Showing posts with label British colonialism. Show all posts
Showing posts with label British colonialism. Show all posts

Sunday, July 12, 2026

"‘Zanzibar was the genesis of the Goan migration to British East Africa’: Historian Selma Carvalho" in SCROLL (12 July 2026)

While the history of the South Asian diaspora readily maps on to the contours of the British empire, this is not the full story and especially not so in the case of displaced Goans. Of course, having been a Portuguese colony from 1510 to 1961, it may be considered likely that Goa saw its migrants seek opportunities in other Portuguese overseas territories. Again, not entirely the case.

In her new book, Guts, Glory and Empire: The Epic Story of Goans in Zanzibar, 1865-1910 (Speaking Tiger 2026), Selma Carvalho offers a reconceptualization of Goan diasporic history as having been the result of the small community navigating the intricacies of multiple and overlapping political dispensations. For Goans in nineteenth-century Zanzibar, their official citizenship may have been Portuguese, but they had to contend with the region becoming a British protectorate; in the meanwhile, the Indian Ocean island was also ruled by Omani sultans.

Slavery, colonialism, and trade have created a complex multicultural heritage in Zanzibar that contrasts with its diminutive size at just over 1500 square kilometres. While currently the Goan presence on the island has diminished much like the remembrance of its history, Carvalho chronicles an intrepid community who simultaneously benefitted from, colluded with, and were sidelined by European imperial machinations in the Eastern African isle.

In this interview, Carvalho explains Zanzibar’s importance as a historical location in the making of Goan diasporic identity within the volatile milieu of nineteenth century imperial politics. The author also reflects on why the heyday of Goan involvement in East Africa has receded into the backdrop while considering the part historiography plays in situating communities rendered marginal despite their contributions to shaping global modernity.

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RBF: “Zanzibar” all but disappears in 1964. That is the year it became part of Tanzania, the name of the new nation a portmanteau of two former territories, the other being Tanganyika. If one were to place them in order according to how the former British East Africa factors into the making of South Asian diasporic history and identity, then the country in first place would be Kenya with Uganda a very close second. Tanzania would appear thereafter with Zanzibar lurking within the fused moniker of that nation, almost fatefully so because the island’s name, although of Perso-Arab origins, begins with the last letter of the English alphabet.

Yet, your new book argues for the significance of Zanzibar, both as an important port in the making of nineteenth-century imperial trade relations and for the shaping of Goan identity in Africa. In your earlier writing on Goan migration such as A Railway Runs Through: Goans of British East Africa, 1865-1980 (2014), it is not that Zanzibar does not get a mention; however, the little island is not accorded nearly as much attention as Guts, Glory and Empire deservedly gives it. What prompted this newfound research direction?

Additionally, there is much to be said about the similarity between Goa and Zanzibar. Both are Indian Ocean enclaves, both have been culturally shaped by Portuguese and Islamic influences while also being part of the trade in enslaved Black people, and both became part of other nations in the 1960s. What attracted Goans to Zanzibar, especially in the 1800s?     

SC: My research into the Goan presence in East Africa spans roughly eighteen years. It coincides with my
arrival in London, where I was warmly welcomed by this extraordinarily successful and articulate community who called themselves East African Goans. I realised at that moment that here was an untold story. There was a sparse breadcrumb trail left by the late Teresa Albuquerque in her book Goans of Kenya (1999), and there were a number of academic books which had investigated the subject as one of migration. But there was no literature at all on the actual people who migrated mid-nineteenth century, the minutiae of their lives, politics, hopes, aspirations and contributions. During the course of my research, I began to realise that Zanzibar had in fact been the genesis of the Goan migration to British East Africa. The question intrigued me—why had they settled in Zanzibar? There was a history of elite Goan communities in Portuguese East Africa, but what had brought them to Zanzibar? There is not one single route that might have led to Zanzibar, rather there are several possibilities. Indeed, this early exploratory phase of mid-nineteenth century ocean crossing is for me, at least, one of the most exciting periods, and as yet not fully explored.

Initially what attracted Goans was this adventurous spirit they carried which enabled them to cross oceans. As Zanzibar grew prosperous and by a quirk of destiny became central to European imperial expansionism in East Africa, Goans found their own ascendancy linked to this opportune moment in history. A few Goans who had arrived as stewards and cooks, then took to setting up taverns and small shops. They became immensely prosperous, recruiting men from Goa to work for them in Zanzibar. Later, Goans arrived to work in clerical and administrative positions. During the interlude they became central to the sultanate as doctors, interpreters, musicians and merchants. Important administrative posts, such as that of postmaster and government press manager, were held by Goans.  

RBF: As you note, “[i]t is during … the mid-1860s … that [the] men who would shape the destiny of Zanzibar—Prince Barghash, John Kirk, C. R. Souza—began to assemble and their lives began to converge in the manner of small islands.” Thereupon, “within a few years, Barghash would be crowned sultan, Kirk would become consul-general at the British consulate, and C. R. Souza emerge as one of the richest men on Zanzibar island.”

For Barghash and Goan entrepreneur Caetano do Rosário Souza, the future was not necessarily promised. The former tried several times to become Sultan of Zanzibar, his failed efforts even resulting in him being exiled to British India, and Souza, despite his pluck, often found himself the subject of derision amongst the administrators who were steadily carving out a European sphere of influence in East Africa.

And yet, here we have an ambitious Arab prince, a high-caste Goan Catholic, and a British career colonialist who would come together to shape the destiny of this Indian Ocean African island. What might be said of this particular historical juncture that would bring together such an unlikely assemblage of foreign actors and, even more so, to the exclusion of indigenous people?  

SC: I think one of the extraordinary things about Zanzibar is that everything we believe we know about empire and the indigene gets turned on its head. The African was indigenous to Zanzibar, but the Arab did not consider themselves non-indigenous to the Swahili coast. In fact, if I can push this a little further, I suspect even the Kutch with a centuries-long association and settlement along the Swahili coast did not consider themselves non-indigenous. “Belonging” as we understand it today, with its defined geographical demarcations, does not translate to the early nineteenth century. The Kutch were under the protection of the sultan, their names appearing in his book of “Sultan’s Hindees.” As in any society, a pecking order had been established, and unfortunately in Zanzibar, the indigenous African was placed at the bottom of that hierarchy, disenfranchised from every avenue of power other than which they derived from their Arab owners. (It was different on mainland Africa, where indigenous African chiefs asserted territorial power.) It is this curious confluence of Arab royalty, British imperialism, and South Asian merchant capitalism that shaped the destiny of Zanzibar. This tenuous co-dependence laid the blueprint for modern cities as we know them today.

RBF: “Mistaken for mixed-race Europeans and called half-caste Portuguese by the British, Goans took pride in being part of the European world…” Your book makes it quite evident that the identity of Goans appeared to be quite malleable in the way they were perceived in Zanzibar of the nineteenth century. This was not always so: “[N]ot all Goans had their racial identity so easily blurred … [T]hose dwindling at the bottom, the throng of brawling ‘Goanese’ who lived in filthy conditions…, [were] dismissed as native[s].”

Thus, even as Britons may have grudgingly accorded elite Goans some shared cultural (or, less so, biological) Europeanness, this was still in the service of drawing a line between themselves and this other group who were marked by a lack of purity of racial/cultural origin. That there also existed visibly poorer Goans did not help.

This signals two layers of distinction on the island. The first is between the races and the second within the Goan community itself which drew from “[a] recurring theme … among British colonial officials … [who accused] lower class Goans [of] living in squalor.”

The more well-heeled Goans were quick to capitulate:

All the charities, committees and clubs formed by Goans to discuss matters of health, education and welfare, comprised the upper-class who lived in the more salubrious parts of town distanced from … poverty [and working class Goans] … Already an intersectionality between class and race was emerging, where class could blur racial differences, and make oneself acceptable to European hegemony.   

Your book is not devoid of mention of non-elite Goan people, but it centres the lives of those Goan subjects whose caste privilege and European acculturation (because of the Portuguese colonisation of their homeland) allowed them to be advantaged in the colonially hierarchical multiculturalism of Zanzibar.

How separated were poorer Goans from their patrician counterparts in everyday life and society at the time?

SC: What becomes obvious in Goan diaspora history, beginning with the nineteenth century satellite Goan community in Bombay, is that the Goan elite carried a profound sense of noblesse oblige. They may have socially distanced themselves from working-class Goans—to the extent that they excluded them from their clubs and committees—but they also felt a responsibility towards their well being. Hence, one of the first collective acts that takes place is the forming of two charities on Zanzibar island, that of St. Joseph and St. Francis Xavier by 1874.

It is in the constitution of these charities that an early understanding of democratic franchise and gender equality becomes obvious within Goan society. But a form of internalised racism persisted toward their own working-class populations—the cooks, stewards, tailors, people who were not Europeanised in mannerism, speech, and cultural pursuits. Their lack of Europeanisation was an embarrassment to elite Goans. The Portuguese language was instrumental in social gate-keeping. Those who could speak the language were imbued not just with social mobility but also a quasi-political power.

Caste rivalries persistent among Catholics in Goa resurfaced in Zanzibar, and from the tired old tropes of caste arose fresh divisions, markedly between the uneducated trading class and the urban educated class. At times, these rivalries played out in public leading to catastrophic diplomatic tensions impacting international relations.

RBF: Although Zanzibar found itself ensconced in the political intrigues of Omani sultans and
European colonisers, it did not mean that Goans—as small as this community was—were not also involved in administrative goings on. Here, I am referring not only to their employment as interpreters and clerks by the island’s Arab and British authorities, but also the fact that Goans were appointed as vice-consuls and consul-generals in the Portuguese consulate on the island. What does this reveal of the peculiarities of Portuguese colonialism in comparison to its British counterpart?

It is also important to underscore that although Goans were Portuguese citizens in East Africa, curiously, “until a Portuguese consulate was established in 1885, the affairs of Goans were overseen by the British consulate.” With no Portuguese administrative body in place, “[f]or those Goans who had registered with the consulate, effectively, it meant they became British protected subjects.” This was foundational to how Goan identity evolved, you contend, for “[i]t was this ‘protection’ which the Goans encountered in Zanzibar that would lay the foundation of their understanding of citizenship, that it could be dual and changeable.”

In 1897, this mercurial self-making led “the Portuguese Consul-General Ferreira de Castro [to call] the Goan community in Zanzibar, amphibio, amphibious in nature switching nationalities as it suited them.” I would challenge the consul-general’s characterization of why Goans switched politico-national loyalties and ask, instead, if the reason this miniscule community’s allegiances were variable is because they sensed the necessity of being flexible given the still-forming world order. Certainly, this must have also had to do with British ascendancy across the globe which contrasted so starkly with Portuguese decline?

SC: In Africa, Portugal found it hard to colonise with boots on the ground. Already, in neighbouring Mozambique a dependence on Goan elites as agents of empire had been established by Portugal. In Zanzibar, this authority was formalised. The appointment of Dr. Brás Souza as vice-consul in 1885 and later as consul-general imbued Goans with consular authority. The trend continued with elite Goans being given judicial power over other Goans. Thus began a period of collaborative empire-building, a sort of partnership between native Goans and the Portuguese.

To the second point, in Zanzibar, Goans understood that political loyalties could be multi-faceted. The book gives us a glimpse into how easily loyalties could switch for Goans depending on the situation—they could ask to be under British protection or the sultan’s protection. Often, if Portugal’s relationship with the sultanate became strained, Portugal would place Goans under the protection of the Germans.

RBF: One cannot speak of Africa of the past centuries without addressing the trade in enslaved Black people. Were Goans complicit in these ventures? In the racial hierarchy of the island—where elite Goans were greatly advantaged—how did Goans treat Black people?

SC: There is a notion that empire was driven entirely by Europe’s militaristic might. But the longue durée was made up of disparate people living together, each one asserting their own power where they could engage in the oppression of other people. Some instances of Goan-inflicted oppressions are detailed in Guts, Glory and Empire—the blurring of slave and servant for instance. There are, at least, two instances where Goans buy slaves to work for them.

Although, litigating the past is futile, the practice of slave-ownership was frowned upon even at the time. Principally, it fell afoul of the law, but more importantly it was morally abhorrent. The French Catholic missionaries with whom Goans were closely allied in Zanzibar were staunch abolitionists. It seems incongruent that on the one hand Goans kept close company with the French missionaries while on the other hand the very same people owned chattel labour.

RBF: Elvira Martin née Souza is one of the rare figures in the book of whom we get a fuller profile as a woman. This notwithstanding, your research findings emphasize how rarely she was “referred to by her name. She had simply disappeared into being Mrs James Martin.” Beyond being defined only through heteropatriarchy, how might we understand the lives of Goan women in this moment?

SC: One of the misgivings I harbour is that I could not flesh out the lives of women in the book. The archives were silent because it was men who inhabited the public space and were visible enough to have left behind a documented record of their lives. Once in a while a glimpse is afforded by way of an obituary or a will where the wife is the beneficiary and then a story can be extrapolated from that nugget of information.

Elvira Martin Souza is that rare Goan woman who is visible in East Africa’s history. Much of this visibility stems from her being the daughter of the aforementioned Dr. Brás Souza. Later, Elvira became even more renowned as the wife of the Maltese adventurer James Martin. Elvira and James were very much part of the early colonials who set up camp around what would, by 1899, become known as Nairobi, the capital of Kenya. Accomplished, talented, able to sing in several languages and a great lover of music, an entire chapter is dedicated to Elvira Martin Souza in the book.

RBF: “As empire formalised in East Africa, as colonists established associations and increasingly usurped power, as the crown government solidified and favoured white settlers, the Goan entrepreneur faded in East Africa ... A causal relationship has to be assumed between the rise of empire and the decline of the Goan as an autonomous agent.” In so saying, Guts, Glory and Empire signals the end of the halcyon days of Goans in Zanzibar, their legacy obscured.

Apart from the rise of empire, the fault for why this history is little known you lay at the feet of the community itself: “That Goans had no sense of their historical relevance has condemned their story to obscurity. That no such institutions or historians chronicled their tremendous contribution rendered them mute.”

While your book intervenes in this loss, what does it also say about how minority communities are researched in South Asian diasporic studies (where “South Asian” is really North Indian) and what may this advise for future enquiries about Goa and its diasporas?

SC: There is a question to be asked as to why some histories are forgotten or erased. I cannot find an explanation as to why the extraordinary history of the Goan interlude in Zanzibar had not been written about. And a vast unwritten history still exists out there of the Goan presence in Mozambique. To investigate these histories, of course, requires tremendous financial resource. It is incumbent on institutions to set up funding. Goan history suffers from the label of being a “niche history” but the disparate threads of the Indian subcontinent and the Indian Ocean have to become part of the national consciousness. That is how we become a nation by being genuinely interested in each other’s lives and recognising that these are shared pasts.

Indeed, I would go so far as to say, that is how we begin to understand our shared humanity. For instance, until Guts, Glory and Empire, there was no recognition of the Goan engagement with the nineteenth-century Arab world. We remember the Goan presence in East Africa only as having serviced the British administration, but there had been a long history prior and parallel to that.

From Scroll. 

Tuesday, July 25, 2023

"A Postcolonialist in Colonial Williamsburg" in eTROPIC (July 2023)

A Postcolonialist Walks into a (Low) Bar

I can only describe the person I saw on the other side of the street as being straight out of Dickens, his long nightshirt unmistakably at odds with the broad daylight. His ensemble was completed by a nightcap that drooped sadly to one side, slumpy like his gait and the workworn expression on his face. It had already been a challenging first day on the job. Surely, I must still be jetlagged I thought to myself, having only recently decamped from the settler-colony of Australia for the eastern shores of settler-colonial America as a then-itinerant postdoctoral scholar of postcolonial literature. Nevertheless, a fortnight hence, I saw the man again, this time propping up the bar at the pub a colleague had invited me to for an after-work drink. It was light outside, but the glum chap was still wearing the aforementioned nighttime garb and, on this occasion, his floppy cap—echoing his lethargy—threatened to fall into his beer.

Concerned about why this apparition continued to be visited upon me (surely I could not still be jetlagged!), I whispered to my new workmate: “Please tell me you also see the strange man at the bar?” He took a quick look and shrugged. “Probably works down the street.”

“Meaning?”

“You know, at Colonial Williamsburg. They do reenactments of the old times. You know, early America…”

No, I did not know.

They had left that part out during the video interview. Undoubtedly, this is something a postcolonialist should have been made aware of before they took the job. But then why had said postcolonialist not been clued in from the name of the town: Colonial Williamsburg, Virginia?


(Re)Colonial Williamsburg

While the question above is central to my pedagogy and scholarship, it also informs (as it is informed by) my own residence in the American South. New to the region, I continually ask myself what it means to be in the midst of a settler-colonialist project (as I will explain) while being a postcolonialist with investments in transoceanic/continental literary and cultural studies. In what follows, I aim to demonstrate how these various vantage points bear continuities. Likewise, in participating in this special journal issue, it is with the view that the present decolonial turn cannot be construed as a new phenomenon. Rather, postcoloniality’s reading of anti/coloniality must be seen as the elements from which a contemporary decolonial stance in the study of the tropics can be evinced.   

Of Williamsburg, its use of colonial drag/cosplay (as evidenced by my encounters with the bedgown-wearing Dickensian character), and the re-enactment of a supposed history of the beginnings of white(ned) America, its British origins are what are best known. Both named for English monarchs, the city of Jamestown in the state of Virginia (which commemorates Elizabeth I, known as the Virgin Queen) was America’s first British settlement, created in 1607. Later in the seventeenth century, Williamsburg (also christened for an English ruler) would take over as Virginia’s capital. Apart from claiming these lands for England, such naming practices also contributed to erasing Indigenous histories.

However, the town bore the destructive wrath of the divisive Civil War of the 1860s. Famously funded by John D. Rockefeller, Jr., Williamsburg’s reconstruction in the 1920s would bring about the Disneyland-like version that exists today. In part an effort to promote the republic, the repairs were also likely aimed at salving the wounds of the internal war. In Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capital, Anders Greenspan describes the “restoration [as representing] the glorious antebellum period that many Southerners longed to revive [, even if] … it might have been a ‘Yankee reconstruction’” (2009, p. 38). Similarly, for the rest of America, Colonial Williamsburg “would be preserving the values of the colonial era and with it the lure of the antebellum South” (Greenspan, 2009, p. 39).

This vision of a nation united, predicated on the simulacra of a re-enlivened past, is also markedly the coherence of an American identity that is white. Dependent on a remaking of the antebellum period, such nostalgia produces whiteness by investing in what makes that moment of American history distinct, and that is the ownership of enslaved Black people. Reenacting white supremacy as Americana, Colonial Williamsburg may gloss over the harshest aspects of the lives of the enslaved, but is still a tourist destination seeking to profit from parlaying some version of the pre-Civil Rights past. “The means and modes of Black subjection may have changed,” Christina Sharpe notes in In the Wake: On Blackness and Being, “but the fact and structure of that subjection remain” (2016, p. 12).

Yet, this is not to suggest that no resistance is sounded within Colonial Williamsburg itself. At this site and other historically sentimental ones, Native American, Black, and other “interpreters” of colour (as historical reenactors are known), attempt to reveal little know stories while “walk[ing] a corset lace-thin line between informing audiences and alienating them; between self-preservation and showcasing the vulnerable lives of minorities” (Barger & Davis, 2020, par. 16).

American Tropics

What I have offered so far is a decolonial reading of Colonial Williamsburg, one that surfaces the white supremacist engendering of the site via its links to a history of British settlerism. Even so, Virginia has an even older colonial history, and a pre-British one at that. Placing the region within a hemispheric nexus of trade, weather patterns, and geopolitical entanglements of the early modern period, one that involved the tropics—Iberia, the Caribbean, and Latin America—Anna Brickhouse

[draws] from a series of Spanish colonial writings about a sixteenth-century Jesuit settlement on the Chesapeake Bay that was established in preparation for a Spanish attempt at colonization of the area. The archival record of this Jesuit mission exposes the fictionality of Virginia as the site of what the English themselves, first in Roanoke and then in Jamestown, often imagined as an originary moment of European-indigenous encounter. (2007, p. 19)

In identifying non-Anglo-American/non-English sources that narrate how Indigenous peoples resisted colonialism, Brickhouse challenges “the United States as the default center of the scholarly narratives we create” about the making of the nation (2007, p. 32).

By unsituating the United States as solely being bred of (and severed from) England, then additionally locates it within its tropical entanglements across oceans and continents. In other words, to tell America’s story postcolonially, what is required is a greater panoply of colonial-era sources, linguistically and geographically diverse ones. This work is incomplete without considering different forms of storytelling, oral and otherwise, carried by the marginalized. What are the overlaps, and schisms, between these chronicles? The work of decoloniality can be done more effectively in tandem with post/(anti)colonial legacies, ones that are as varied as they are illuminative.

References

Barger, J. and Davis, H. G. (2020, September 25). “Historical Interpreters Share their Side of the Story.” National Geographic. https://www.nationalgeographic.com/travel/article/historic-interpreters-changing-the-conversation-about-race

Brickhouse, A. (2007). “Hemispheric Jamestown.” In C. F. Levander and R. S. Levine (Eds.), Hemispheric American Studies (pp. 18-35). Rutgers University Press.

Greenspan, A. (2009). Creating Colonial Williamsburg: The Restoration of Virginia’s Eighteenth-Century Capital. University of North Carolina Press.

Sharpe, C. (2016). In the Wake: On Blackness and Being. Duke University Press.

From eTropic: Decoloniality and Tropicality.

Thursday, December 26, 2019

"2046, The Past" in THE PEACOCK: The Prof (23 November 2019)


The year is 2046. Outside, there is a place where nothing changes. An intergalactic train can take you there, but only one person has ever returned. Inside are the ghosts of the past. In between exist memory, melancholia, and myth. 

This is Hong Kong, neither past perfect nor the future progressive, as speculatively rendered in the film 2046 (2004) by Wong Kar-wai. Considered an oblique follow up to his earlier In the Mood for Love (2000), which was set in the 1960s, the disjointed stories of the director’s later film circulate betwixt everlasting nostalgia and the impending unknown. 

The year of the film’s title signals when Hong Kong’s special administrative status ceases. A colony of Britain until its 99-year lease of the region ended in 1997, Hong Kong’s reversion to Chinese rule was buffered by an allowance for it to function in semi-autonomy for another 50 years. However, what the last few months have made evident to the world is that Hong Kong’s youth seek sovereignty. 



Long before this year’s pro-democracy protests and the Umbrella Revolution of 2014, films from Hong Kong have grappled with questions of cultural and political uncertainty. May Fung’s meditation on these matters takes on a mystical quality in the short film She Said Why Me (1989). Most recently screened publicly as part of the exhibition Five Artists: Sites Encountered (2019) at Kowloon’s M+ Museum, the digital print fossilizes the grainy quality of the original VHS recording, rendering it even more esoteric. In it, a woman walks from an ancient temple located in Hong Kong’s countryside to the towering architecture of the busy city. As she makes her away across the enclave’s landscape, beginning at a site that is emblematic of tradition and the past and finishing in the present of urban modernity, her steps are hesitant despite being upon the familiar terrain of her homeland. She is blindfolded. Arms outstretched, her sightless perambulation hints at Hong Kong’s indeterminate future. 

Made in the years before Hong Kong’s handover, Fung’s work captures the anxieties of a land on the precipice of change. At IFFI 2019, other films similarly portray contemporary angst across the globe. All produced this year, several of these features make their Asia or India debut here in Goa. The festival’s opening film, Italy’s Despite the Fog, springs from the crisis that has brought political refugees to Europe’s shores. Hearts and Bones is also about refugees, but in Australia. Climate change is the subject of the eleven short movies that comprise the multi-country Interdependence, while an environmental apocalypse wreaks havoc in The Halt/Ang Hupa from the Philippines.  

Occurring in 2034, The Halt’s cataclysmic view telescopes current fears into yonder years, mirroring the unstable narrative of the futuristic dreamscape that is 2046. These forward-looking films urge us to look back from the future. As today’s Hong Kong struggles to establish its political will, the cinematic legacy leading up to this moment envisions multiple possibilities, even if tentatively. This, not in didactic storytelling, but in the very form of the films that emerged in this period of ambiguity.  
Writing about 2046, Roger Ebert remarked on how the film was late to arrive at Cannes 2003: “[T]he final reel reportedly arrived at the airport almost as the first was being shown. It was said to be unfinished … [T]here were skeletal special effects that now appear in final form, but perhaps it was never really finished in [Kar-wai’s] mind.”

The future, then, as this may suggest is uncertain precisely because its past is always present, forever a time to foresee differently.

From The Peacock.