Thursday, January 17, 2019

At 89, athlete PS John wins gold medals at a state meet, with plans for more

By Shevlin Sebastian

PS John shifted nervously on his bed late at night. The next day, January 12, the 89-year-old was going to take part in the 100m race in the 85-89 age category at the the Masters Athletic Championship at the St. Thomas College, Thrissur. John was taking part in a race after a 14-month gap. On October 18, 2017, he had undergone a bypass operation. Two blocks had been removed and a valve replaced. After six months, John had started training. And now he felt he was ready.

But when John stepped on the track, he was taken aback by the heat. Secondly, the red soil looked hard. But, nevertheless, he took everything in his stride. There were three other participants, all younger than John.

The starter’s gun rang out. Very quickly John moved into the lead. Exactly 22.2 seconds later, he breasted the tape, becoming one of the oldest winners of a race in Kerala. He also took part in the long jump. And again, against slightly younger competitors, he jumped 7.2 feet. And won the gold again.

Not many people know that John has had an illustrious career. At the World Masters Athletic championships at Lyon, France, in 2015, he won the gold in the 80m hurdles, the 200m hurdles and a bronze in the long jump. Owing to his spectacular performance, John was adjudged the ‘Best Master Athlete 2015’ by the Asia Masters Athletics organisation.

John has been winning medals consistently over the decades at state, national and international competitions. His total haul is 141 medals (94 gold, 33 silver and 14 bronze). “It is hard work and dedication that has enabled me to win,” he says. “No matter how difficult life is, on the track I forget everything.”

In his daily life, John, who is a retired Malayalam teacher, is a farmer at Kanjirapally. He grows rubber, cocoa, bananas, jackfruit and organic vegetables. “I get milk straight from the cow,” says John. “There is a peaceful feeling when you work in Nature. Walking around enables me to keep fit.”

Asked about his future plans, John says, “This year, on October 11, I will turn 90 and then I am keen to take part in the 90 years plus category in the state and national meets. I would also like to participate in the world championships which will take place at Toronto in 2020.”

John pauses and says, “To take rest is to die.” 

(The New Indian Express, page 1, Kerala editions) 

Wednesday, January 16, 2019

When People Tried To End Their Lives

In Kochi and Melbourne, recent research by Dr. Fr Saju M D and Dr Lynette Joubert, on survivors of suicide have shown that the leading cause is a relationship breakdown

Photos: Illustration by Tapas Ranjan; Dr. Fr Saju M D and Dr Lynette Joubert

By Shevlin Sebastian    

When Asha Nair (name changed) told her mother that she was in love with a classmate, who belonged to a lower caste, her mother spoke harshly to her. “Forget about him,” her mother said. “We will never allow it.”

Asha felt a mixture of intense anger and hopelessness. It would seem as if the earth had opened up and she was sinking. She started taking quick intakes of breath. Asha could not think clearly. She ran to the kitchen, opened the kerosene can and poured the liquid on her body. Then she lit a matchstick and touched it against her clothes.

The result: 90 per cent of burns. At the hospital, Asha lingered between life and death. At that time, Dr Fr. Saju M D, Asst. Director and Administrator, Rajagiri College of Social Sciences, Kochi along with a few students were interviewing suicide survivors. They spoke to Asha. “She felt a regret about her rash action,” says Fr. Saju. “Asha wanted to show her anger towards her family, so she took this extreme step.” Tragically, luck was not in her favour. She died five days later.

Between 2016 and 2018, there were 12,490 suicides in Kerala. Fr. Saju says most of the victims were young and the major cause was a romantic relationship. “Either the parents did not accept the relationship or the affair broke down,” he says. “Young people lack an emotional resilience to overcome difficult moments.”

Most of these people are introverts and reluctant to share an intimate problem with their family members or even to their friends. “They don’t want to bring shame to the family by talking about it to others,” says Fr. Saju.  

So they resort to suicide. “It is usually a sudden decision,” says the priest. But interestingly, many women survive because they are unable to complete the act. On the other hand, males are more purposeful and kill themselves. In the group’s survey of 46 victims, in three hospitals in Kochi, 61.4 per cent of the suicide survivors were single women. They ranged in age from the late teens to age 25. And around 78 per cent had a history of depression and anxiety.

Incidentally, Fr. Saju was working closely with Dr Lynette Joubert, Professor of Social Work in the Department of Social Work at the University of Melbourne. She, along with Fr. Saju were resource persons at DYUTI 19 (Development Yearnings for an United and Transformed India) conducted by the School of Social Work, Rajagiri College of Social Sciences last week.

In fact, Saju got the idea of the survey when Lynette told him that she, along with a team had done a study of 120 suicide survivors in an emergency department of a hospital in Melbourne over a six-week period.  

The breakdown of relationships is the biggest cause for suicide,” says Lynette. The other reasons are poor physical health, drug abuse and financial stresses, like losing a job.”

All this can result in a deep depression. “We also noticed that most of them did not have any friends,” says Lynette. “This social isolation prompts a person to kill him or herself.”  

Asked the different ways people harm themselves, Lynette says, “In Australia, it is usually through tablet overdose. Some have shot themselves. Others have hanged or jumped off bridges. There are cases where people have cut the veins on their wrists. A few told me they felt a mental relief when they did it. But they did not intend to kill themselves.”

So, to avoid such a scenario, it is very important to have a social network, a group of close friends with whom you can confide in. “If you have such a network, you can find a way to solve your problems,” says Lynette.   
In Kerala, she says, you can get help too. “There are psychologists, counsellors and health clinics, just go and tell someone, ‘I need to talk this through’,” she says. “There's no shame in it. All of us can feel depressed at some point or the other.”

Interestingly, suicide is a worldwide problem. Last year, more than 8 lakh people killed themselves. But in Australia, astonishingly, the highest number of suicides is in the 80 plus group.

The victims live completely isolated lives,” says Lynette, “All of them do not stay in old age homes especially if they are healthy. There are many farmers who find it difficult to manage the finances especially if there is a drought. It forces many of them to take the extreme step. So we have to find a way to tackle this problem.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)

Monday, January 14, 2019

Of Egg Yolk And Pigments

Mauritian artist Arvin Ombika specialises in egg tempera paintings. It was the rage in the Early Renaissance period (14th to 16th century) of Europe

Photos: Arvin Ombika; Sandro Botticelli’s ‘Birth of Venus’

By Shevlin Sebastian

Ten-year-old Manisha Nair (name changed) looked at the egg in Mauritian artist Arvin Ombika’s hand and said, “Yuck, how will I break it?”

Arvin smiled and said, “I will help you.”

So, he gently broke open the egg inside a container. Manisha could see the yolk floating about.

The yolk is inside a sac,” says Arvin. “Now, I will give you a needle. And you should prick it.”

Manisha nodded, even as she pursed her lips and said, “It’s so smelly.” Her mother whispered to Arvin, “She does not like eggs at all.” Nevertheless, Manisha did it, the yolk leaked out and Arvin quickly mixed it with paint pigments. Then he added distilled water, to get rid of any dust particles. The result is called egg tempera. All the women participants carefully followed what Arvin was doing at the workshop which was held at the Kerala History Museum, at Kochi, recently.  

Egg tempera paintings were seen in the first century when the Egyptians would draw portraits on the Mummy. “The rest of the tomb was decorated in encaustic paint, which is composed of beeswax, resin and pigment,” says Arvin. “But the popularity of egg tempera reached its peak during the early Renaissance period (14 to 16th century).”

Some of the most famous works were Italian artist Sandro Botticelli’s ‘Birth of Venus’, Giotto Di Bondone’s ‘Madonna in Maesta’ and 'The Doni Tondo' by Michelangelo.   

Arvin himself works in egg tempera. At Kochi, he had brought along two works, 30 by 20 cms. It is of two men looking at each other. One is Arvin’s self-portrait, thick black beard, curly shoulder-length hair and hairy chest, while the other is a sideways view of his bespectacled friend Santanu Dutta, a Rabindra Sangeet musician from Kolkata, with both sporting golden halos.

They had met when Arvin was studying at Viswa Bharati University in Santiniketan, while Santanu worked as an associate professor at the nearby Labpur College. “We are in a quest to know our identity,” says Arvin. “That’s what I wanted to convey through the work.”  

Asked the advantages of using egg tempera, Arvin says, “If it is used properly, there is a shine on the painting, a sort of satin finish. Which means that you do not need to use varnish.” Earlier, insects and cockroaches would attack the paintings. But now when cloves are put in the yolk, the smell lessens and the insects stay away.  

The drawback of egg tempera is that since the yolk dries quickly, you have to work very fast. Also, for large paintings, you need a lot of eggs. “So, it was not practically feasible,” says Arvin. But when oil was discovered in the 15th century, many artists opted for it. “It does not dry quickly, so you can take your time over the work you are doing,” he says.   

Arvin is a fifth-generation Indian in Mauritius. In the 18th century, one of his forefathers went as an indentured labourer from Arrah, Bihar. “Today, out of a population of 12 lakh, 70 per cent are of Indian origin,” he says. The rest comprise the French (Mauritius was a colonial outpost from 1715-1810), some Britishers, again because of colonialism (1810-1968), a few Chinese, who came as labourers, and Africans, who also came from Madagascar and Mozambique as slaves.

When he was in Class seven Arvin had to take compulsory art classes at the Adolphe De Plevitz State Secondary School, and fell in love with the subject. Later, he did his Bachelor of Fine Arts at the Mahatma Gandhi Institute (MGI), which is affiliated to the University of Mauritius. It was there that he came across the egg tempera process. Thereafter, he secured an Indian Council for Cultural Relations scholarship to do his Masters at Viswa Bharati University, Santiniketan, from 2015-2017.

Today, Arvin is a full-time artist. He has put up his works -- egg tempera, oil and acrylic  -- at exhibitions in Mauritius, Italy and Canada. But he does admit that being an artist in Mauritius is not easy. “For most artists, they need to have a job so that they can finance their art,” says Arvin. “But that is the case in many parts of the world.”

Arvin’s future plans include a doctorate in painting, hopefully, at a foreign university. “I am applying for scholarships, but I have no doubt that art is going to be my life,” says the 33-year-old. 

(Sunday Magazine, The New Indian Express, South Indian editions and Delhi)

Wednesday, January 09, 2019

Some Life-Long Lessons

Navy Commander Abhilash Tomy recalls his experiences following a near-fatal accident while participating in the Golden Global Race last year

Photos: Abhilash Tomy; with his wife, Urmimala, who is of Bengali origin

By Shevlin Sebastian

I am walking, standing and sitting on my own,” says Abhilash Tomy, by phone from Mumbai. “But I cannot run as yet. And I cannot go on a boat now.” The celebrated sailor had a near-fatal accident on September 21, last year, while taking part, as one of 17 sailors in the Golden Global Race. Owing to a severe storm in the South Indian Ocean, his boat, ‘Thuriya’ was dismasted, and he suffered a severe back injury. For 71 hours, he lay on his back, unable to move, before he was rescued. Today, Abhilash is making slow but steadfast progress.

The commander of the Indian Navy, who is the first Indian to circumnavigate the globe solo and non-stop in a sailboat in 2013, spent several weeks in Goa doing physiotherapy, following a surgery on his back in Delhi. “I have several fractures and I lost close to 20 kgs,” says Abhilash.

Asked the reasons for this drastic loss of weight, Abhilash says, “I did not eat anything for seven days. Usually, after an accident, the body tends to lose weight. When I was taken to the Amsterdam Isle [in the Indian Ocean], my food pipe was very raw. I found it difficult to swallow. It could have been because of acidity. Even drinking water was a problem. So I was put on a glucose drip.”  

The entire experience was an eye-opener. “I realised that now that I am married, I am responsible for other people,” he says. “I need to be more careful before I undertake such adventures. I could have returned paralysed forcing my wife Urmimala to look after me for the rest of her life. I also have an eight-year-old son Vedaant. I am the only earning member. The last time I went around the world I was a bachelor.”

The accident provided some revelations for Abhilash. “When you face a crisis, the human mind is so conditioned that it always takes your present circumstances and projects it into the future,” he says. “When everybody feels they are down in the dumps, the mind makes them believe their life is going to be like this forever. The opposite also happens. If somebody gives you Rs 50 lakh your mind will start thinking that every day somebody will give you a similar amount.”

It is important to understand the conditioning of the brain. “You cannot change it,” says Abhilash. “The brain is an organ which helps you survive physically in this world. The mind also makes its judgement, so that you can survive. But there is a third entity which is the divine force. It is through this power that you can break the shackles. If you identify yourself too closely with the mind or the brain then you will not be able to change.”

Meanwhile, as Abhilash recuperates, he follows the race that he was part of. Thus far, only five sailors are still participating. The majority had their boats damaged. So they retired. At this moment, the leader is Frenchman Jean-Luc Van Den Heede. In second place is Mark Slats of Holland, who is 1500 km behind. The race is expected to finish in end January.

When asked to describe the character of water, Abhilash says, “Water is like a human being. At the surface, it has various moods: angry, defiant, ruffled and peaceful. But in the depths of the ocean, it is always the same: calm, quiet and tranquil. At our core, where the divine rests, it is also like this.”

Finally, when asked about the plastic menace in the oceans, Abhilash says that he saw tonnes of plastic and it was much more than five years ago. In a particular section of the South Atlantic Ocean, in his earlier trip, Abhilash did not see anything even when he crossed it three times. But this time he could see huge pieces. Since all the oceans are linked, he did not know where it is coming from. “But it is worrying,” he says. “My advice to people: stop throwing plastic into the rivers and ponds. It usually ends up in the ocean.” 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)

Tuesday, January 08, 2019

Telling Stories From Nature

The Gond art installation by Subhash Singh Vyam and his wife Durga Bai focuses on a folklore. It is one of the highlights of the ongoing Kochi Muziris Biennale

Photos: Subhash Singh Vyam and his wife Durga Bai.Pic by Albin Mathew.  Artist J. Swaminathan (extreme right) with Jangarh Singh Shyam and Jangarh's wife Nansukia Bai during their younger days 

By Shevlin Sebastian 

As one stepped into a ground floor hall at Aspinwall House, Fort Kochi, one cannot but stop and gaze with the mouth open. Because all the four walls and the two pillars were covered with figures. It included men and women, plants, trees, flora, a well, a pond, snakes, birds, cows and goats. These are etchings, which bulge out from the marine plywood base. And quite simply, top-class Gond art. 

The veteran artists Subhash Singh Vyam and his wife Durga Bai are telling a story, across the walls. It is called ‘Dus Motin Kanya and Jai Devata’  -- a story of five brothers and their sister. 

A smiling Subhash starts narrating the tale. “In a village, there was a family. One day, the parents, when they were about to die, told their five sons and daughters-in-law that they should look after their daughter and not send her out for work because she is very delicate and a precious gem of the family,” he says. 

Following the death of the parents, after a few months, the sons had to leave the village for the city to do work. So they told their wives to look after their sister properly. 

For a few weeks, the wives looked after Dus Motin. But after a while, they began torturing her. One day they pushed her into a well. There were a few frogs, fishes and crabs that prevented Dus Motin from slipping under the surface of the water. A bird saw the girl and saved her. It took her to a tree where it had small chicks inside a nest. 

The mother bird flew out to get fish and seeds for the small ones,” says Subhash. “For the girl, it was trying to get some fruits.” 

Some days later, the brothers, on their way home, took shelter under the same tree where their sister was staying. When the baby birds cried, the girl sang a soothing song which stated their mother would soon be back with food. 

As she sang, she began to miss her brothers,” says Durga Bai. “And a tear rolled down her face and fell on the heart of the eldest brother lying below. He looked around and wondered about the origin of the waterdrop came since the weather was not cloudy and there was no chance of any rain.” 

Another brother said, “Just taste it. If it is salty, it must be a tear.” So, the eldest brother did so, and it turned out to be salty. 

Then the brothers looked up and spotted their sister. “They thought the bird had kidnapped the sister,” says Subhash. “So they wanted to kill the bird. But then Dus Motin said that it was the bird who had actually saved her. Then the brothers understood what had happened and apologised to the bird.” 

And the tale continued. And for every event which the couple described, it was represented on the wall. They had done the acrylic paintings on marine plywood, cut it out and pasted the various items on the walls. 

We worked for three months in Bhopal,” says Subhash. “And the drawings were done in three and four-feet sizes. There were more than one hundred pieces, which was transported by lorry to Kochi.”

The artistic couple belongs to the Dindori district in Madhya Pradesh, which is 350 km from the capital, Bhopal. “We have been painting for the past thirty years,” says Subhash. “It is a full-time profession. We earn by selling our works in India and abroad. We also do illustrations for books and take part in art fairs.” 

In fact, one of their works is on display at Mumbai Airport. “Many people see that and get in touch to buy our works,” says Durga Bai. 

So who are the Gonds? They are Adivasis, of Dravidian origin, who are mainly found in Madhya Pradesh, as well as Andhra Pradesh, Maharashtra, Chhattisgarh and Odisha. The word Gond comes from Kond, which means green mountains. They speak a language similar to Telugu, but some Gonds also speak Hindi. 

The Gonds have a belief that if they see a good image, it will bring them luck. That’s why they decorate the walls of their houses with traditional tattoos and motifs. They believe that all natural things, whether it be a rock, tree, pond, or mountain has a spirit within them, and hence, they are sacred. So the Gonds paint the images with a respectful attitude. 

About thirty years ago, the Gonds, led by the artistic Pardhan Gonds, began to use modern techniques like acrylic paintings, ink drawings and silkscreen prints. “Our guru is [the late] Jangarh Singh Shyam, who was the first to use paper and canvas,” says Subhash, who was his brother-in-law (see box). 

Meanwhile, Subhash and Durga Bai have set up a school in their village to teach art to the next generation. “We want our artistic tradition to carry on,” says Subhash.

The first to make a mark

The noted artist J. Swaminathan, the then director of Bhopal’s Bharat Bhavan,  discovered the 17-year-old Jangarh Singh Shyam in 1981 when he was painting on huts in Patangarh, Madhya Pradesh. Thereafter, Jangarh followed Swaminathan to Bhopal where he started working in the graphics art department of Bharat Bhavan. Jangarh became the first Gond artist to work on canvas and had his work displayed, to acclaim, in France and Japan. Thanks to Jangarh, Gond art made its mark internationally. 

Jangarh was later commissioned to paint the interiors of the Legislative Assembly of Madhya Pradesh, the Vidhan Bhavan, and the dome of the Bharat Bhavan. 

Sadly, Jangarh committed suicide at the Mithila Museum in Niigata, Japan, on July 3, 2001, at the age of 39. He had gone there to do contractual work. There has been no proper explanation as to why he took the extreme step. Some said he was depressed. Others said he was being exploited by the museum authorities to produce work at a faster pace. 

In 2010, Jangarh’s ‘Landscape with Spider’, which he painted in 1988, was sold at a Sotheby auction in New York for Rs 14.5 lakh, the highest for any Gond artist. 

Today, his wife, Nankusia Bai and children Mayank and Japani have followed in Jangarh’s footsteps and have become acclaimed Gond artists. 

(The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)

Saturday, January 05, 2019

Is a strike a good thing? Visitors to Kochi weigh in

By Shevlin Sebastian

(From left): Mia Gysin, Angela Gollard, Krissy Schuh and Barbara Jodie

At Aspinwall House, Fort Kochi, director Amitav Kaul, who is adapting Pulitzer Prize winner Jhumpa Lahiri’s short story collection, ‘Interpreter of Maladies’ to the big screen, pauses and stares at a photograph at the Kochi Muziris Biennale.

When a visitor tells him that last year Kerala had 97 hartals, Amitav shakes his head and says, “That’s not much. In Srinagar, where I live, we have a strike every week. Unfortunately, when a bandh happens in Kashmir, somebody dies. In Kerala, things are milder. But everywhere in India, bandhs happen because somebody wants something. And they are not getting it. So, they have to do a protest to get it.”

Amitav, who is shooting in Kolkata at present, adds, “There are so many bandhs in Bengal, too. The problem is that most of the time, a hartal is called for political reasons and hence it may not be such a good thing. The freedom to protest is being abused.”  

The Mumbai-born New York resident Javed Syed says, “I am not against the idea of a general strike. I just saw an incredible film at the Biennale on the mill workers in Mumbai by artist Sudhir Patwardhan. Many workers get exploited, even though the world survives on their work. If they don’t protest, then they will continue to be treated badly.”  

However, when told about the numerous strikes last year in Kerala, Javed says, “It clearly shows the ruling class is not listening to the people.”

Javed clarified that in America, there is rarely a general strike. “Workers in particular categories like cab or train drivers may go on strike,” he says. “But life is never brought to a standstill.”

And that is the case in Europe, too. Krissy Schuh of Germany says, “The people working in the railways may go on a strike for better salaries. So the trains will stop running.”

The modus operandi is simple: a political party will mobilise people. They will hold placards and walk from one end of the city to the other, shouting slogans. Then at a designated spot, there will be speeches. “But all this is mostly over within half a day,” says Krissy.

As for the situation in Switzerland, Mia Gysin says, “The last general strike took place decades ago. Nowadays, it is always in particular categories.” Adds her friend, Barbara Jodie, “In Switzerland, the government or the people will suggest a law. Then the people can vote on it, Later, there is the possibility of a referendum. So, the need to strike is less.”

Finally, Angela Gollard, who is Swiss, but has a French boyfriend says, with a smile, “However, there is nobody to match the French. They are always going on strike although it is restricted to particular regions.”  

(The New Indian Express, Kerala editions)

Wednesday, January 02, 2019

The Unknown Slave Trade From Kochi

South African artist Sue Williamson’s installations at the Kochi Muziris Biennale focus on the slave trade from Kochi and other parts of India to Cape Town, as well as the slave trade from Africa to the United States

Photos: Sue Williamson. Pic by Albin Mathew; the linen banians

By Shevlin Sebastian

At the side of Aspinwall House, Fort Kochi, the linen banians, pinned on a clothesline, are flying in the breeze. It would seem like an everyday garment in India but a closer look reveals something different. On the front, the following words are inscribed in red and black ink: Name: Jacob. Place of birth: Malabar. Age: 12. Seller: Antony. Buyer: Aram. Price: Rds 20. Sold at: Cape Town, 16.5.1687. (Rds is Rijksdollars: the Dutch currency of that period).
This is an installation by South African artist Sue Williamson, called ‘One Hundred and Nineteen Deeds of Sale’. This number represents every day of the duration of the Kochi Muziris Biennale, from December 12, 2018, to March 29, 2019.

Sue was trying to highlight the slave trade which took place between Kochi and Cape Town. The ships of the Dutch East India Company would pick up coffee, china, spices, and chintz from South and South-East Asia and take it back to the Netherlands. On the way, they would stop at Cape Town and stay at the company-owned fort, the Castle of Good Hope. “But because there was a shortage of labour, to work in the vegetable gardens, they would buy slaves from Kochi and other parts of India and take them to Cape Town,” says Sue.

The trade began in 1658. “The slaves were mostly men in their prime,” says Sue. “But women and children were also taken along.” In fact, South African historian Nigel Worden, in a research paper titled ‘Indian Ocean Slaves in Cape Town, 1695–1807’, wrote, “In 1731, one of the few years for which we have a complete demographic profile of Cape Town, the slaves formed 42.2 percent of the population. Out of this, around 26 percent came from India.”

Nigel details one clear example. A 10-year-old girl named China was sold by her mother because of poverty to a Dutch East India Company employee at the trading post at Nagapattinam (Tamil Nadu). She ended up as ‘Rosa’ working at the Groot Constantia wine estate outside Cape Town.

This migration was a lesser-known event in world history, because it was not on a very large scale,” says Sue. “Maybe, a few thousands over 150 years. The British outlawed it in 1834.”
Incidentally, Sue got the information by studying the records at the Cape Town Deeds Office. “It has been very well preserved,” she says. “In fact, South Africa has the best slave records in the world. I also read a book on the slave trade by historian Anna Boeseken as well as Nigel’s study.”

Sue’s other installation, ‘Messages from the Atlantic Passage. at Aspinwall House drew gasps of breath. In a hall, with a very high ceiling, five fishing nets, filled with muddy glass bottles, are hanging and water is flowing through them and falling into rectangular sections on the floor that resemble the Atlantic ocean. In fact, each of the 2000 bottles is inscribed with the name of a slave.

Sue wanted to highlight the 12 ½ million West Africans who were sent by ship to America over 300 years to work, as slaves, in the cotton plantations in America as well as the sugarcane fields in the Caribbean.

I wanted to say that it was inhumane,” she says. “Like a fisherman casting his net, only, in this case, they were catching people, and not fishes. The bottles are a metaphor for the people. It was a time when people were treated like cheap commodities. And these people were jammed in the hold of the ships. If you see sketches, you will see people lying side by side, like tiny little fishes.”

Sue has spent her artistic career in recovering histories. “I am interested in the effects of colonialism on people,” says the 77-year-old. But she displays her work through videos and installations and has participated in the Havana, Sydney, Istanbul, Dakar, Johannesburg and Venice Biennales. But the Kochi Biennale has a charm of its own. “It may be for the first time that women artists are dominant,” she says. “I love the vibrancy and the energy of the Biennale. The people are very friendly and proud of their city.”

South Africa today: the need to remember and reconcile

South African artist Sue Williamson says, “There is a feeling among young black South Africans that when they try to bring up the subject of apartheid, the whites say, ‘It is over now. Get over it. We don’t want to talk about it any more’. There has never been a proper apology by the whites. So, there is resentment. The whites have to recognise that there was a system of apartheid even though they may not have directly participated in the repression. But they went to white schools, belonged to white clubs and stayed in white neighbourhoods. They had lived in a bubble.”

The situation in South Africa at present is not transforming enough. “Education is still not equal,” says Sue. “If you don’t have enough money you cannot send your children to the best schools. Unfortunately, the public schools are not that great.
Young people are graduating with insufficient education and hence they cannot compete in the economy and remain unemployed. This has caused resentment and bitterness and has led to a lot of violence.” 

(Published in The New Indian Express, Kochi, Thiruvananthapuram and Kozhikode)