physical features of an outstanding persona.
It is without any intention to belittle the other artists, while their skill and technical performances are imposing and magnificent. It is required to emphasize the involvement in the work of art as much as the temperament for the social and political obligation that has motivated the collective passion to a greater extent. Therefore, it is important to impress upon every local Khasi artist, the task of devotion and dedication to the cause, rather than the technical excellence of the manual skill. Furthermore, the exercise will demand patience and rigorous practice with a focus on the foundation of ethnic Khasi heritage. There could be any amount of time and effort to scratch the surface of Khasi folklore, so much so that any further period of time to make in-depth research and analysis on the specific topic without any external influence. The endeavour is to concentrate and give enough attention to the process, despite obstacles and limitations, while allowing the gradual germination and steady evolution of ethnic Khasi art in the future. The definition of that character and the trend that will be created in the world of art must be open for intellectual discourse among the cross-section of stakeholders on the matter. Through generations, the local Khasi artists must sustain the effort and assert with genuine spirit and advocacy to convince the art fraternity for universal acceptance of the authentic representation of Khasi national aesthetic uniqueness.
In the modern context, every artist must understand and comprehend the actual ethnic traits of the community under the onslaught of alien forces of social changes, particularly the tremendous influence of Christianity. Although the characteristics of Khasi culture are dynamic, certain elements are diluted with innovations of the dominant tradition. There are instances that the local indigenous people professing ethnic Khasi faith subconsciously succumb to the influence or interpretation of other customary practices that are not compatible with the ancient customs and traditions. Some of the phrases like ‘Shyiengkrung’ or rip-cage to depict mating partner, ‘Khyndaipateng ñiamra’ to denote hell or the subterranean, ‘Ri Umsnam’ to signify nation with bloodshed, ‘Laiphew Syiem Khatar Doloi’ to represent the thirty Khasi chiefdom and twelve Jaintia dominion, ‘Jaintia’ to correspond to the Pnar people, and even ‘Hynñiewtrep’ to describe the Khasi race, and ‘U Blei’ meaning God are subjected to debate on the validity of the terminology. There are many more words and terms that could be diluted or adulterated, and it is a matter of concern for the pictorial illustration that might deviate from the ethnic origin of the Khasi community, in the context of formulating Khasi ethnic art. Therefore, the artists must constitute a core team to deliberate and interact with the Khasi literary, cultural , and traditional religious exponents; in addition to resource persons across the length and breadth of the Khasi territory, which will include the shamans, farmers, herbal healers, and ordinary citizens.
Moreover, direct translations of English phrases and idioms have been accepted among the masses, even as there are more relevant terms in the Khasi language based on certain relevant instances in society. The English phrase ‘A tooth for a tooth or ‘An eye for an eye has been translated and used even in local Khasi media, whereas the phrase ‘Thlongmluh thlongsying’ literally means ‘A salt in a mortar, a ginger in a mortar’ related with extreme enmity or hatred, which is based on particular local folklore. There are more such instances that the artists needed to be careful in the endeavour to portray the authentic elements of ethnic Khasi heritage, lest the entire exercise could be diluted with alien concepts. In this regard, the core team should be responsible and instrumental in dealing with the situation. Therefore, the involvement and observation of genuine people significantly from villages will provide ample scope to maintain a real and reliable source of information with caution on the probable seepage of foreign elements.
