Virtual Ceremony for the CMS International Art Competition 2022
Thursday, September 22, 202211:30 am – 12:30 pm— Pacific Time (PT)Location: Online via ZoomFree & open to the public. To register, fill out the RSVP form below.
Please join us to celebrate the winners of the 2022 international art competition in a virtual ceremony hosted by the UBC Centre for Migration Studies. The Centre is very pleased to announce that after an extensive adjudication process, the following artworks have been awarded the first prize and honourable mention at this year’s international art competition, organized in collaboration between CMS’ Mobilities and Research Creation research groups. The first prize went to A.P. Payal for their illustration entitled Kakkemammalo Gintu, or The Song of the Crow. The honourable mention went to Kunsang Kyirong for their short animation entitled ‘Yarlung’.
First Prize: Kakkemammalo Gintu, or The Song of the Crow by A.P. Payal
The illustration features the visualisation of a children’s lullaby from the Konkani people of India, a predominantly coastal community who after the Portuguese conquest of Goa made forced migrations from their homeland to various places in India. It gestures towards the forced exodus of Hindu Konkanis during the Portuguese Inquisition in colonial Goa that began in the sixteenth century and impacted successive generations. The artwork is a palimpsest comprised of collage, origami, ink drawings, and photographs. A musical accompaniment to the artwork can be found here.
Honourable Mention: ‘Yarlung’ by Kunsang Kyirong
Sound design by Taymaz Saba; Voice actors- Kunsang Kyirong, Pema Kyirong, Tenzin Rabgyal
Yarlung tells the story of three children who experience the death of a loved one during the heat of midsummer in a small village. As they navigate this experience, they return time and again to the nearby Yarlung Tsangpo river — a fourth central figure in the story, with which each child has their own relationship. The film blends both fiction and nonfiction, drawing from my childhood experience of visiting a small refugee camp in the Northeast of India, called Tezu, where my mother was born. The use of charcoal and straight-ahead animation in the film add to the whimsical and fluid nature of storytelling.
