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University of Kwazulu-Natal Culture, Politics And UNIVERSITY OF KWAZULU-NATAL CULTURE, POLITICS AND IDENTITY IN THE VISUAL ART OF INDIAN SOUTH AFRICAN GRADUATES FROM THE UNIVERSITY OF DURBAN-WESTVILLE IN KWAZULU-NATAL, 1962-1999 By Nalini Moodley 8831245 A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Centre for Visual Art School of Literary Studies, Media and Creative Arts Supervisor: Professor Juliette Leeb-du Toit 2012 DECLARATION I, Nalini Moodley declare that (i) The research reported in this thesis, except where otherwise indicated, is my original research (ii) This thesis has not been submitted for any degree or examination at any other university. (iii) This thesis does not contain other persons’ data, pictures, graphs or other information, unless specifically acknowledged as being sourced from other persons. (iv) This thesis does not contain other persons’ writing, unless specifically acknowledged as being sourced from other researchers. Where other written sources have been quoted, then: a) their words have been re-written but the general information attributed to them has been referenced: b) where their exact words have been used, their writing has been placed inside quotation marks, and referenced. (v) This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged, and the source being detailed in the thesis and in the Reference sections. ________________________________________ Nalini Moodley ii ACKNOWLEDGEMENTS Reaching the end of my doctoral study was only possible because of the interaction with and support from a number of people. I would like to sincerely acknowledge the contributions of these people. Professor Juliette Leeb-du Toit of the University of KwaZulu-Natal, for her academic guidance and constant provocative engagement with the study. The National Research Foundation for providing the funding to see this project to completion. The Tshwane University of Technology for their financial support in the early stages of this study. My parents, Dori and Peri Moodley, for their constant support and encouragement during these many years. My daughter, Desna, for her patience and understanding during my many absences; my husband, Dinesh, for his constant encouragement throughout the research process; and my family for their support in innumerable ways. Dr Connie Israel, for her guidance and advice and scrupulously reading my many drafts before proof-reading the final draft. My many friends and colleagues who were a constant support. Very importantly, to all the Fine Art graduates who generously gave of their time to participate in this project: Ayesha Adams, Niven Anghar, Sandhia Bansi, Rajiv Baskali, Herselene Charles Lazarus, Pragasen Chetty, Errol David, Faiza Galdhari, Saleem Galdhari, Sheri Ganess, Selina Gokool, Lucky Govender, Dr P.N. Govender (father of the late graduate Mahendra Govender), Poobalan Govender, Ravi Govender, Razia Haffejee, Dianne Latchmigadu, Rufus Latchmigadu, Reshma Maharaj, Sarat Maharaj, Charles Moodley, Ashley Munsamy, Manjula-Devi Naidoo, Sandy Naidoo, Selvan Naidoo, Andrew Nair, Vedant Nanackchand, Chandra Patel, Prabashan Pather, Clive Pillay, Judy Ramgolam, Colin Sabapathy, Sajida Sabjee- iii Khan, Desiree Seekola, Ujala Sewpersad, Vijay Shah, Nimmi Sheodass, Anesh Singh, Kanu Sukha, Kiren Thathiah, Sherene Timol, Hajra Vahed Greer and Yusuf Vahed. All those interviewees who, although not Fine Art graduates, afforded their time to engage with this study: Prof. Jonathan Jansen, Prof. Adam Habib, Prof John-Butler Adam, Prof. Brij Maharaj, Dr. Dori Moodley, Bronwyn Findlay, Carl Roberts, Jill Addleson, Riason Naidoo, Omar Badsha, Jeeva Rajgopaul, Prakash Diar, and Trish Gibbons. iv ABSTRACT The purpose of this research is to document the visual art production of Indian South Africans who graduated from the University of Durban-Westville (UDW) with a degree in Fine Art, and provide an explanation of how and why their art works are so poorly documented within a post-Apartheid art historical narrative. When South African Apartheid society was designed to promote Black intellectual underdevelopment, this Indian university provided a space for young Indian intellectuals from all fields to engage with the struggle politic of the country to envision a strategy for a liberated and democratic future. While the visual art in this country has provided powerful social commentary throughout the Apartheid years, the voice of the Indian artist has remained silent. Some students managed to complete their degrees and find a little recognition as artists; the majority, however, relegated their art- making to a pastime. Little is known about this body of graduates; hence this research attempts a systematic study about how Indian Fine Art graduates fell into silence upon the completion of their degrees. The rationale of this study is to determine in what ways the constructs of culture, politics and identity, as key environmental factors at UDW, impacted on the virtual absence of Indian artists from South Africa’s art history. To this end, the social history of education of Indian South Africans since their arrival in this country has been provided. The influential and historical location of the University College for Indians (UNICOL) and later UDW as a cultural and political construct is explored against the art production of its Fine Art Department. Thus, the geopolitical space of this university as a site of struggle is contextualised. Against this background, the varied life stories of the forty-three graduates presented in this study are contextualised within the framework of separate and segregated education. These stories illuminate the unfolding dynamics that shaped the directions they subsequently took. The significance of this study lies in its contribution of knowledge to the existing literature on Indian history in South Africa as well as on the art production of this community as students of the Fine Art Department at UDW and subsequently as a small body of practising, but not always exhibiting, artists. Through this study I suggest that some of these graduates became internal exiles, which positioned them on the margins of the art-producing community in this country. This position v of marginality impacted on their representation within the South African art historical archive. The study makes a number of recommendations to bring these and other South African Indian artists into the picture again. vi TABLE OF CONTENTS DECLARATION ....................................................................................................................... ii ACKNOWLEDGEMENTS ..................................................................................................... iii ABSTRACT ............................................................................................................................... v TABLE OF CONTENTS ......................................................................................................... vii APPENDICES .......................................................................................................................... xi LIST OF TABLES ................................................................................................................... xii LIST OF FIGURES ............................................................................................................... xiii DEDICATION ....................................................................................................................... xxii ACRONYMS ....................................................................................................................... xxiii CHAPTER ONE: A CONTEXT FOR CREATIVITY .............................................................. 1 1.1 Introduction: Background and Aim of Study .......................................................... 1 1.2 Higher Education in South Africa ........................................................................... 4 1.3 The Geopolitical History of the University of Durban-Westville ........................... 8 1.4 Rationale for the Study .......................................................................................... 10 1.5 Research Methodology .......................................................................................... 11 1.6 Overview of Chapters ............................................................................................ 16 CHAPTER TWO: SYNTHESIS AND SEPARATION .......................................................... 18 2.1 Introduction: Theoretical Framework .................................................................... 18 2.2 Literature Review .................................................................................................. 18 2.3 A Post-colonial Framework ................................................................................... 20 2.4 Identity ................................................................................................................... 22 vii 2.5 Indian Identity........................................................................................................ 24 2.6 Culture ................................................................................................................... 28 2.7 Diaspora ................................................................................................................. 29 2.8 Concluding Remarks ............................................................................................
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