Later, some of the austere ethnic Khasi impressions are found in the artworks of Benedict Skhemlang Hynñiewta, Careen Joplin Langstieh, Raphael Warjri, Thomas Mylliemumlong, Solomon Kharir, Danny Tiewdoph, and few young aspiring artists. As creative artists, we have been able to convince certain clients to opt for other ethnic elements besides the popular monoliths, bow, and arrows, sword and shield. Some of the images created by unknown artists are the rooster for the insignia of Seng Khasi, the stag with antlers for Synjuk Wahingdoh; then the three hearthstones with seven huts created by Marius Maiñsing Shanpru for the emblem of the Hynñiewtrep Cultural and Welfare Organisation; then Raphael Warjri created few designs including a bee with a window in a globe for the Shillong Press Club by; the Khasi drum with the juxtaposition of Khasi landscapes for the Meghalaya Tourism Development Forum; the Khasi traditional costumes, jewelry and musical instruments for the Seng Khasi commemorative event. The local clients of Meghalaya are yet to appreciate abstract forms for insignia or logo, and some of the abstract logos in Shillong are that of Meghalaya Architects’ Forum, Meghalaya Institute of Hotel Management, Hotel Pegasus Crown, Hotel Centre Point, Northeast Slow Food and Agrobiodiversity Society, Martin Luther Christian University and few others. Generally, the local clients prefer the actual image of any items to be incorporated in the emblem, logo, or insignia. It may be recalled that Bashai Rai Dohling created the Maharaja logo of Air India, the sheep of Merino Wool, and a few prestigious designs and artworks including animation films for some reputed institutions in the country including the Union Government.
The point of the matter that is essential to analyze in this context is the aesthetic sense of the local people of Meghalaya, particularly in Shillong. The common human response to images could be universal as it might occur in other communities elsewhere in the world; however, it is important to apprehend the local context of the people that are yet to be exposed to the contemporary world of art. Therefore, it is significant to reiterate that the lack of folk art tradition could be partly responsible for the response and reaction of the local indigenous people towards art. The sudden impact of the visual culture imposed by the colonial imperialists and the onslaught of European art through the Roman Catholic church has created a tremendous impact upon the local inhabitants, and there is a dearth of understanding about the image-making practice that could be derived from the ethnic folklore. The majority of the local inhabitants are being carried away by the excellent reproduction of visual materials from Europe and together with the progressive modern civilization and influence of Christianity, the people have been taken over by the alien image-making tradition. In a way, this situation has been rampant to the extent that the original folk element was being discarded without an iota of retrospection on the vibrant folklore of the people and the land. There is no denial to the fact that the local indigenous people could not keep pace with the advanced migrant communities with the rich tradition of folk and contemporary art, particularly the Bengalee community. There are some cultural organisations of the Bengali and Assamese communities that are trying to incorporate the local Khasi culture in to their various cultural activities, but there is a strange understanding of culture by the local inhabitants where they are more inclined toward the western and Christian culture and became a mockery on the entire exercise through generations. Even a few of the local artists that tried to display the ethnic elements are always juxtaposed with western or Christian instruments. Perhaps, there is no harm in the inclusion of certain modern instruments that are usually considered western in nature, if the objective represents local flavor and might create a tradition within the ethnic composition. Sometimes, there are more the foreign elements with negligible local taste, which are not compatible with the indigenous character. In this situation, several ethnic elements became static and dominated with the modern components that are accepted as the local output, which are not at all original.
There is nothing much to mention in the visual practice due to the lack of any folk art tradition. The picture of the British royal monarchy and the Christian Biblical images are more popular than any local modern lifestyle and ethnic culture. Even in performing arts, the situation is not very different; a Biblical hymn in the local language is generally accepted as the Khasi tradition; a dance derived from colonial imposition is being displayed as the traditional dance; the local music band with guitar, mandolin, violin, harmonium and saxophone with a fusion of ethnic tunes are being considered the traditional music. The adaptation of new elements of the modern age is not a problem, but the absolute dilution of ethnic character and evolution with total foreign stuff is strident. Moreover, the fascination for the modern comforts and luxuries have driven the local inhabitants away from their ingenious features and replaced them with the glitters of current trends. The local inhabitants would treasure the exorbitant draperies and furniture, rather than a decent work of art. They would prefer an extravagant sleek cabinet or sparkling chandelier than a sculpture to adorn their parlour. The people would opt for an expensive dazzling wallpaper or a poster with an intricately decorated frame than any worthwhile painting.
In the midst of all these ground realities, there are inherent aspirations of certain genuine benefactors of art among the local inhabitants. Considering the actual situation in the region and the general perception of the people for aesthetics, it is discovered that the female members in the society have a sincere temperament toward art. It could be mentioned with certain conviction on the matter substantiated with experience in person with the legitimate clientele of aesthetics. In a few of the Thoh Shun art camps hosted by Riti Academy, there are a considerable amount of sales and most of the buyers are women, while few wealthy men would either hesitate or bargain.
There is a sense of affectionate motherhood with these women when they devote their passion to true art. In another incident at Mad Gallery in the heart of the city, there was a high school girl of a middle-class family, who frequented the gallery for sheer admiration of one particular artwork. It took some weeks for the young student to impress upon her mother her attachment to the artwork. The mother was a junior grade official in the State government and a single parent and the persuasion of her daughter compelled her to reluctantly enquire through certain acquaintances. In a few months, it came to the notice of Riti Academy and there was a positive gesture and initiative to provide decent information about the piece of art. It could be instantly noticeable that it was hard to afford her status, but the daughter would not give up, which was consciously offered to avail in installment. However, the mother refused to accept the artwork without payment and convinced her daughter that the painting was booked and it will be acquired in a short period of time. Within a few weeks, both the mother and the daughter descended upon Mad Gallery with all smiles on their faces and instantly purchased two artworks instead of one; with full payment and without bargaining or availing the offer for installment. In yet another incident a young lady entered the Mad gallery after searching for some time. She was convinced that she would acquire one huge artwork, and she politely sought for reduction, even as she was determined to purchase the painting as a tribute to her father, an art collector. The lady narrated to the management of Riti Academy that since childhood, she was fascinated with his collection of paintings. However, after he passed away, the mother would give it to her acquaintances for lack of space and proper understanding about treasuring art. As a young child, she was disheartened, but would not dare confront her mother. The lady is a middle-class family woman with a huge responsibility to take care of her children and confided her anguish to her husband. The man was not in favor of her desire to pay homage to her father at the cost of the family’s responsibility for the upbringing of their children. Nevertheless, she committed to her husband that she would sacrifice her personal luxuries for a few years to compensate for the cost of the painting. She was all out to defy the dictates of her husband and comply with her passion with absolute contentment. These are a few of the actual encounters with the local female members of the society in Meghalaya.
