"Guilty of Walking While Brown" - INDIA CURRENTS (California - March 2015)

On February 6, 2015, an elderly Indian man was left partially paralyzed following an encounter with the police in Madison, Alabama. News of the event spread on social media and elsewhere online. When it became known that a police car had captured video of the incident on its dashboard camera, an online petition was circulated to exert pressure on the Madison City Police Department to release the footage. But even before the petition had acquired the threshold of 1600 signatures it had set itself, the police had made the video public.

Watching the video for the purposes of writing this article was difficult. At the edge of the screen, one sees Sureshbhai Patel (57), with his hands behind his back, possibly handcuffed, being thrown to the ground by officer Eric Parker. Later, when Parker, along with one of the other officers on the scene, attempts to get Patel to stand up, it becomes apparent that the “suspect” is unable to, and is literally hauled onto his feet before sagging back down. Patel, it was discovered, had suffered a neck injury that would cause him paralysis in some parts of his body. 

As the video spread virally, the indignation, particularly of South Asians, was instantaneous, and rightly so. It would be revealed that Patel, a citizen of India, had come from that country to help care for his grandson, born prematurely and, to do so, was living in his son’s home in Alabama. As more of the story became known, perhaps we likened Patel to members of our own family. We saw in this grandfather our own parents and grandparents, those transnationals and migrants who connect our lives between continents. In fact, I had heard of this case of police brutality from a cousin whose children my father took care of in Texas. Like Patel, my dad and other relatives like my aunt and uncle, had come to the States for the function of temporarily helping out with childcare. And while I appreciate how much coverage the event has received, there is something about the nature of the conversation around the incident that leaves me dissatisfied. 

This is not an isolated event of police brutality. To regard it as such runs the risk of reducing it to a sign of South Asian American exceptionalism. Consider that the police had been alerted by a resident of the neighborhood who claimed that a “skinny black guy” they had “never seen … before” was “just wandering around,” and who was estimated to be in his thirties. That the police would be compelled to respond to such a call should make one question who and what they wished “to Serve and Protect,” as the police motto goes. In all likelihood, the call probably originated from a white household, but what is unmistakable is that the police reacted precisely because the person being reported was believed to be black. Evidently, it was unfathomable to, both, the caller and law enforcement that a young black person should have any business in such a neighborhood.

“This is a good neighborhood. I didn’t expect anything to happen,” Chirag Patel, the victim’s son told the press, possibly explaining why he had thought it would have been all right for his father to walk around in broad daylight as he had become accustomed to doing in their town. Speaking to The Washington Post for their February 12 report, the younger Patel had said: “It is a dream for me [to live here] because I came from a very poor family and I worked so hard … I’m totally devastated that I might have made a big mistake.” 

Even as middle class aspirations and immigrant desires to live the veritable American dream prove to be no protection against racism, there is no doubt that the Patels – just as anyone living in the United States – should not have had to feel that the commonplace act of walking out one’s door would put one’s life at risk due to the commonplaceness of racism. Nonetheless, it is specifically because of the assurance felt by a community that is often emblematically deemed the upwardly mobile model minority that South Asian Americans can believe themselves to be immune to systemic racism. Moreover, this extends itself to the notion that the police, rather than being embedded within such systems, are testament to the protection of those who are considered ideal subjects in the multicultural civil society of the United States. 

To cut to the chase, Sureshbhai Patel, who speaks very little English and is an Indian farmer who was visiting this country, was severely injured by a white policeman because Patel was identified as being black. Following the recent verdicts in the Eric Garner and Michael Brown cases, where the white policemen who were responsible for the deaths of these two black men were tried and found not guilty, I would argue that the incident involving Patel received as much attention as it did because of the growing inescapability of questions surrounding abuses of power. As crystallized in the trending hashtag “Black Lives Matter,” these questions center on how racial difference is perpetuated by such abuses, both by the police and laws that protect them over minorities. 

While Parker was swiftly charged with third degree assault, the attack on Patel should not be seen as an outlier to forms of racialized violence that have been manifesting increasingly through the involvement of the state, be it in the form of the police or even politicians. Note the lack of irony in Louisiana Governor Bobby Jindal’s declaration in a January radio interview with the Family Research Council’s Washington Watch that the United States was under threat of a Muslim invasion because immigrants of that faith background “want to use our freedoms to undermine that freedom in the first place.” An Indian American who converted to Christianity from Hinduism, Jindal’s opinions are those of the garden variety Republican, but the danger lies in those views emanating from a politician of minority racial origins. They serve to obfuscate the very real threat to the lives of Muslim Americans, such as Deah Barakat, Yusor Abu-Salha, and Razan Abu-Salha, the three young relatives who were executed by a white gunman in Chapel Hill a week after Parker attacked Patel.

In that South Asian American immigrants are of many faiths, Jindal’s callous statement, made for political gain, diminishes the post-9/11 Islamophobic violence his own community faces, let alone those other Americans who so happen to be Muslim. Being deliberately oblivious to xenophobia, coupled with a sense of insulation that can emanate from being considered a model minority, especially because one is not black, can easily lull one into being complacent about institutionalized racism. But are you sure “they” know who you are when you take a walk around your neighborhood?

From India Currents. The longer version appears as "Walking While Brown While Looking Black" on Media Diversified, and a short piece on the subject appears in The Goan as "To Serve and Protect (Someone Else)."

"When Academics Play Tourists" - THE GOAN: I'm Not Here (24 January 2015)

While in Goa for a conference this past December, my brother-in-law enquired if it was the India Ideas Conclave that I was there for. My protests to the contrary were quick, due to the nature of said event. The conference I was in Goa for had barely found mention in any media in the state, while the Conclave could be seen advertised on the main thoroughfare with flashy billboards. Online, it was being avidly discussed on Goan listservs, because the Indian right wing had unabashedly proclaimed it as a gathering of intellectuals and politicians who sought to distance themselves from Nehruvian socialism. Several affiliates of Hindu fundamentalist organisations were present at the occasion, as were members of the BJP. This betrayed the Hindutva leanings of the affair, revealing it to be more than just about politics and the economy. So, no, I corrected my sister’s husband; I was most assuredly not in Goa for that conference, but another. Except, upon actually attending the Re-Imagining Theory Conference, organised by the Forum on Contemporary Theory (FCT) at the International Centre, Goa (ICG), I wondered if there was something to my brother-in-law’s conflation of the two meetings.

To be fair, the Conclave made no bones about why it had chosen Goa for its deliberations, having hired a five star hotel for the get-together. Even though the rise of religiously fundamentalist organisations in the state can readily be charted over the last few years, it was evident that the right wing had settled on Goa more for its location than in recognition of its zealotry or political importance. In comparison, the theory conference, which gave the impression of being a serious academic affair, not least because of its inclusion of such high profile speakers as Gayatri Spivak and Arjun Appadurai, quickly let that veneer slip. Was it a foregone conclusion that as the site of choice for the academic conference, Goa was to be relegated to being merely a service venue rather than an intellectual space? One is inclined to believe so, given the quaint little note the organisers sent participants in a logistical email before the conference began on 21 December, 2014. It said: “Enjoy Goan hospitality and return home refreshed in body and spirit”.

That the sole purpose of Goa and Goans should be that it and they exist primarily as purveyors of hospitality rather than as intellectual participants in the programme, as such a missive implies, should give one pause. And if the notion that Goa was where one comes to be serviced rather than to be of service had not been articulated clearly enough by the aforementioned note, then it was hammered home in the conference’s opening session. In it, the organisers attempted to theorise the space of Goa as one that could be characterised through the idea of “liquidity”; they clarified their meaning by underscoring Goa’s proximity to the ocean and by hinting at the liberal availability of alcohol. When FCT held its annual conference in Goa in 2007, similar comments were made by the organisers, who then referred to Goa being a “spirited” location. But at least then FCT had made some attempt to be more cognisant of the region itself and to engage it academically. For instance, at that earlier instalment, the discussions were held at Goa University and, additionally, there was a session convened to discuss Pundalik Naik’s Acchev/The Upheaval (2002).

That seven years later at the ICG, Goa University’s presence at the conference could be marked by the official appearance of just one faculty member from that institution is just as damning of the university as it is of the organisers. Consider, too, that the conference’s only recognisable panel on Goa was laughably labelled “Spatializing the Local: Kolkata, Goa, and the Locality of Space”. As a participant on this panel, I was thoroughly confused as I wondered how the disparate locales of Goa and Kolkata were to be bridged during the session – an impossible endeavor, I was to discover. I was even more concerned as my presentation was about the Goan diaspora and the Portuguese Empire rather than about the ‘spatializing’ of Goa. But no matter, as it was quite clear that this was of no consequence to the organisers.

If the India Ideas Conclave represented the country’s religious right wing and the Re-Imagining Theory Conference India’s secular liberals, to both the meeting point was Goa. The conference I attended concluded on Christmas Eve. To Goans, Catholic or not, Christmas is a significant date not only due to the religious prominence it bears for some, but also because it is emblematic of the socio-cultural fabric of the region. To have an event end right before this occasion highlights the conference’s aim to use Goa as a destination with the added promise of local festivities. As with the right wing gathering, the pre-Christmas academic conference cast Goa as the religious other to India, fixing it once more as the nation’s pleasure periphery. Perhaps Goa’s failing tourism industry should take note of the emerging market in fundamentalists and academics.

From The Goan.

"In Fact, Fiction" - THE GOAN: I'm Not Here (20 December 2014)

At the recently concluded fifth edition of the Goa Arts and Literary Festival, I was compelled to attend a panel with the intriguing title of “Goa’s First Diaspora.” What followed, however, was a perplexing display of cultural hubris and the obfuscation between fact and fiction. In conversation with Dr. Kiran Budkuley, the head of Goa University’s English Department, writer Gopalkrishna Pai discussed his Kannada novel Swapn Saraswat (2009) which chronicles the alleged sixteenth century exodus of 22,000 Hindu families from what we now know as Goa; this, it was averred, was due to the conversions that ensued with the arrival of the Portuguese. To be clear, there is little historical doubt that conversions occurred and people were displaced. Nonetheless, what is less certain in Pai’s version of events is the questionable reality in which these claims are grounded. What Pai’s project entails, then, is the remaking of events in order to claim a history of persecution for a contemporary community of religiously and culturally elite, namely the Saraswats.

In turning a critical eye to the way in which Pai translates assumed fact into fiction, my purpose is not to deny the Saraswats their identity, although others have successfully argued that the very category of the Saraswat is not one that emerged till recently. Rather, what is up for examination is the manner in which Pai uses fiction to establish a Saraswat past. Operating from his own standpoint as a descendent of the diasporic community he fictionalises, Pai – a heritage Konkani-speaker – claims evidence of the persistent existence of this tongue, despite exile, as proof of origin. What is notable here is the equation formed between language, geography, and persecution, which the writer melds together to explicate origin.

Not only does this origin-story rely on the postcolonial idea of language-based states that are the hallmark of Nehru’s vision of modern India, but this linguistic basis of nationalist Goan origin is remade in Pai’s reclamation of a past Goan geography for the Saraswats of his novel as an undisputable homeland. This is curious, because “Goa” of the early modern period at the time of the Portuguese conquest was only the Velhas Conquistas, and one would be hard-pressed to believe that any one language was spoken exclusively in any region. Apart from geographic closeness, if the exiles chose Karnataka, it would also have been because of pre-existing kinship networks and linguistic familiarity. In other words, while colonisation may have caused exile, its routes were pre-ordained.

What this also speaks to is a power-base that extended beyond any one location; so, if such linkages can be traced through language, as Pai does, then they must also be traced through caste. During his panel presentation, neither was Pai questioned about how he dubiously arrived at the figure of 22,000 exiled families from a Goa that would have been far smaller than the region we know now, but also what it meant for such a group to continue to exercise power as an upper caste elite group. It would appear that the panel was more interested in foregrounding Saraswat identity as one of the community having been victims. In such an uncritical mode, no room was left to enquire into the possibility that the purpose of the migration might have been to maintain hierarchical caste power, especially with the advent of a new political force in the shape of the Portuguese. History is replete with examples of power operations shifting to other locations in moments of crisis and the elite continuing to function in such capacity even when in exile.

Pai did make some passing reference to the colonial displacement of other communities, such as the Kunbis. But as is common in all considerations of Goa’s First Peoples, that community is given short shrift in Pai’s evocation of diasporic Goanness, and were mentioned only as an afterthought. One wonders what Pai would make of the fact that African-descended slaves also escaped Portuguese India into Karnataka. Surely they too should be accounted for as being part of “Goa’s first diaspora” if they found themselves in the same region as the Saraswats and in the same general timeframe. Yet, what passes for research in Pai’s mythification of a community is not overly concerned with accounting for “facts” that have little to do with destabilising the ethno-racial and religious supremacy of the people he chooses to centre.

What is one to make of Pai’s strange assertion that he is in possession of a photograph that shows the

Hindus of Goa handing over keys to the Portuguese in the sixteenth century? Later during his talk, he corrected himself and said he meant a painting, instead; but at any rate, whatever the alleged visually symbolic proof of the handover of power, that this serves as research evidence for his novel should raise eyebrows. In lieu of this, Budkuley asked Pai why he felt his novel had received so much acclaim. Pai basked in the moment. Perhaps the answer is that people love stories of the resilience of the persecuted, especially ones that traverse fact and fiction as if they were one and the same.  

From The Goan.

"Gaitonde between Goa and Guggenheim" - THE GOAN: I'm Not Here (22 November 2014)

The wait outside the iconic coil-shaped landmark seemed interminable as the autumnal weather grew colder, wetter, and windier. I reminded myself that I had been looking forward to this exhibition since it was first announced. When the doors were finally opened to the Saturday “Pay What You Wish” crowd, I dodged through the throng. I steeled myself as I entered the gallery on the fourth floor. Perhaps it was because of the miserable weather outside that I expected to see a bleakness of expression in the man’s art. Indeed, I had let myself be prejudiced by the knowledge that the artist had been distant from his family and a recluse. Instead, face to face with his work for the first time, I realised that nothing had prepared me for the profound simplicity of the art of Goan painter Vasudeo Santu Gaitonde (1924-2001).

Curated by Sandhini Poddar, this first major retrospective of Gaitonde’s oeuvre brings him to world attention, just as one of his pieces sold for the highest amount ever paid for a work of art in India at a Christie’s auction last year. Titled “V. S. Gaitonde: Painting as Process, Painting as Life,” the exhibition at New York’s Solomon R. Guggenheim Museum opened in October and will run till February 2015.

Having spent the earlier part of the evening taking in The Metropolitan Museum’s Cubism exhibition and seeing still more abstraction at the Museum of Modern Art, it was easy to see how Gaitonde’s paintings might sit side by side with that of his Western contemporaries, such as Klee and Rothko. In the book of the same name as the exhibition, Poddar quotes art critic Geeta Kapur’s observation “that modernism as it develops in postcolonial cultures has the oddest retroactive trajectories … [which in] crisscrossing the western mainstream and, in their very disalignment from it, … [restructure] the international.” This view is bolstered by critic Hal Foster, whom Poddar refers to as saying of abstraction that it has no “single origin … [A]bstraction was found as much as it was invented.” Surveying earlier Indian, Chinese, and Japanese art – the last mostly because of her subject’s own interest in Zen Buddhism – Poddar successfully demonstrates how Gaitonde, his Indian contemporaries, and Asian art in general, must be accounted for if modern art is to be understood as a comprehensively international phenomenon.

And, yet, despite the retrospective’s desire to posit Gaitonde as a notable exponent of modern abstraction of an international ilk, it can only do so by resolutely claiming the artist as an Indian figure. While little may be known of Gaitonde due to the limited recognition he received in his lifetime and having died in near-obscurity, the exhibition further obfuscates the painter’s origins. A timeline that intersperses events in Gaitonde’s life with South Asian and Indian national history can be seen by those that come to the exhibition. It notes his birthplace as Nagpur, Maharashtra, but it also states that he spent part of his childhood in Goa, where his parents were from. Curiously, even as the timeline records India’s independence from the British in 1947 and, then, the independence of Bangladesh in 1971, nothing is said of the transference of Goa between Portugal and India in 1961.

It is not that one should expect that an exhibition of this nature would necessarily underscore Gaitonde’s ethnic origins even as it mentions them in passing, but it is also noteworthy that it

constantly reiterates his Indianness for specific purposes. The first is to fix Gaitonde as a product of the artistic milieu of the formerly British India, especially because of his time from 1948 on at Bombay’s Sir Jamsetjee Jejeebhoy School of Art, and so, consequently, to highlight how Gaitonde and his peers fit into a schema of art history that proves Indian modern art should be considered as being on par with its international counterparts. That other artist of the post-Independence Progressive movement, F. N. Souza, finds mention in Poddar’s book, but nothing is said of his Goanness or his friendship with Gaitonde. To be clear, it is not the lacunae around Goan identity that I am calling out here, but how the retrospective’s binary of India and the West can only be created by eschewing any consideration of the cosmopolitanness of being Goan. 

Certainly, Gaitonde may have spent most of his lifetime outside Goa and a brief stint in New York, but one wonders how Goa may have influenced his art. As I take in the vision of this master of balance as it communicates itself to me through his work, I notice how he plays with depth: it is like looking into a boundless ocean at times. “Gaitonde missed the sea…,” his friend and fellow artist Ram Kumar says in Poddar’s book. And though Goa is disappeared in this presentation of his art, one may speculate how inescapable the trace of it is when Poddar shares the words of Burmese Indian critic Richard Bartholomew, who writes: “The landscape of memory is the subject of painters like … V. S. Gaitonde.”  

From The Goan.