India’s Women and the Indian Memory Project: The Matriline Remembered

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India’s Women and the Indian Memory Project: The Matriline Remembered

Photographer Anusha S. Yadav dreamt up a creative collaborative project called the Indian Memory Project. The timing couldn’t feel more perfect. At a time when India is transforming itself, she has solicited old photographs and stories from ordinary citizens which she’s assembling into an online journal telling the story of the people who came before this cusp generation.

She says: ‘through pictures found in personal family albums and archives, the Indian Memory Project is an attempt to trace the history of India, its people, professions, development, traditions, cultures, settlements and cities .’

To experience it, is to place yourself in an attic rummaging through the hope chest of a country to discover some cohesive truth. Once you start clicking you won’t want to stop.

Here she’s been interviewed for What Women Make while we feature images of fascinating women in her project.

The Chameli Devi award for journalists was named after one of your participants, a journalist named Sreenivasan Jain? Can you tell us about the award? She wasn’t a journalist but you go on to say she endured four months in jail in her fight for freedom.

It is an award named after her for excellence in Journalism for and by women

Was Satyagraha (non violent resistance) in any way related to gender or a fight against a very male approach to achieving ones freedom?

No Satyagraha had nothing to do with gender. It involved women and men both, sometimes entire families who participated and dedicated their lives to this non violent way to oppose British rule. However, Chameli Devi herself was from an affluent family in Rajasthan, which was conservative, and therefore women from such families ran homes, not usually fights for independence the way she did. “Satya-Agraha” means the insistence of truth. “Satya” means truth. “Agraha” means to insist or grasp.

My mother Shalini (middle,bottom) and her six sisters Kusum, Madhavi, Suman, Aruna & Nalini. Agra. 1961-1971

What role did women play in Ghandi’s pacifist fight for freedom? In Purna Swaraj (the declaration which declared complete self-rule independent of Britain)?

For now, Wikipedia actually has a really good entry on women’s role in India and I also recommend this link on the independence movement at congress.org

What you document here could very well be a book but you chose to make it an online project. How is the online medium effective for what you’re trying to communicate and share with people with the Indian Memory Project?

Yes it could be a book, but for an archive such as this a book has too short a shelf life. I intend for Indian memory project to be the best and only online public archive which is constantly updated and available for reference when people search for information on the History of India, one which isn’t just political but also personal. The best and most true evidence of the history in India can only be found through family archives and oral stories and because people spend more and more time on the Internet, this is truly the best way. Also, Id like to take it around the world as a show and introduce it to schools as a workshop for children.

Is this project any easier or harder because you are a woman?

By virtue of being a woman with access to information, research is easier as we are perceived as harmless. A perception, which I am willing to exploit, as long as no one is harmed or disrespected. Women also assimilate, collate and process information more easily than men, making any information very easily understandable and it can only help one harness that strength and develop better work which is truthful to who they are, and what they’d like to express.

There’s something very enlightening in this paragraph: “She returned from Lahore 4 months later, a minor heroine. But there was also loss. Lakshmi, her daughter, 5 years old, fell from the balcony of the house and died when she was in Lahore jail. And there was the milky cornea – the loss of an eye. But (still) her world had somewhat widened.” How do you think this translates to actions we take today to ensure a better world?

I think she made a choice for herself, which felt absolutely right at the time. We ensure a better world by first believing in ourselves and then believing in others whose values match ours. When you start with that, you feel aligned with the world and can see its flaws and strengths clearly. I conjecture here, but I feel certain she was heavily influenced by her husband’s ideals. She thought of him with great pride as a hero. Perhaps she wanted to assist him and experience him through his cause, which then became hers. It could be a reason like love. But it was every bit worth it to her.

I love these pictures from art school, images from Charu WaliKhanna

Juhi Pande, Mumbai - My masi Rashmi and mother Soma, at the annual town fair of Etawah, Uttar Pradesh, 1977

Yes, she was an Alumni of the JJ School of Art & Architecture.

“We lived, ate and dreamt Art & Design. Our heroes were Picasso, Salvador Dali and Charles Correa. We were so absorbed in our passion, it was a joke that whomsoever failed and was yet successful, it was because Charles Correa was a JJ drop out too. In those days, film stars like Parveen Babi flocked to our college to hear J Krishnamurti’s lectures on Philosophy, on campus under the huge banyan tree while the sun was set and the crows cawed.” I then read about Krishnamurti and how in later years he said “Truth, being limitless, unconditioned, unapproachable by any path whatsoever, cannot be organized; nor should any organization be formed to lead or coerce people along a particular path.” Do you agree with this / have any thoughts about this?

I do agree. A explorer of truth will find a way to own it on his own terms.

Also who are some of the major designers or artists (female) who came out of this and other art schools at the time?

NID, in Ahmedabad is still one of the best institutions of Design. JJ and Srishti, Bangalore are a close second.

Sheba Chhachhi, Dayanita Singh graduated from NID. Bhanu Athaiya, Homai Vyarawalla. Homai (who we have published a picture of before on our homepage slideshow) was the first known female photographer in India.She was commissioned by the British Press to document their lives as well as the Nehru/Gandhi family

What can you tell us about the history of art and design in India overall?

India became an independent country gathering all the states into one in 1950 so it is a new nation with incredibly traditional values. It’s history of art and design is vast and layered and sometimes beyond my comprehension.

Mitul Patel, Texas - My mother Chandan Patel (middle), with her friends, one of whom is Manixi Bhakta (right), Calcutta, 1970

Most of the arts developed as they have in others places in the world, through traders, various invasions leading to varied settlements and merging of cultures – Greek, Persian, British, Portuguese, and so on – whose cultures fused with the local culture to create new expression.

Case in point: The Mughal empire brought about a changes in Rajasthani Miniature art introducing also ‘3 point Perspective’. In Architecture, Islamic architecture fused beautifully with Indian architecture. Urdu, considered one of the most beautiful languages in the world, developed by merging of the Persian and Indian Military in order to simplify communications.

In the south, it was the Portugese and French who influenced a lot of architecture and design.

Formal Indian Design institutions inspired by the west came into existence in the 60s to design and create work that brought about positive social change. Projects such as campaigns for literacy, family planning, or festivals like Discover India, developed from this.

You lived in London and then returned to India? What was your reason for deciding to make India your home and your focus? Tell us about your passion for the place you’re from and your ancestors.

I am a product of Indian parents. However, my father was teaching and worked his way to a PhD in Physics in London on a scholarship. He was the first man from his district to be sent to London on a scholarship, a source of pride in my family even today. My mother belonged to an intellectual family with royal lineage from Agra. They were married in 1974 and I was born in London in 1975. I was brought back to India, I can still say, against my wishes as a child. I was very uncomfortable in a country whose environment was so different from the one I was used too. I was ostracized by girls in pre-school because of my British accent and perhaps because I had more of a liberal spirit then they were accustomed to. It is interesting to note that kids especially girls can be ruthless. As time passed, I began to appreciate the beauty of the Jaipur, the capital of Rajasthan, the Royal capital of its Kings and Queens.

Rajasthan has history, art, culture, and performing arts, all of which has verve and a sense of perfection, what I consider to be sheer joy. There is a great respect for heritage, which is not something you can say for other cities in India however historical they might be. In Rajasthan, culture was and is always around you. The government realized that to attract tourists you must conserve and present your heritage with dignity and authenticity. They have left no stone unturned to make that happen.

Manorath Palan - My grandmother, Rohini Thejappa Palan (nee Talwar), Bombay, Circa 1939

My schools ensured that we made good wives if not independent interesting women. Classical and folk dance, music, sports, embroidery, and cooking were mandatory. Other subjects were also important but English and Hindi were the most important.

My mother realized that my interests were in the arts and not academics and encouraged me to follow and learn as much as I could. I took dance (folk and classical) and music (classical) lessons and excelled in both. My weakness in academics become a bone of contention though at some point. As we were dealing with small town ambition, she had me attend typing and beauty salon school so that if and when I was done with my formal education, I could get a job.

I have tried a few times to move countries, once to the US and once back to the UK but I missed the spontaneity, comfort, discomfort and the warmth, four factors that I realized were imperative for my nourishment as a person. I have been fortunate to be a documentary photographer and an archivist at a time when its appreciation has increased. I am accepted and appreciated wonderfully for the work I am doing because it is different and simple.

I despise intellectualizing my work, because photography to me is an intuitive and personal understanding of the world. Overtly intellectualised art, in my opinion belongs to a very tiny niche, but even in the case of this niche, I am suspicious about how much they really can understand.

What can we learn from India’s past as it applies to gender or even freedom in general that we can take into the future?

India is going through a very interesting phase in gender expression. Women worry about safety which results in being either too aggressive or too submissive. Delhi is considered to be one of the unsafest of all Indian urban cities, and Bombay/Mumbai the safest. The latter, being a migrant’s city with a history of double income households.

Men are still to develop appreciation and respect for women, most of which begins and ends with their mothers.

An Indian man was and still brought up to think that he is God. And Female feticide is still rampant.

Even if a survey says that 65% of Indian men still think that domestic and sexual violence is something women should tolerate. Even if homosexuality was decriminalized just 6 months ago. Sexual suppression, its taboos, and patriarchy would be in my opinion the greatest downfall of India and it must change and it is;

Women in urban cities are way ahead in terms of thought and expression of freedom than men. Both women and men are beginning to realize their potential and are creating huge opportunities for themselves. There is also a bit of marked support from the government however there is a lot that is still expected.

Women are the frontrunners to change be it in big corporates or in the arena of art and culture. However, the attempt of women to become as much like men as possible to feel equal is a futile attempt which I believe is a huge mistake that will backfire. “Feminine” is who we are; our work is to realize its fullest potential, whatever that might mean to a woman.

Freedom in general is still conceptual, and not a reality. We are still not an individualistic society. And are still concerned with what our relatives and neighbors think. We are still concerned with an ‘ideal’ lifestyle. Our sense of security lies in having a family. And to top it all off the political and state governance offers no confidence in our own diversity and country. The riots, the violence, the corruption, and an attitude of “whatever is happening, let it happen, nothing will change anyway” leaves citizens with low self-esteem.

A booming economy does make people ambitious and it offers opportunities that we never thought we’d have. The opening of trade to foreign countries, social networking, cable television, reduced travel costs has helped exposed us to great possibilities and potentialities.

Interestingly though an independent woman from India like most other places in the world, is expected to do well in all arenas, work or family. If any of the two suffer, it is and will be considered a failure.

India is one of the nations that we are all looking to shape the future of the world. What is now evolving culturally in India what will shape our global future. What could the west learn from India’s contemporary culture?

The west must learn that India is no longer a country of snake charmers and elephants, camels & tigers. There is a lot more to it than the exotic rural lives with mustard fields, colourful traditional clothes & crafts and the Taj Mahal.

It also isn’t a country of terrorism, (unfortunate incidents which have been instrumental in putting us on the global map). Also yes, you need a visa to travel here.

One must realize that India is a country of contradictions. The north is to south like chalk and cheese and the same applies to the east and west.

Staunch inflexible beliefs in the caste and religious systems are still arenas where a lot more change has be brought about.

I don’t think India is quite ready to become a super power, though we may very well be on our way. Basic human rights, hygiene, health and mortality , the economy, tolerance for another’s religion & beliefs, self respect and respect for women need to be in place before anything such grand shift can take place.

There is a lot left to be done and realised in a country which unites only for a cricket match but is not really bothered when it comes to more important issues.

Sreenivasan Jain, Mumbai – My Grandmother Chameli Devi Jain and Grandfather Phool Chand Jain, shortly after their marriage. Delhi, Circa 1923 — This image was photographed in Delhi, shortly after my Paternal grandparents Chameli and Phool Chand, got married. She was 14 and he was 16. It was unusual for couples in our family to be photographed, especially holding hands, which turned out to be an indication of the unconventional direction their lives would take. They were both Gandhians and Freedom fighters.

More and more people are beginning to express themselves openly, especially on the internet and because of which many amazing ideas have found a voice. Appreciation for doing something different or taking an initiative to help positive change is welcome.

The world can learn from us. Anonymity and immediate distrust is a trait I found in Europe and the US. Distrust diminishes a person’s potential to discover.

Our biggest strength has always been adaptability and a sense of humor about ourselves. For that very reason we are fast learners, more than any other culture. We can go anywhere in the world and make it our own, and yet be respectful of another’s culture. We also invite you to share our lives with you without any agenda other than mere social exchange. An Indian spirit needs contact with another to survive. And adaptability, flexibility and social contact is key to survival.

There is spontaneity and passion in what we do. There is a welcoming warmth inherent in any Indian especially to a foreigner, as traditional values have taught us to be in service to a guest, a characteristic which is rarely found in other countries.

Unfortunately acceptance of art here still depends on validation by the west. We are still working on developing our point of view. We don’t have enough funding because Indian government has not recognized art as an aspect of social development. ost artists find patrons in international organizations outside of India.

Who are your favorite women artists in India

Writers Mannu Bhandari, Mrinal Pande, Vani Subramanium, Anita Desai, Paromita Vohra, Mahashweta Devi, Chitra Banerjee Divakaruni, Jhumpa Lahiri,

Photographers Homai Vyrawala, Gauri Gill, Ketaki Sheth, Pushpmala N, Dayanita Singh and Anita Khemka

Industrial Designers Shefali Mahadick, Shirley Bhatnagar, Sophie Gaur

Fashion/Textile Designers Shalini Subramanium (Plantation House, Bangalore) Wanda Naomi Rau (Welspun, Mumbai), Ritu Beri (Delhi), Meera Ali, Delhi , Masaba richards, Mumbai

Filmmakers Aparna Sen, Zoya Akhtar, Sai Paranjape, Gurinder Chaddha, Mira Nair, Vani Subramanium, Paromita Vohra.

Architects Manisha Agarwal Poredi, Anupama Kundoo, Revathi Kamath.

What do you think of What Women Make?

“I think what you do is amazing because it is my belief that people can only change when they are inspired with work that has curiosity, compassion, love, tolerance and patience. And no one can do that better than women.”

Thanks for your time!

See more at Indian Memory Project