When Wanphrang Diengdoh’s first film 19/87 released in 2011, it had one screening and received one review. His second film, Where the Clouds End , which released this year, has already had seven screenings, including Delhi, Shillong and London. In this film, the “independent filmmaker from a small town” examines the idea of Khasi identity and the growing “fear of the outsider”. The film documents a tribal community struggling with the purpose of development at the cost of a way of living. Excerpts from the interview:

Your first film 19/87 was also on Khasi identity. Why do you choose to address this complex issue?

It is a complex issue because all identity markers seem to have been set in stone now. There is this belief that these identity markers were always what they were from the time they were conceived which is where the problems begin.

I grew up in a family with mixed religious backgrounds. My father's side of the family were Khasis, while my mother's side were Christians. Growing up in that kind of a household was quite confusing. I remember when I was researching for the film I was telling people that my great-grandfather was a Dkhar (non- tribal). Immediately their tone ranged from sympathy to confusion. And then I have vivid memories of a neighbourhood being burnt during the communal riots of the early 90s. After I left Shillong (to study) I became a minority. I have realised that wherever you may be, the dominant ideology or population will always try to enforce its principles upon you. If you do not subscribe to these ideas, once again it is your identity that is in question.

I think that to understand one's past is important because if you don't, then anyone can come and tell you anything. I think it is important, especially for tribals like the Khasis, because we never had a script. There is a dangerous manipulation of the past to suit one's agenda or political motive. The writing of history is always a power contestation.

The film often brings up the question of ‘the outsider’. The protagonists talk of Khasi insecurity, the idea of development and fear of the outsider. Who is the outsider here?

I think it (statehood) was a monumental event for the Khasis in post-independence India because from that point, we had a state of our own. At the same time - I might sound like a secessionist - but I think it was extremely necessary to define this state because the different tribes in the North East were never part of this country. By having our own state it also meant some of our traditional laws could still be maintained.

After the screenings, I would ask audiences what did the borders mean? Many of them felt that borders should be airtight and sealed, that Khasi identity will become extinct or reduced to a minority. For instance, like what happened in Tripura.

What about the demand for Inner Line Permits? Recently, it was turned down again. Will it really limit outsiders, check the illegal influx?

I don’t really think so. I think we should question its efficacy in states where it has been implemented – Arunachal Pradesh and Nagaland. The ILP was an offshoot of the Bengal Eastern Frontier Regulations 1873, which was to safeguard the interests of the tea plantations of the British. Now it is to protect the tribals from non-tribal migration. But will it mean that economic migration will not be allowed but a fancy posting in Shillong will? I think the ILP is a very classist policy.

The film shows the tang jait ceremony, which is performed in Khasi society to perpetuate the matrilineal set up by accepting outsiders. So, on one hand there is this fear of the outsider but then there is this ritual that can make you Khasi. Can you elaborate…

This is a very good question that you have asked. The tang jait is a beautiful ceremony in the sense that it is so progressive in its understanding of race. It is a ritual unique to the Khasis because it accommodates the outsider. It’s almost like issuing a PIO card.

In this ritual, a non-tribal woman, married to a Khasi man, after giving birth can ensure their children have the tribal right to land inheritance. When a Khasi woman marries a non-Khasi man, there is no need for the tang jait because the children will still take the mother's clan name, ensuring the continuation of the matrilineal practice. So it is a legal procedure in that sense.

You will also notice the film points out that society is OK with a man marrying a non-tribal woman but should a woman marry an outsider, it is looked upon as a degrading act. Over the years, this fear of the outsider has increased.

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