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Introduction to South Asian Heritage Month

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Why the UK’s first-ever South Asian Heritage Month meant so much to me - gal-dem

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Following the UK’s first ever South Asian Heritage Month, Ruby Bukhari reflects on her involvement and just why the event was so necessary.

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Blacklash Exhibition @ Birmingham Museum and Art Gallery

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Migrant Voice members organised and attended a guided tour of Blacklash: Racism and the Struggle for Self-Defence.

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The South Asian Diaspora Literature and Arts Archive (SALIDAA) has relaunched with a name that better reflects the breadth of its collections. As SADAA, the South Asian Diaspora Arts Archive, we are looking forward to enhancing our work and giving equal attention to each of the five art forms we collect, curate and care for. Over the last few months we have completely updated our digital archive and researchers are welcome to visit the physical archive. We are interested in partnerships and collaborations and new collections, and in opening the significant work of the artists represented here, to a wider audience. Our physical archive has now moved to a new home at Birmingham Museum and Art Gallery. SADAA continues to collect and archive work from established post-colonial artists of South Asian descent. Please contact us if you have items that require preservation and showcasing.

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SADAA - South Asian Diaspora Arts Archive

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The South Asian Diaspora Literature and Arts Archive (SALIDAA) has relaunched with a name that better reflects the breadth of its collections. As SADAA, the South Asian Diaspora Arts Archive, we are looking forward to enhancing our work and giving equal attention to each of the five art forms we collect, curate and care for.

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The otherness of South Asian Art in British academia

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Edited by Ketaki Zodgekar Chila Kumari Burman was a member of the British Black Arts movement in the 1980s and one of the first South Asian women to make political art in the UK (Buck, 2020).

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Numaish: An Exhibition of 5 Asian Womens Work, People's Gallery, 1986, organised by Bhajan Hunjan

DOI In a review of the show in the British-Asian newspaper, New Life, an unnamed journalist explained that the show aimed to demonstrate how this generation of artists, trained in British art schools, were combining that training with "the richly imaginative and inspiring seedbed of their Indian origins" ( Fig. 14).48 This in itself was a new way of thinking about and representing second generation migrants: as part of, and making significant contributions to, British cultural life. However, in their description of the show, the journalist also reverted to female stereotypes, writing:

One senses as soon as one enters the exhibition that one is in a-dare one say it without being labelled sexist?-women's world. ... Thick earthy coloured paint swims with primaeval commencement, worms or sperms struggle into age-old beginnings ... Womanhood in dark shiny wood or pallid puffy stuffed material, eyes the world from under long swathes of very real and very femaley dead hair.49

This elision of femininity with generative, primal forms could be regarded as reductive, but conversely these concerns with natural forms and life forces may equally indicate how this generation of artists were engaged with feminist concerns, as outlined in Lucy Lippard's Overlay: Contemporary Art and the Art of Prehistory. 50 Certainly, Collier's review seemed to evoke the aesthetic intersection of feminist concerns and natural forces. Further research concentrating on specific works by Ebdon and Iny, and their artistic practices, is required to fully gauge the potency of such an intersectional reading. Nonetheless, I would suggest that in asserting their identities as artists, and in the acts of making, and of pursuing artistic careers, Four Indian Women Artists should be regarded as a manifestation of feminist agency and a challenge to those who thought that Asian women could not, or should not, be artists.

Although the show was by all accounts modest in size and without any well-known participants, it was reviewed in the magazine Arts Review by the writer and curator, Caroline Collier. This was in many respects, remarkable; of the four exhibitions under consideration, at the time of writing, this is the only known review to be published in what may be regarded as a mainstream art publication. Nonetheless, it is plausible that the decision to review the show was made because it coincided with the magazine's editorial focus on the 1982 Festival of India, rather than any explicit desire to support diasporic women artists. For Collier, the show examined "the power of emblems, and raise[d] questions about the nature of symbols".47 Interestingly, Burman's prints, which focused on urban Liverpool, depicting barred windows and metal grills, or made with graffiti-like marks, were viewed as symbolic equivalents of Hunjan's prints evoking regenerative seed pods and highly textured sawdust paintings presented in a colour palette of reds and umbers, reminiscent of scorched earth.

Numaish: An Exhibition of 5 Asian Womens Work at the People's Gallery, 1986 was organised by Bhajan Hunjan, and sought to highlight the creative diversity of Asian women artists. Hunjan recalled that the show was staged at short notice in response to the availability of funding from the Greater London Council (GLC), which also enabled the production of an exhibition catalogue ( Fig. 15).51 The exhibition showcased work made in sculpture, stained glass, print, ceramics, and painting, produced by Dushka Ahmed, Vinodini Ebdon, Nina Edge, Bhajan Hunjan, and Naomi Iny. Hunjan recalled that, by 1986, she had met a widening circle of artists and was subsequently able to include a larger number of artists, in comparison to the earlier Four Indian Women Artists. Little is known of what was included in the show and the catalogue does not contain an exhibition list; however, it is known that the show did not have a specific thematic agenda, but rather sought to showcase the work of the participating artists. Some of the artworks displayed were illustrated in a review published by Asian Times, and further research into the individual artists may help identify which other artworks were exhibited and provide a greater sense of the variety of artistic practices that it presented ( Fig. 16, Fig. 17, Fig. 18, Fig. 19, Fig. 20, and Fig. 21). It seems, however, that the exhibition was staged opportunistically, in response to available funding rather than developing from considered curatorial interests. To what extent then, can this show be regarded as exemplary of the ways in which minority artists were corralled and contained by quangos and funding bodies during the 1980s?52 Might this be an instance of an art exhibition being used as tick-box exercise, paying lip-service to equal opportunities through ad hoc funding?

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Although a formal catalogue was not produced, Fay Rodrigues was commissioned to write an extended essay introducing the show, which was accompanied by a list of exhibited works ( Fig. 22).55 Introductory texts in four different Asian languages were also available at the gallery during the exhibition.56 In her essay, Rodrigues referenced the murders of Balwant Kaur and Gurdip Kaur as points of departure for the exhibition. Balwant Kaur was murdered by her husband at the Brent Asian Women's Refuge in 1985; and Gurdip Kaur (no relation) was murdered in Reading by her husband and brother-in-law in 1986. Southall Black Sisters organised campaigns "to ensure the proper prosecution" of those who had perpetrated these murders.57 By overtly identifying these tragedies, the exhibition may be regarded as being in step with feminist activism at the time; Shaila Shah noted in 1988 that: "The Asian women's movement in Britain has, for some years now, targeted domestic violence as a prime focus of their fightback for liberation".58 While domestic abuse was not exclusively experienced by Asian women, a host of culturally specific factors meant that it was a problem that particularly needed to be addressed: language barriers, institutional racism, and the perceived role of traditional culture and religion within the home, all impacted on how Asian women were mistreated by organisations including the police and social services.

Jagrati-An Exhibition of Work by Asian Women Artists, Greenwich Citizens Gallery, Woolwich, 1986, organised by Symrath Patti

Jagrati-An Exhibition of Work by Asian Women Artists was held at the Greenwich Citizens Gallery, Woolwich, in 1986, and included the work of Dushka Ahmed, Zarina Bhimji, Sutapa Biswas, Chila Kumari Burman, Nina Edge, Bhajan Hunjan, Naomi Iny, Mumtaz Karimjee, Shamina Khanour, Symrath Patti, Sukhwinder Saund, Ranjan Shadra, and Shanti Thomas. Organised by the artist Symrath Patti, who had recently started work at the newly opened gallery, the exhibition aimed to connect "the work of these artists to the experience of the Asian community; enabling the artist to develop a dialogue within the community to raise issues of artistic and political relevance".53 Jagrati had originally been conceived as a thematic show concentrating on the issue of domestic violence, but during the planning stages, it expanded its remit to a broader consideration of the experiences of Asian women. Nonetheless "the experience of fragmentation and isolation" was central to the show and many of the artworks presented solitary female figures.54

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The works by Dushka Ahmed and Bhajan Hunjan (who worked at Sahara, the Asian Women's Refuge in Reading during this period) should be properly regarded as artistic interventions aimed at focusing attention on abuse. Reproduced in ArtRage, the mural by Dushka Ahmed testifies to the murder of Asian women within the home ( Fig. 23).59 Enlarged and overlapping black and white newsprint offers a disturbing visual cacophony that conveys "the grim reality of the physical and mental abuse which women suffer".60 Headlines shout "Family Plotted Murder", while in the centre, the eye of a defiant woman stares out at us. Like many of Bhajan Hunjan's portrait paintings, Tribute to Late Balwant Kaur and Gurdip Kaur-Victims of Domestic Violence (1986) is divided into two parts ( Fig. 24). On the left is a framed image of a woman, dressed in a shalwar kameez, looking out directly at the viewer. She is upright, dignified, and seemingly self-assured. Adjacent to her is an orb of glowing orange, emanating rays of red-orange light. While Ahmed's mural conveys fury, in Hunjan's contemplative work, the figurative and symbolic combine. Although this orb could pessimistically be regarded as symbolic of the blood shed by victims of domestic abuse, I prefer to see it as a torch: the women burn brightly in our memory.

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However, Jagrati, which means "awakening" in Hindi, also sought to move beyond the narrative of honour killings and victimhood commonly associated with the representation of South Asian women. Other forms of feminist resistance were explored, and the presentation of powerful and independently minded Asian women as a dominant theme of the show was perhaps an inevitable response to its initial conception. For example, the locations within which South Asian women could assert their visibility and agency were addressed in City Tempo (1985) by Shanti Thomas, in which a woman is shown apparently retreating from the looming city skyline ( Fig. 25). St Paul's Cathedral, the Bank of England, and St Bride's Church jostle for space among the newer towers of London's financial centre. This is an interesting painting, for despite the dark, oppressive sky and the precariousness of the urban infrastructure, the woman herself seems self-assured and part of her environment: her red briefcase and newspaper could indicate that she works in the City, and her backwards glance connects her with the buildings in the distance. And at the same time, however, her hasty retreat suggests that she has not given herself to this particular urban environment wholeheartedly.

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Edge contributed two sets of work to Jagrati. The first was a series of four figurative pen and ink drawings, Searching for Flowers in the Tandoori Garden; Chips on her Shoulders-Her Arms Fell Off; Trying not to Offend My Parents; and Paki Goes Home on a Piece of Spit ( Fig. 26, Fig. 27, Fig. 28, and Fig. 29). These were somewhat tongue-in-cheek, addressing the realities of growing up in Britain, and addressing essentialising racial stereotypes through humour. For Fay Rodrigues, these works, "make witty tragi-comic comments on the situation of Asian women. There is a light, ironic touch bordering on self-parody, which belies the poignancy of her work".63 Edge's other contributions to the show was a series of eight abstract monoprints: The Jewel ( Fig. 30); The Crown ( Fig. 31); Fingerplate ( Fig. 32); We Three Things of Orient Art ( Fig. 33); Diamond Coloured ( Fig. 34); Diamond Skin Rug ( Fig. 35); Gem ( Fig. 36); and Ink is a Girl's Best Friend ( Fig. 37). Each utilised a diamond-shape motif and through their titles referred to the ways in which British imperialists 'orientalised' India. The fact that these non-figurative works were included in Jagrati indicates that both the artist and organisers were conscious that activism and critique could take a variety of forms. On one level, Edge used the diamond to reference the beauty of Indian decorative patternwork, all the while undercutting visual pleasure through her titles.

Nina Edge was also keen to undercut expectations of Asian womanhood and utilised humour as a mode of subversion. Edge had recently graduated from college in Cardiff when she participated in Jagrati. Slightly younger than the other artists, her approach to image making "did not adhere automatically to the radicalisms of the previous generation", and initially her contact with other Black artists was stimulated by her concern with making rather than politics.61 Nonetheless, her work has been noted for its ability to combine the wry, humorous and mischievous, with a knowing and cutting critique; what John Brady has described as "combining the qualities of a smile and a stare".62

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In Focus, Horizon Gallery, London, 1990, coordinated by Georgina Grange

During its years of operation between 1987 and 1991, the Horizon Gallery worked to promote the work of South Asian artists. In 1990, it made what Eddie Chambers has described as "by far [its] most important curatorial intervention", by staging a series of four consecutive exhibitions under the collective title In Focus ( Fig. 39 and Fig. 40).65 These exhibitions were a direct response to Rasheed Araeen's The Other Story, and significantly, eight of the sixteen exhibiting artists-exactly half-were female. The press release for the In Focus exhibitions noted that an "important group" of Asian women artists "is not represented in the Hayward show", and went on to explain that the In Focus shows "are designed to give a representative view of the work of Asian artists living in Britain".66 Reiterating the In Focus press release in her review of the In Focus exhibitions, Veena Stephenson, writing in Bazaar, explained that "particular emphasis was given to women artists who comprise exactly half the exhibitors". For Stephenson, "the significance of this arrangement ... was to highlight the much talked about omission of South Asian women artists in the Hayward show. In fact this was one of the main motivations for mounting this series of exhibitions".67As Jean Fisher recounted, "Among the more analytic exhibition reviews, the poor representation of women artists drew the most criticism", and discovering that a corrective to The Other Story had taken place while that exhibition was on display at the Hayward Gallery was mind-blowing!68

There is still much work to be undertaken on Jagrati. Numerous questions remain, including: what happened to Dushka Ahmed's mural, and what more is known about the Greenwich Asian Womens' Art Group that commissioned it? What was the audience response to the show, and did it receive any reviews in the art press? Did the seminars, planned to accompany the exhibition, take place? Who spoke at them and what was discussed? Symrath Patti has alerted me to the existence of an archive relating to Jagrati held at the Women's Art Library, Goldsmiths, University of London. Materials held in the archive include the minutes of organising meetings, photographs of individual artworks, and a visitors' comments book. All of this material, in addition to Patti's own recollections of the exhibition will unquestionably shed light on the aims and aspirations of the exhibition, and provide additional information regarding its content and reception. I look forward to consulting this material in due course, in the knowledge that in doing so, more questions will arise.

DOI In July 2019, I made contact with the exhibition's organiser, Symrath Patti. Discussing her own contributions to the exhibition, it became clear how published resources are only useful up to a point. Her gouache and paper collage, Sketches for a Memorial-Yaadgari (1986) addressed themes of arranged marriages, sexual violence, and desire ( Fig. 38). The blue head of Krishna is overlain with images of brides in their wedding gowns, surrounded by swirling, saturated colour. Patti asserted that colour was used emotively in her work and informed responses to it.64 However, having only seen Sketches for a Memorial-Yaadgari in black and white reproduction in ArtRage, an appreciation of the importance of colour to interpretation had been impossible. It was only when Patti sent me a colour reproduction of the collage that this facet of the work became clear; it also became evident that the image in ArtRage had been incorrectly reproduced in verso. This example reiterated to me the importance of having access to correctly orientated, colour images in order to undertake nuanced critical readings of artworks.

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The first of the four In Focus exhibitions was all female, and included work by Bhajan Hunjan, Chila Kumari Burman, Shanti Thomas, and Jagjit Chuhan. Stephenson records that most of the works were figurative, and subjects included the self-portrait, the family, and notions of home. In her review, Prasanna Probyn highlighted Thomas's painting Sleeping Woman (1985) as an example of contemporary British Asian painting that conveys the duality of the beauty and hardship experienced by women ( Fig. 41).69 Stephenson recorded that Chila Kumari Burman exhibited Ma Ji In Basti Sheik-Punjab (date unknown) ( Fig. 42), while Jagjit Chuhan recalled that she exhibited Yakshi (1987) ( Fig. 43), and Bhajan Hunjan remembers being excited about exhibiting her new painting, Peacock Feather (1990) ( Fig. 44).70

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The third In Focus exhibition included works by male artists Yashwant Mali, Shafique Uddeen, and Sohail, and the female artist, Shareena Hill. This exhibition included paintings, drawings, photography, and installation, and Hill presented recent paintings depicting magnified domestic utensils, including Juicer (1990) ( Fig. 45).74 The fourth and final exhibition included recent works by an older generation of male artists, Suresh Vadak, Amal Ghosh, Prafulla Mohanti, and Ibrahim Wagh.

The second show included photographic work by Mumtaz Karimjee, Zarina Bhimji, and Nudrat Afza; Pradipta Das was the only male artist in this display. Each artist addressed themes of memory, history, and sexuality, and proposed the possibility of articulating dissent through the medium of photography. Nudrat Afza and Pradipta Das presented documentary images taken in Europe and South Asia respectively, while Zarina Bhimji presented an installation, combining images with "scattered text, dried flowers and crumpled muslin on the floor".71 Mumtaz Karimjee presented work from her series Notes from the City of the Sun, in which photographs depicting Chinese landscapes were accompanied by poems by Gu Chen, Shu Ting, and Bei Dao, which the artist herself had translated.72 These landscapes were described as "images of mist, colour, and purely artistic", while the poems were written by scholars closely associated with the pro-democratic movement, and were understood by the artist, and Chinese audiences, as acts of contestation.73 Although more research on her work needs to be undertaken, it is clear that Karimjee's body of work should be regarded as an investigation of how dissent can be articulated through aesthetic means.

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Although archival material is scarce and does not give a complete picture of the exhibitions, the critical reception of the Horizon shows seems to have been generally positive. Probyn's review for Spare Rib focused on the first two exhibitions and their predominantly female participants ( Fig. 46). However, while ostensibly a review article, Probyn says little about the exhibitions, highlighting instead the barriers faced by women artists, suggesting that, "The very need to hold an exhibition of Asian women artists in a more modest setting than the Hayward Gallery ... defines the meaning of Black women's struggle in the world of art".75 In the short text, she relayed her conversations with Chila Burman and Shanti Thomas, and reflected on the status of Asian women. Burman is cited as being frustrated by the fact that male artists fail to recognise the struggles Asian women experience in getting to art college, in the face of disapproving or uncomprehending parents, while Thomas is presented as being concerned with finding a balance between both the positive and negative life experiences of women.

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The Horizon Gallery had intended that the In Focus exhibitions be re-articulated as a touring show. Although this plan failed to come to fruition, in 1991, the gallery did produce a loose-leaf catalogue, compiling information about each of the sixteen exhibiting artists, plus information on an additional ten artists.76 As mentioned above, in 1991, there were two touring exhibitions of female South Asian diaspora artists; and in 1993, the South Asian Visual Arts Festival took place across the Midlands. It would seem then, that at the start of the 1990s, South Asian diaspora artists were gaining access to, and visibility within, mainstream institutions and were significant in number. But if this was the case, why then, are so few artists of South Asian origin included in mainstream narratives of British art? Why are the same handful of artists discussed in published narratives of Black British art? Why is it that so many artists, exhibitions, and projects have been so emphatically forgotten? My research continues...

In creating new images of South Asian women, artists including Dushka Ahmed, Chila Burman, Nina Edge, Bhajan Hunjan, and Shanti Thomas challenged audiences to reconsider long-held stereotypes regarding South Asian femininity, and their work should, I argue, be regarded as acts of reclamation, empowerment, and self-definition. For these artists, art--the mediums of painting, sculpture, and printmaking--offered a space for reflection and reconstruction; and for social commentary and critique from within a British social, political, and aesthetic context. Considered collectively, the exhibition case studies demonstrate that while ghettoised in many respects, during the 1980s and into the 1990s, women artists of South Asian origin worked and exhibited collaboratively, curating their own shows in environments that supported their aspirations as artists, as women, and sensitive to the specificities of their identities as South Asian. Comparing Four Indian Women Artists (1981) and Jagrati (1986), separated by five years, it is evident that there was a shift-not only in how these artists represented themselves as artists, but also in how exhibitions were conceived. By the mid-1980s, it was not enough to simply exhibit and exhibitions such as Jagrati were expressions of social activism. By 1990, the In Focus exhibitions at the Horizon Gallery sought to demonstrate the depth and breadth of artistic practice among artists of South Asian origin and the four exhibitions collectively extended the narrative of diasporic artistic practice in the UK as presented in The Other Story. Nonetheless, while the conceptual drivers of exhibitions may have changed and developed over time, underpinning each was a concern for the ever-present need to promote minority artists in a mainstream (white) art world that was ambivalent to their work.

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I would like to thank Sarah Victoria Turner and Hammad Nasar for inviting me to present my research at the conference, Showing, Telling, Seeing: Exhibiting South Asia in Britain 1900 to Now, and for their continued support whilst developing this article. My research has been richly enhanced by conversations with numerous artists, especially Chila Kumari Burman, Jagjit Chuhan, Nina Edge, Bhajan Hunjan, and Symrath Patti, who also provided materials from their personal archives for reproduction here. Research for this paper was undertaken during a Mid-Career Fellowship funded by the Paul Mellon Centre for Studies in British Art, and I am grateful to all at the Centre for their intellectual and practical support.

About the author

Alice Correia is an independent art historian. Her research examines late twentieth-century British art, with a specific focus on artists of African, Caribbean and South Asian heritage. She has worked at Tate Britain, Government Art Collection and the Universities of Sussex and Salford. She has held fellowships at the Paul Mellon Centre for the Study of British Art and the UAL Decolonising Arts Institute. She is a co-chair of the British Art Network's Black British Art Research Group and she is the editor of What is Black Art? Writings on African, Asian and Caribbean art in Britain, 1981-1989, Penguin Classics, 2022. With Derek Horton, she curated A Tall Order! Rochdale Art Gallery in the 1980s at Touchstones Rochdale, 2023.

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Researching Exhibitions of South Asian Women Artists in Britain in the 1980s, by Alice Correia

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An online, open-access and peer-reviewed academic journal for research on all aspects of British art, architecture and visual culture.

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We are the beating creative heart of our communities, exploring the world through a South Asian lens. We make politically charged innovative theatre which creates ripples from the hyper-local to the global.

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We are the beating creative heart of our communities, exploring the world through a South Asian lens. We make politically charged innovative theatre which creates ripples from the hyper-local to the global.

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has the radical past of British Asians been forgotten? #britishasian #desi #uk #indian

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@htmljones
has the radical past of British Asians been forgotten? #britishasian #desi #uk #indian
♬ original sound - html jones