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The Wretched of the Nation Third Text ISSN: 0952-8822 (Print) 1475-5297 (Online) Journal homepage: http://www.tandfonline.com/loi/ctte20 The Wretched of the Nation Sumathi Ramaswamy To cite this article: Sumathi Ramaswamy (2017): The Wretched of the Nation, Third Text, DOI: 10.1080/09528822.2017.1384115 To link to this article: http://dx.doi.org/10.1080/09528822.2017.1384115 Published online: 02 Nov 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=ctte20 Download by: [Sumathi Ramaswamy] Date: 02 November 2017, At: 03:51 Downloaded by [Sumathi Ramaswamy] at 03:51 02 November 2017 Third Text, 2017 https://doi.org/10.1080/09528822.2017.1384115 The Wretched of the Nation Sumathi Ramaswamy Human struggle and suffering are everywhere in India.1 Why not develop a certain degree of rage against the history that has written such an abject script for you that you are silenced?2 A cluster of works in recent years, including my own, have insisted – and Atul Dodiya, Tearscape demonstrated – that the modern conception of the nation, with its finely (detail), 1999, from the series ‘Tearscape’, watercolour, demarcated form, is inextricably obligated to the political map. In the acrylic and marble dust on words of the Thai historian Thongchai Winichakul, ‘A modern nation- paper, 1783115 cm, image: state must be imaginable in mapped form...nationhood [is] literally courtesy the artist formed by the demarcation of its body.’3 If it were not for the map, the 1 Atul Dodiya as quoted in Peter Nagy, iCon: India nation’s territory – its ‘geo-body’ – would remain an abstraction, Contemporary, Montalvo thereby leaving its citizen-subjects without a representational means to Arts Center, Venice, 2005, ‘see’ their country, to identify with it, and to become attached to it, all p11 of which are necessary for the work of nationalism to proceed and 2 Gayatri C Spivak, The succeed. To think the nation means to summon up its map form. Postcolonial Critic: Interviews, Strategies, In the Indian subcontinent, as with so much else, the nation’s geo-body Dialogues, ed, Sarah was a ‘gift’ of empire, a gift, that like others, was both desired and disavowed Harasym, Routledge, by its heirs and inheritors. However, from at least the early years of the twen- London, 1990, p 43 tieth century, the territory variously called ‘Hindoostan’, ‘British India’, or Downloaded by [Sumathi Ramaswamy] at 03:51 02 November 2017 3 Thongchai Winichakul, just ‘India’ in maps of the British Empire, and laid out as empty cartographic ‘Maps and the Formation of the Geo-Body of Siam’, in space within a lattice of latitudes and longitudes, was also variously femin- Stein Tønnesson and Hans ised as ‘Mother India’ (Bharat Mata), and gloriously pictured in all manner Antlo¨ v, eds, Asian Forms of of visual media ranging from oils and acrylics to chromolithographs and the Nation, Curzon Press, London, 1996, p 76 cinema, the work of men (and some women) – who I have called barefoot 4 Sumathi Ramaswamy, The cartographers – who largely produced for the mass market rather than for Goddess and the Nation: high-end galleries, museums or collectors. In my monograph The Goddess Mapping Mother India, and the Nation, I documented the rush to claim cartographic space Duke University Press, Durham, 2010. The delineated on imperial maps for the body of this new goddess of national relationship of the mother’s territory who is made to supplement it in many different ways: occupying body to the geo-body of the and engulfing the map; merging partially with it; seated or standing on it; nation is just one among a range of possible variations and most destabilising of all, dispensing with it entirely and standing in 4 that I discuss in my book. instead for the geo-body of India. Ironically, in the visual productions of # 2017 Third Text 3 Downloaded by [Sumathi Ramaswamy] at 03:51 02 November 2017 Jesudas, The Motherland, 1997, SPP, chromolithograph, New Delhi, collection, JPS and Patricia Uberoi, Delhi 4 such barefoot cartographers, the map of India, the proud creation of a secular colonising state and its sciences, is in fact a necessary guarantor of Mother India’s persona as hallowed deity of national territory. In this process, and equally ironically, the scientific map is anthropomorphised, its empty secular space taken over by the sensuous, female, and very Hindu presence of Bharat Mata, who is more often than not imagined as benign and benevolent, in need of help from her children, especially her sons, to protect and cherish her, break her shackles, and restore her back to power and dignity in a free India. The presence of the beloved mother, I have argued, turns the impersonal and abstract map of the nation into a homeland and a motherland to die for. Yet does the national yearning for cartographic form always take the route of adulation and deification with homage paid to national territory by associating it invariably with the beautiful and the bountiful? This is the question I explore in this article by focusing on a remarkable suite of ten watercolours completed between 1999 and 2000 titled ‘Tearscape’: 5 Strictly speaking, although watercolour is the primary the heteronymic enigma of the title is not the least of the challenges posed medium, the artist also used by this complex series to scholars of both cartography and nationalism, acrylic and marble dust to not to mention contemporary art.5 The work of the Mumbai-based finesse each painting. artist of middle-class Gujarati origin Atul Dodiya (b 1959), the series 6 The watercolours were was first shown in Mumbai in January 2001 and in Berlin in May that originally published in a catalogue issued by the Fine year, in elite spaces quite distant from the circuits of consumption in 6 Art Resource in Berlin in which the colourful prints of Mother India circulate. In the understated 2001 (with a useful words of the artist himself from a later interview, the series offered ‘a kind curatorial reflection by 7 Ranjit Hoskote), and of bleak portrait of Mother India’. In stark and direct contrast to the subsequently have also been nation as a glorious mother/goddess, Dodiya consciously and conscien- reproduced in Ranjit tiously paints her very anti-thesis, the skeletal body of a haggard and Hoskote, ed, Atul Dodiya, Works 1981–2013, Vadehra hideous naked crone taking up residence in India’s geo-body which Gallery, New Delhi, 2013. itself in the process comes to be variously disaggregated, de-formed, The latter offers a splendid introduction to the artist, and denuded. The beautiful and bountiful is evacuated completely to and places ‘Tearscape’ in the make way for the appalling and the abysmal. She is left unnamed, her context of his large body of anonymity ominously suggesting that she might well be Every Woman, work before and since. the subaltern female citizen of the nation. Allegoric though she may be, 7 Ibid, p 123. In contrast to and with a high level of abstraction even, she is hard to look at without many of his more recent works, which are flinching, in contrast to the Mother India of mass-produced prints who interspersed with words and invites identification, even desire. inscriptions, these What is dared in transforming thus the map of the nation from a Downloaded by [Sumathi Ramaswamy] at 03:51 02 November 2017 watercolours (other than the cryptic titles bestowed upon repository of pastoral plenitude into the dystopian address of the them by the artist) are (female) abject? As the monstrous devastates the map form of the verbally ‘mute’, relying on nation, and ‘India’ is recast as an inhospitable home/land for its most the power of image qua image to draw us to them, downtrodden and wretched, especially the labouring female, a different and cause us to consider and narrative of nationalism is disclosed, hollowing out patriotic mantras reflect. such as ‘sare jahaan se achcha Hindustan hamara’, ‘of all the places 8 I am also inspired to ask on Earth, India is the best’. And yet these new ‘bleak portraits’ of the these questions by my reading of Tapati Guha- nation remain largely objects of elite consumption, mostly limited to Thakurta, ‘Fault-lines in a viewers of modernist and contemporary art in India and abroad. National Edifice: On the Although like Dodiya himself, artists from non-elite social backgrounds Rights and Offences of Contemporary Indian Art’, are increasingly part of the mix of the gallery art world and curated in Sumathi Ramaswamy, ed, exhibitions, these watercolours arguably remain outside the reach of Barefoot Across the Nation: the labouring-class citizen who is over-represented within their frames. Maqbool Fida Husain and the Idea of India, Routledge, How then do we understand the ethical mission of such works? In 8 London, pp 172–197. whose name do they speak and for whom? 5 Downloaded by [Sumathi Ramaswamy] at 03:51 02 November 2017 Atul Dodiya, Lives and Works in Bombay, 1992, from the series ‘Tearscape’, oil on canvas, 182.88×121.92 cm, image: courtesy the artist 6 Downloaded by [Sumathi Ramaswamy] at 03:51 02 November 2017 Atul Dodiya, Man with Chakki, 1998, enamel paint, varnish with gold powder and mirrors on laminate, 182.88×121.92 cm, image: courtesy the artist 7 Bare Lives in the Unbearable Geo-Body of the Nation To date, the most sustained engagement with this complex and dense series has been offered by Mumbai-based critics and curators Nancy Ada- jania and Ranjit Hoskote, the latter providing a systematic and acute analysis of each of the ten paintings.
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