The pussyhat is part of a larger contemporary phenomenon known as Craftivism, which actively challenges the longstanding disparagement of women’s traditional art forms and has itself become a vehicle for feminist opposition. Craftivists run the gamut from hobbyist cross-stitchers urging us to “smash the patriarchy” to professional artists devoting painstaking hours to gallery exhibits. The Craftivist movement inherits a long tradition stretching back to the earliest history and literature of the West: Greco-Roman writers showed again and again how feminine art forms, particularly spinning and weaving, both segregated and subordinated women while also offering them an avenue for resistance.
The Punjab Documentation and Advocacy Project (PDAP) in collaboration with Human Rights Law Network and other bodies a two-day Independent People’s Tribunal (IPT) on the issues of enforced disappearances, fake encounters and two decades of the denial of justice and accountability in Punjab.
Before the January 25 revolution in Egypt that led to the Arab Spring, it was the Kashmiris who used social media to mobilise and organise protests in 2008 and extensively in 2010. With 60 per cent of the population under the age of 30, the discourse is led by opinion leaders on various social media platforms and not by the newspapers.
Kashmiris have used the technology as a tool to define their movement for independence. Rather than waiting for journalists to make a story, they are taking a phone and making a story on their own. A phenomenon that has not only created awareness on Kashmir globally, but given local voices an international platform.