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How Race, Class and Gender Affect the Making of Visual Art’ THE ARTISTIC PRACTISES OF CONTEMPORARY SOUTH AFRICAN INDIAN WOMEN ARTISTS: HOW RACE, CLASS AND GENDER AFFECT THE MAKING OF VISUAL ART by THAVAMANI PILLAY Submitted in accordance with the requirements for the degree of MASTER OF ARTS in ART HISTORY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF. BERNADETTE VAN HAUTE NOVEMBER 2014 © University of South Africa 2010 DECLARATION I declare that ‘The artistic practises of contemporary South African Indian women artists: how race, class and gender affect the making of visual art’ is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. Thavamani Pillay Signature:______________________ Date:__________________ © University of South Africa 2010 TITLE: The artistic practises of contemporary South African Indian women artists: how race, class and gender affect the making of visual art SUMMARY: In view of the scarcity of Indian women in the South African art field, this study investigates how issues of race, class and gender can affect the decision to become and sustain a career as a professional artist. By exploring the historical background of the Indian community and their patriarchal mind set it becomes clear that women’s roles in this community have always been prescribed by tradition and cultural values, despite western influence. Moreover the legacy of apartheid created a situation in which black artists, especially women, have not always benefitted in terms of career opportunities. The research is based on case studies of five Indian women who have received due recognition as artists: Lalitha Jawahirilal, Usha Seejarim, Sharlene Khan, Simmi Dullay and Reshma Chhiba. These artists’ lives, careers and artistic output are closely studied, documented and critically interpreted using key concepts such as orientalism, black feminism and post colonialism. List of key terms: Race; separate development; education; culture; religion; patriarchy; class; gender; South African women; black feminism; contemporary art; apartheid; art institutions. © University of South Africa 2010 TABLE OF CONTENTS PAGE PREFACE i LIST OF ILLUSTRATIONS v ABBREVIATIONS ix INTRODUCTION 1 Endnotes 18 CHAPTER 1 The development of a modern South 19 African Indian cultural identity 1.1 South African Indians 19 1.2 Visual art in the South African Indian community 27 1.3 Art education for Indians 31 Endnotes 38 CHAPTER 2 Lalitha Jawahirilal 2.1 Biography 39 2.2 Artworks 43 2.3 Summary 50 Endnotes 54 CHAPTER 3 Simmi Dullay 3.1 Biography 55 3.2 Artworks 57 3.3 Summary 65 Endnotes 69 CHAPTER 4 Usha Seejarim 4.1 Biography 70 4.2 Artworks 73 © University of South Africa 2010 4. 3 Summary 84 Endnotes 87 CHAPTER 5 Sharlene Khan 5.1 Biography 88 5.2 Artworks 90 5.3 Summary 101 Endnotes 105 CHAPTER 6 Reshma Chhiba 6.1 Biography 106 6.2 Artworks 108 6.3 Summary 120 Endnotes 124 CONCLUSION 125 Endnotes 134 BIBLIOGRAPHY 137 ILLUSTRATIONS 160 © University of South Africa 2010 PREFACE My experience of the complex relationship between South African Indians and contemporary visual arts was a starting point for this study. I have always been interested in art but could not study it at high school as it was not part of our syllabus (1977-1980). After I matriculated I wanted to study Fine Art but financial considerations and the fact that it offered no tangible career led me to complete a Diploma in Fashion Design. During my student years, I encountered many talented young people, who like me had chosen to study Fashion, Graphic Design or Textile Design instead of Fine Art since it was more practical. The overriding reasons for most of us were similar: the study fees at Technikon were far less than at university; pressure from family to complete our studies and find work quickly; and for some, the refusal of their parents to allow them to study fine art. There were also no discernible professional Indian artists that we could look up to as mentors or examples of success. Even now there is a perception amongst South Africans that there are no Indian women who are visual artists. Admittedly, only a proportionately small number is informed about the contemporary visual arts field since South Africans prefer popular culture such as sport, music, cinema and television. Those who are interested and attend art exhibitions or read art books, art reviews or magazines might not even be aware that articles seldom feature the names or works of South African Indian women artists. In Durban with its huge Indian population, newspapers like The Post and The Sunday Tribune Herald which cater for the i © University of South Africa 2010 Indian community do sometimes feature Indian visual artists. The focus of these articles tends to be on the artists’ biography and achievements with no in-depth analysis or critical discussion of art works. The main aim of this study is to fill the afore mentioned gaps in our knowledge of South African Indian female artists and to show how certain factors contributed to this state of affairs. In order to do this it is necessary to understand how ingrained patriarchal and traditional beliefs have shaped the South African Indian community and their attitude towards women. As discussed in Chapter one this community views visual art practise as a western construct and seldom supports art as a career. To paraphrase Linda Nochlin: “for a (Indian) woman to opt for a career at all, much less a career in art, has required a certain unconventionality both in the present and the past” (1971:31). When women choose to become professional artists they often face difficulties and a lack of support from their families or communities. Therefore, I examine gender as a factor affecting a career in art. When considering the scarcity of Indian female artists, it is important to look at the educational institutions, art galleries, critics, art sponsors and art publishers in South Africa. Historically positions of power in the art world have always been held by whites and although transformation has created some change, there is still much that needs to change. The dynamics of race especially as it impacts on education, training and career opportunities are central to this study. ii © University of South Africa 2010 A third factor affecting Indian women artists is class since it has a direct impact on education, financial security and cultural background. Families in which one or both parents have higher levels of tertiary education probably have the economic means and a more liberal attitude towards art. The consecutive chapters present five case studies of Indian female artists which serve as a means to explore how class, race and gender can affect the output of an artist. In each case study I include a brief description of the artist’s early life, family background and education especially as it pertains to their development as artists. I also analyse four chosen artworks accompanied by illustrations within each case study. The selected artworks reflect the different periods in each artist’s career from early works to more recent ones. The documentation and analysis of these artworks is an important aspect of my research since this is necessary in order for them to be included in the art history of South Africa. The intentions of the artists are also explored in the case studies - whether it is to create images that empower women, record the history of Indians in South Africa or explore the identity of modern Indian women. In the conclusion the findings of each case study are used and compared to arrive at a convincing result that reflects the manner in which race, class and gender have shaped the artists and their work in this study. All the artists involved in this study expressed the belief that this was a necessary topic for consideration and I hope that other similar studies will expand on the issues mentioned here. As South African women of colour there is a need for us to research and document our history as artists. iii © University of South Africa 2010 I would like to acknowledge the help and support that I received during the long process of writing this dissertation. I would like to thank Sharlene Khan who was initially the co-supervisor for my proposal. She provided me with the names and contact details of artists and academics, while challenging me to write and think more critically. A special thank you to the artists Usha Seejarim, Reshma Chhiba and Simmi Dullay for responding to my questions and providing exhibition catalogues. Although she was not included in this study, I want to thank Rookaya Gardee for her valuable insights. I am indebted to my supervisor Prof. Bernadette van Haute who provided me with valuable feedback and helped me to clarify my thoughts. Lastly I want to thank my family, especially my husband Sankaran Pillay for his unwavering support. iv © University of South Africa 2010 LIST OF ILLUSTRATIONS Figure 1. Lutchman Pillay, Latchmy. Painting, dimensions unknown. (Vahed et al 2010:64) Figure 2. Ramsamy Pillay, Swami Shankeranand. Watercolour, dimensions unknown. (Vahed et al 2010:65) Figure 3. Nils Solberg, Portrait of Ebrahim Badsha (1953). Painting, dimensions unknown. (www.nilslandmarksolberg.com/sv_portraits/portraits.html) Figure 4. Zainab Reddy, The Human Race (Maya.) Oil on canvas, 9.05 x 18.2 cm. Iziko Art Collection. (Proud 2008:53) Figure 5. Ranjith Kally, Child Labour on Sugar Cane Farms (March 1957). Photograph (www.africamediaonline.com/search/preview/44_126?from=lightbox_open) Figure 6. Nanda Sooben, Detail of painting- Title Unknown. Medium unknown. Pamphlet accompanying exhibition: ‘People were living there- Cato Manor Series’. (UDW Documentation centre) Figure 7. Vedant Nanackchand, The Purple Shall Govern (1991).
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