A Study of Colour Semiotics in the Performances of Ashmina Ranjit

Abstract

The main objective of this study is to explore the colour semiotics in notable performances of
Ashmina Ranjit. In her performances, Ranjit mostly employs the colours red, black, and white
to communicate powerful and multilayered meanings. Her use of colour reflects a simplified
Postmodernist approach in which each performance embodies a distinct semiotic significance
and often conveys dual interpretations. The representation and application of colour in her
works are highly innovative and experimental, enabling subtle yet effective communication
with the audience. Ranjit’s performances challenge the norms and traditions of mainstream
Nepali art, particularly in relation to the conventional use of colour symbolism. Consequently,
the colour semiotics in her performances appear more expressive, unconventional, and
conceptually significant. By using minimal yet vibrant colours, she seeks to communicate the
essence of the artwork in a direct and evocative manner, drawing inspiration from Postmodern
aesthetics in Western art. Her major performances, including ‘Nature in Flux’, ‘Tika’, ‘Tamas:
Darkness’, ‘Feminine Force’, and ‘Celebrating Womanhood’, demonstrate the significant
role of colour in generating semiotic meaning. This research is an analytical study conducted
through a qualitative method.