Can Art Be Used to Both Celebrate Indian Culture and Keep It Alive?

Can art be used to both celebrate Indian culture and keep it alive?

Rianne Karra ID: S17104342

Birmingham City University BA Art and Design 13/01/20

Contents Introduction………………………………………………………………….3

Chapter 1………………………………………………………………………4

Chapter 2………………………………………………………………………5

Chapter 3.……………………………………………………………………..6

Chapter 4……………………………………………………………………….7-12

Conclusion……………………………………………………………………..13

Bibliography………………………………………………………………….14-17

Appendix………………………………………………………………………..18

Introduction This dissertation looks into the importance of both celebrating and keeping Indian culture alive in the UK today and how art can be used to do that. Celebrating the diversity and difference within the UK, that came as a part of immigration. Chapter one, addresses how the current situation of Britain, has left us to believe if Britain is as diverse as we imagine it to be, with issues like Brexit allowing for hate crimes and discrimination. Chapter two, reflects how Britain has become home to minority communities through post war immigration and highlights the issues of low minority participation in the arts but how art can be used to sustain Indian culture. By doing so, might prevent assimilation from occurring which chapter three looks into. By looking at the work of two British Asian artists through case studies: Chila Kumari Burman and Navi Kaur, who use their practice to display culture through community and celebrate difference.

As a person of British Asian heritage, the idea of identity can be difficult to define, as it is made up of multiple aspects, and two very different components, Britishness and our ancestral culture. Our culture has been carried between generations, and continued on within Britain by us and the beliefs we uphold. Due to this, it was clear what our culture consisted of. Whereas, growing up, Britishness was seen as separate to our cultural heritage and instead more of the social environment and society we had been brought up in, that allowed for certain freedoms but also different values. It is definitely important in the shifting Britain we live in today, which is moving away from multicultural, which will be discussed in the following chapter; to celebrate minorities culture, diversity and difference within society today; so, we don’t assimilate and lose our cultural identity.

3 Chapter 1 “Britishness, itself is now an increasingly fluid concept,” (Rose et al., 2013). During the last seventy years, the landscape of Britain has rapidly changed through an increase of immigration; becoming defined as a diverse and multicultural nation. Although there is uncertainty in the future of Britain and its current situation, that could leave this country becoming far from those definitions. Issues including Brexit, immigration and hate crimes, which will be addressed within this chapter.

Brexit. The name given to the referendum where a high of 17,410,742 (Electoralcommission.org.uk, 2019) people in Britain voted to leave the EU in June 2016; leaving a union of countries that allow the free movement of people and free trade (BBC News, 2019). “Taking back control. The three words that encapsulated the Brexit campaign. We were preparing to cut ourselves free from the shackles of Europe” (Hamilton, 2018). As a country we no longer want to be united but isolate ourselves from our neighbours. Current Prime Minister Boris Johnson, further put emphasis on this “to take back control of our money, our borders and our laws.” (Johnson, 2019) words used which fuelled hatred and discrimination.

It should come to no surprise that after the Brexit vote, figures displayed the increase in hate crime. An article from the Guardian, highlighted that “race was the factor in 76% (71,251 incidents)” (Weaver, 2018). Brexit giving an opportunity for racism and discrimination. MP David Lammy (2018), on about the hate crimes said “It comes from the very top. Divisive, xenophobic rhetoric from politicians and leaders trickles down into abuse and violence on our streets,” (Lammy, 2018). This discriminative behaviour similar to the attitudes of Britons when post war immigrants moved to this country. Many decades have passed and still communities are communicating violently who they think belongs in Britain and who does not. This selective attitude from people is like Lammy (2018) mentioned; being represented at the top with words like “Taking back control” (Hamilton, 2018) and doing so with statements of controlling borders. “Modern immigration controls are not about maintaining global stability. They reflect a desire by governments to keep out ‘unwanted’ people.” (Dodwell, 2018). Even though getting rid of borders would be better for the country, helping the economy.

The future of Britain, also lies within the general election vote taking place on December 12th. Britain could be led down two very distinctive paths, one of continued austerity with the Conservatives “A government of the rich, for the rich, and by the rich, larded over with racism,” (Meadway, 2019) and another with Labour “a government for the great majority,” (Meadway, 2019), who recognises the value and positives surrounding immigration. Closing our borders, distancing ourselves from EU, restricting immigration; in uncertain times and an unclear future, it’s important to preserve, share and celebrate difference within the UK today and using art to do that is one way.

4 Chapter 2 Great influx of immigration to the UK began after World War Two, when Britain opened its borders, with the aim of immigrants to come over, to help with the shortages of labour and build up Britain’s economy. (Nationalarchives.gov.uk, 2019). The British Nationality Act, 1948 gave British citizenships to those living in the Commonwealth and the British Empire (Castles, 2009). Migration from India started in the 1950s. Indians working mainly in “Britain's factories, foundries and new public services” (BBC, n.d.).

An article from the BBC, about a documentary filmed in the Midlands in 1966; reflected the experiences of immigrants and the attitudes of the community who “were furious at the influx of the thousands of foreigners” (Woods, 2016). They were not well received with Britons shutting them out, made to feel unwelcome and unable to integrate into the community. Experiencing mostly racism and discrimination. Examples such as, not allowing for Indians to go to church or even find accommodation. In one study, conducted by the University of Birmingham, found out “suggested 80% of the city's population would not let a room to any of the thousands of migrants who had come to work in Midlands factories.” (Woods, 2016).

Upon arriving in Britain, the Indian community brought along their culture. Culture consisting of but not limiting to: food, fashion, music, art, religion, community, languages, tradition, beliefs, values. “Culture has been described as features that are shared and bind people together into a community.” (Bhugra and Becker, 2005) The culture that will be referred to in this essay will be around community and how art can represent Indian community.

The number of minorities within the arts is low, “Black and minority ethnic people make up 17% of English arts workforce” (Brown, 2016) the findings of an Arts council England report in 2016 and the amount of participation in the arts within 2017/18, “Asian people had the lowest percentage of people who took part in the arts at 64.4%,” (Ethnicity-facts- figures.service.gov.uk, 2019). The small amounts of minorities, within both the arts and the participation of it, could suggest it effects the spreading of culture. Further on in this essay, British Indian artists Chila Kumari Burman and Navi Kaur will be discussed, who use their practice in a positive way, to celebrate culture through community and share it with the world.

5 Chapter 3 What we need to addresses at this point, if talking about keeping Indian culture alive is, what might be preventing it? Upon researching, there are many possible factors, including: other more dominant cultures within society, how the effects of empire are still embedded in society and culture, globalisation, immigration and assimilation. Although, due to limitations in words, the one that might be of most importance and will be discussed further is how other more dominant cultures are at fault. The dominant culture within the UK is White British, it has an effect on others through assimilation. Assimilation, happens when immigrants move to a different country and are persuaded “to adopt the culture, values, and social behaviors of the host nation in order to benefit from full citizenship status.” (Norwalkcc.libguides.com, 2012). In doing so, over time immigrants lose their own culture “embedded in the language, values, rituals, laws, and perhaps even religion of their homeland” making no clear difference amongst immigrants and other individuals within that society (Norwalkcc.libguides.com, 2012). As shown from the definition above, assimilation starts to takes place alongside immigration. Assimilation should not be an option. Minorites should not have to give up their identity, values, and culture just to become accepted as part of a society.

An article by Kaufmann (2016), explained how, by conducting a survey and giving it to UKIP voters they changed their attitudes on immigration when they thought immigrants assimilate into British culture rather than making Britain diverse. Assimilate instead of integrate. In his survey, two of his three divided groups were given a passage to read. One was about Britain changing, becoming diverse and the second about assimilation. People who read about immigration and diversity, felt concerned compared to those who read about immigrants assimilating who felt more comfortable. “61 per cent of white working- class (C2, DE) respondents who read the diversity passage wanted immigration reduced a lot compared to 47 per cent of those who read the assimilation passage.” (Kaufmann, 2016).

It demonstrates viewpoints of people agreeing with the idea of assimilation. Assimilation to preserve the dominant culture, in response and fear of becoming the minority, due to immigration and the diversity that comes alongside that. It is perfectly fine to want a future for white British culture but not at the cost of others. In contrast, Hall’s (2018) Cultural Diversity paper, argues how cultural difference is a good thing. “Cultural diversity is the name we give to a certain kind of ‘learning’, which gives us insight into the inner landscapes of how other people live their lives,” (Hall, 2018, p.30). It is about learning from one another, which is important and we should celebrate difference to make it a positive attribute to society. This is an encouraging point of view as it gives a solution on how all cultures can coexist and be preserved, becoming more understanding and informative of other cultures instead of wanting assimilation.

6 Chapter 4 This chapter, explores the works of two British Indian artists; looking at how their art practice, represents the Indian community and by doing so, are both celebrating difference and keeping Indian culture alive.

Case study one Chila Kumari Burman, is an established artist, born and raised in Liverpool 1957, from a Punjabi, Indian descent. Her parents immigrated from the Punjab in India to Liverpool within the 1950s. “Since the 80s, her dynamic and experimental work across printmaking, installation, painting, sculpture, photography and film has explored Asian femininity.” (McKenzie, 2018). Burman’s work focuses primarily on challenging the stereotypes of Asian women (McKenzie, 2018). Certain aspects of her other work are commenting on cultural migration, about her family and childhood memories in Liverpool.

Burman is of relevance to this essay as she has represented the Indian community within the UK, since the 1980s. Within the essay, "Researching Exhibitions of South Asian Women Artists in Britain in the 1980s" by Correia (2019), it confirmed and displayed Burman within this, as being one of the first, very few, female Asian artists of the time, who was voicing her views, about what it meant in the 1980s to be a female British, Asian artist, which was not common but she was using and still is using her platform to talk about her culture and experiences.

In relation to this, during the 1980s, Burman was also a part of the Black British Artist movement, which formed in 1982, the word ‘black’ not relating to a specific ethnicity but a place to explore art for minority group artists within the UK (Orlando, 2016, p.19); “the group questioned what black art was, bringing about awareness to the many talents within the community and challenging racial hierarchies in society.” (Davies, 2017). The movement came about because of the political context within the 1980s. Which is highly reflected in, Convenience not Love, 1986-87. Margaret Thatcher, British Prime Minister, is placed in the middle of the piece and “delivers her infamous speech in 1978 where she echoed Enoch Powell’s fears of being swamped by alien cultures” (Arya, 2012, p.76). Tensions and conflicts surrounding immigration and who belonged in Britain in the 1980s, which was defined by Thatcher, in the 1981 British Nationality Act; this divided Britain. Britishness was seen to be made for whites, “Thatcher’s exclusive claim to Britishness for white Britons ignored the imperial formation of its basic principles and excluded Commonwealth Citizens from a share in that heritage.” (Natarajan, 2013). Asians had little rights, which is relevant in contemporary context, where issues surrounding immigration and citizenship are still present, discussing who belongs in Britain.

Figure one Convenience not Love, 1986-87.

In Convenience not love, as seen in figure one, there is a clear parallel of, a unified community and a hostile, unwelcoming environment and government. This piece is a screen print split with two sides, on the left side there is Margaret Thatcher dressed as John Bull, barbed wire, a British passport and stamps. On the other side various passports, including ones from India, Pakistan and Bangladesh, a collective of powerful visuals from Asian culture, images of a community looking unified, immigrants at Heathrow airport and pictures of Burman etc. “The two sections of the diptych represent the two sides of post- imperial immigration laws, with British law and its enforcement on one side and the diverse forms of Asian diasporic experience on the other.” (Nead and Burman, 1995, p.28)

Although, this piece of art can be seen as celebrating Indian culture as Burman is commenting on the resilience of a community, in a culturally different environment, a place, they called home but were made to feel unwanted and told they were not British. Even though they had Thatcher against them, after generations of immigrants came from postcolonial countries to help Britain; the community is still seen within it, fighting to have their right and a voice. Burman is allowing the viewer to see the real situation of immigrant communities and presenting the community in a unified light, despite their circumstances. By sharing their stories Burman is keeping Indian culture alive, as culture can be passed through talking about these experiences. She is interweaving various layers of Indian narratives within it, alongside the ones of Asians protesting, people at Heathrow and photographs of people living in the East; another one being, the reference to the history of Rani of Jhansi, displayed in the right diptych, a cartoon queen riding a horse. A small visual but it adds another layered meaning to the Indian community’s fight for their culture’s survival, part of their history as this queen fought for her home, “This queen is regarded as one of India’s greatest heroines of the 1857 War of Independence, having led a women’s army against the British.” (Nead and Burman, 1995, p.29). The many layered narratives, makes it a strong collective of Indian culture and stories that need to be shared. It represents the Indian community by not only powerful visuals but talking about the struggle, celebrating the journey, resilience, and unified experiences of the community.

8 As I mentioned briefly in the last chapter about Hall’s (2008) Cultural Diversity theory. He talks about how we want to retreat back to our own cultures to feel safe. This just might be what Thatcher was mentioning, in fear of losing culture. Although cultural difference is about learning and accepting difference, “to recognize and learn to value difference despite its difficulties.” (Hall, 2018, p.29). Hall understood cultural diversity was something positive and could be embraced by learning from one another. Which goes against worries of becoming ‘swamped’ but allows a positive solution to celebrating difference. His theory supports Burman’s art work as this piece, is in response to the fears at the time of losing culture to other minority ones. Her art gives a voice to say that this culture deserves to be given rights and represented because Britain is now their home too.

Case study two The next artist’s work, I will be discussing is Navi Kaur, who is a contemporary artist working within Birmingham. Kaur’s work displays how the Punjabi community is reflected in Britain. By also documenting the lives of her grandparents, who live in the UK. Using her practice as a platform to be able to inform others about the migrant experience, but also a way to learn more about her cultural heritage. She uses mainly film and photography as her medium to document, although her work is made up from the whole process, of conversations with her grandparents.

Interviewing Navi Kaur, the first thing she mentioned in appendix one, was “It is really important to be celebrating shared culture.” and this has never been more relevant than today, with the current situation of Britain and Brexit. We discussed how we might share, celebrate and preserve culture, within a contemporary context and she gave an example of how communities have been affected by the promises of the current government and how that impact of austerity, has led to her using her art practice to voice her views. She made clear that artists have a platform and it should be used to speak out, “You come from an area of privilege and having that ability to not make anything that is culturally significant your kind of shooting yourself in the foot really because as artists we have so many opportunities to highlight things that are important to us.”(Appendix one). This links well with an essay by Gielen (2018) called “The Global Civil Parade Constitutions of Transitional Citizenship”. Within this, he talks about how governments are trying to control who is part of society through the idea of citizenship, “Citizens must be re-taught norms and values, and those who refuse to change must relocate.” Meaning the idea of citizenship, might no longer be for everyone anymore. Because of this there has been a development of individuals, who want to change the way society is structured, to gain meaning and culture. Away from “current neoliberal representative democracies” (Lafleur, Maas and Mors, 2018, p.13) instead a society where difference and otherness are celebrated, without the need of violence, but confronting issues through other artistic methods. “In contrast to the senseless violence, however, a vitalistic flood of initiatives is emerging to return meaning to work, to citizenship, or simply to life itself.” (Gielen, 2018, p.131).

Gielen shares an agreeable and optimistic argument; his text is relevant to what is happening in society now, where everyday people are finding their voice to make a change. Especially when Brexit is trying to divide the nation and people are fearing difference. Activists, artists, educators etc have a platform to share and celebrate diversity, which is

9 exactly what Kaur mentioned, to use it as a way to speak out. Kaur’s work is representational of how minority communities can be celebrated in the UK. I will be looking into: The Garden, 2019, and Finding Space in Faith, 2018.

Figure two The Garden, 2019.

The Garden, 2019 is, a four-minute forty-six seconds short film; which displays a simple shot of Kaur’s grandfather travelling up and down ploughing the land within his allotment. It is easy to identify that there is a relationship between Kaur’s grandfather and the land. In our interview she spoke about this piece, “making work about our environments and how I think I want to eventually make those ties of my grandfather you know, typically with, from a farming background and how that still, that kind of that I guess like a cultural upbringing is still transferable in this country. And I think that’s really common practice for a lot of south Asian families." (Appendix one). One of the most interesting points Kaur makes here, is saying how culture is transferable, which can be implemented in other environments. Through certain practices and experiences being passed down such as learning from the previous generation how to use the land; allows the custom of a community being led on in a new location. The Garden, displays how her grandparents, like the many other Asian families as Kaur has noted, have adapted their cultural knowledge and upbringing to the UK. By doing so Kaur is displaying a straightforward way of how the practice is not lost or forgotten but passed on to keep it and customs of Indian culture alive in the UK today.

Figure three Finding Space in Faith, 2018.

Kaur’s piece, Finding Space in Faith, 2018, is a short twelve-minute film, located in various places within Punjab, India, which includes her grandparents. You do not see Kaur within this video but you get to see what Kaur is experiencing. It is culturally significant for the artist as it is a personal documentation of her journey with her ancestral land. “I went to India for the first time with my grandparents and that was “probably the most kind of transformative experiences that I’ve had because I never experienced anything like it.” (Appendix one). Allowing her to be more open to her culture and faith. The film’s main theme is faith and religion, with Kaur constantly mentioning throughout it, in text ‘what faith is’, but also draws on themes of family and relationships. As a viewer you get to experience a part of Indian culture, religion, language, community and by documenting this journey and sharing it with others, she keeps Indian culture alive through it. Kaur’s work is a commonality we share which goes beyond the need to have the same culture to be able to understand it. “if people relate to it, and if people enjoy the work that I make and things happen from it, that’s fantastic because there’s that relationship that I am able to then build with people and I think that’s regardless of what background you come from.” (Appendix one). It is understandable because she’s using her relationship with her grandparents, bringing in storytelling and documenting personal experiences, to talk about the Indian community in an open way that other wider communities will also be able to relate with.

Both artists, Burman and Kaur are creating work on representing Indian culture and community; but it is done in different ways. Burman’s is highly political which is evident in the imagery she uses but she still uses personal relationships, memories and home photographs as influence in her work which Kaur also does by having her art practice around her grandparents. The artworks I have looked at are a reflection of how society has not changed; we are still fighting for a voice, to accept difference and make it known as a positive. “it’s about the community you live in and it’s about acceptance and I hate the word tolerance because we shouldn’t be tolerant with people, we should just be understanding

11 with people.” (Appendix one). Kaur makes a valid point; we should be more accepting of difference and other cultures.

12 Conclusion This essay, has explored the ways in which art can be used as a solution to celebrate Indian culture and sustain it through giving a voice to minorities, which is important in society today. As seen in chapter one, the Britain we are currently living in is not as diverse as we picture it to be, due to issues like Brexit that want to move away from a multicultural society. Although the many minority and cultural communities that are already here due to the effects of post war immigration, as highlighted in chapter two are not being celebrated enough. There are not enough minorities within the arts and the participation of it; which as mentioned in chapter three will lead to a loss of culture through assimilation.

Although there are individuals who are speaking out against this. Who acknowledge that difference is important and we should celebrate it to keep Britain diverse, so we do not just lose our ancestral culture. As Hall (2018) stated, cultural diversity is a positive attribute to society. Where we can learn from others through living in a culturally diverse society; “to live with difference so as to make it into a creative rather than a destructive force.” (Hall, 2018, pp.29-30). Using platforms as an artist is one way to do that, and is done through people like Burman and Kaur, as mentioned throughout this essay, who make it possible through their art to give a voice to minority communities within the UK and keep Indian culture alive and that is important. Even though their practices are years apart, they are still speaking out for a change, equality and representing Indian community.

Burman, is relevant and important to have spoken about within this essay, as she was a part of the Black British Artist movement, which challenged the artworld, allowing a place for minorities to speak out and have their identity recognised as part of society. She was also one of the first, female Asian artist within the 1980s, that has represented the Indian community and spoke about her own experiences and Convenience not love, 1986-87 reflects this.

Kaur is a reflection of what Burman did in the 1980s in relation to contemporary political events. She shares her cultural experiences as seen in Finding Space in Faith, 2018. Using her grandparents as representations of the Indian community, documenting their lives they have made here in the UK and learns through them. It is positive and important, that she is supporting difference, as we can be more knowledgeable and accepting of other cultures. Society can be changed, by the possibility of building other more diverse societies that accept difference. Like Gielen (2018) spoke about within chapter four but it can only be achieved when people accept that change is needed, “the new civilian will be a global citizen” (Gielen, 2018, p.128) An encouraging statement and hopefully a possibility for the future.

As seen throughout, art can be used to celebrate Indian culture, and preserve it; but in order to do this we need to continue to speak out and represent it, which is not an easy task but one that can bring about change. word count: 4375

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17 Appendix one Interview with artist Navi Kaur. 24/11/19 https://drive.google.com/file/d/14T7Y9_GEAufV3-SPf72ZhDdXkTHekWa3/view?usp=sharing