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These instances of violence exist alongside more institutionalised forms of racism in India, whereby derogatory comments
about skin colour are almost commonplace, and often not even
registered as racism. Following a fallout with Indian National
Congress president Sonia Gandhi, Bharatiya Janata Party minister Giriraj Singh made a joke to seemingly mock the credentials and shaky foundation of Gandhis headship of the Congress by attacking skin colour. His exact words were: If Rajiv
Gandhi had married a Nigerian lady, someone not whiteskinned, would the Congress have accepted her as its leader?
The joke, for him, is on the seemingly absurd idea of a blackskinned woman occupying a hegemonic position (Varadarajan
2015). When questioned about his remark, Singhs response
was to state that the comment had been made off the record
(which obviously makes it all right, since casual racism is apparently permissible when not recorded!) and that he was prepared to apologise to Gandhi, if she had taken offence. There is
neither any admission of the fact that the remark, per se, is not
acceptable, nor was any action taken to reprimand Singh by
the party leaders.
In a short video produced by IndiaTimes (2015) to gather the
experiences of black people living in India, comments such as
those made by Singh surface over and over again. To be black
in India is to get used to being called habshi (literally Abyssinians, but often used as a derogatory term to refer to all Africans, and often also used as a swear word),2 bandaria (female
monkey), and kaalia (blackie) among many other such pejorative terms. Black interlocutors testified how Indians would run
away from them, how Indians would look at them and spit.
They are leered and stared at on public transport. They are
told that their appearance is frightening and threatening.
They are likened to the unhealthy. One particular participant
in this video admitted that Indians often covered their faces
with handkerchiefs when he walked past them, as if he was
smelly, or had a disease. They all admitted to being treated
like animals on displayas if in a zoowith Indians often
pointing and laughing at them openly.
What emerges from the video footage and the instances discussed above is how black skin is assumed to profess its own
guiltinessregardless of any other factors.3 Somatic appearances collapse the many different national, sexual, linguistic
and political identities into a single identification as black,
such that it seems justifiable for an innocent black girl to be
beaten in lieu of a black man, with whom she shares nothing,
except for their shade of skin. Indeed, this was the position
taken by Home Minister of Karnataka G Parameshwar when
questioned about the measures taken towards punishing those
who had been involved in the Bengaluru attack. Categorically
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The 21st century, on the other hand, is often celebrated as having moved beyond Du Boiss time. The momentous struggles
against the colour lines, such as Black liberation movements
including the Black Workers Congress, the Albany Movement,
and Martin Luther Kings AfricanAmerican Civil Rights
Movementthe decolonisation of several African (largely
black) countries, and the end of apartheid in South Africa, all
serve to construct an outwardly heartening narrative of
colour blindedness.
In fact, the 21st century, the post-Selma era, has also been
touted as a post-racial era by prominent scholars and journalists such as James Wootens (possibly the first journalist to
use the term in 1971 in the New York Times), Lou Dobbs, and
Chris Matthews, whereby post-racial, in this context, does
not so much mean an erasure of race, as an undoing of the
systems that governed the roles and tasks ascribed to different
races, through erected boundaries, such as racial segregation
rules. The election of Barack Obama as the first Black President of the US is often held up as proof that the world has taken definite strides towards colour blindedness,4 whereby competence, and not the colour of ones skin, determines who the
power-bearer would be.
While we do have plenty of evidence that this colour blindedness is far from being fully achieved,5 it is undeniable that
the Obama phenomenon represents a decisive step in the right
direction. As Paul Gilroy (2013)the notable scholar of black
British and diasporic culturesput it, the achievements of
Obama in auguring a post-race society is not only significant
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for the US, but for the rest of the world too, for whom Obama is
an icon of the changing colour perceptions:
I am less concerned with Barack Obama than with the historical moment he has come to personify. His presidency provides an important
opportunity to reflect upon the changing significance of racial divisions in US politics as well as to assess emergent patterns in how African American political culture becomes relevant to people located
elsewhere in the world. The latter point qualifies the former because
the POTUS and the FLOTUS are now prominent celebrity figures in
a global culture: icons of recently diversified power whose wellgroomed images lend meaning and charisma to the ideas of racial difference sourced in north Americas successful history of settler colonialism and racial slavery.
India, however, seems to have been left out of this conversation. Despite internal problems with colour, Indiaunlike
the US, or South Africanever had a revolution to overthrow
the colour lines. Admittedly, India did not enforce segregation rules based on colour, but colour has played an important
role in the Indian imaginary, separating the upper castes
from the outcastes, the North from the South, and the poor
from the rich. Much of this is reflected in sources as varied as
the ancient Hindu scriptures (where colour determines standards of beauty, purity and morality), to contemporary and
near-contemporary popular, literary, and visual culture,
which continue to display a quasi-Brahminical obsession with
colour-coding (light on top, dark on the bottom) and constructs a hierarchy based on colour that reveals the fear of
miscegenation.
Religious Prejudice
78
differentiated particularly by skin colour, but also by language and religious practice, which doubtless underlined the racial interpretation
of the terms. (quoted in Thapar 1996: 56)6
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things, in the thriving markets of matrimonial advertisements for potential partners, and in the popularity commanded
by the skin bleaching industry. We are by now accustomed to
matrimonial advertisements, in several languages, seeking
brides (and often grooms) with peachy (not wheatish)
skin tones, which reveal the superficial collapsing of fair skin
with beauty. Shaadi.com, one of the leading matrimonial
websites for Indians, cites fair skin as the key factor in
successful matchmaking.
This marriage of fair skin and beauty is indeed what the skin
bleaching industry (estimated to be a multimillion industry)
thrives on, while demeaning blackness in its stride. The commercials for these products, featuring highly paid Bollywood
and cricket stars, play havoc on the psyche of the blacknessfearing Indian. Often, a direct link is drawn between fairness,
happiness, confidence and success (whether personally or professionally). The commercials deliberately portray the victims
of dark skin, prior to the skin-lightening experience, as being
complete failures. They exude defeat and despondency in their
appearance, attitude and posture, even displaying a very poor
sense of fashion. Then, they come across this fairness cream,
and lo and behold! Life suddenly seems more than endurable.
They not only gain good looks, but are also bestowed with the
new confidence, bonhomie, fashion sense, and social skills
that lead to success and eternal happiness. All thanks to a
skin-lightening cream!
Further, there are caricatures of dark skin in one of Indian
societys most basic expressions: Bollywood.7 I would not be
exaggerating when I say that there is a virtual non-existence of
positive representations of black skin in popular Bollywood
films. Mehmood singing hum kaale hai to kya hua dilwale
hai (So what if I am black? I have a big heart) in Gumnaam
(1965) sets the tone for the positioning of the dark-skinned
character as the buffoon, the inferior being who has to prove
his worth by glossing over his appearance and emphasising
the bigness of his heart to the woman he is trying to woo. The
portrayal of this song sequence is particularly significant
since Mehmood is crooning to Helen, an Indian actress of
AngloBurmese descent, whose whiteness contributes to her
beauty, and, hence, her elusiveness for the dark-skinned man.
The humour in the song rests precisely on the fact of
Mehmoods unrealistic (unattainable) obsession with Helen.
The roles of dark-skinned actors are thus set. They are the butt
of ridicule, providing comic relief through their appearance.
Johnny Lever, Siddharth Yadav and Kiku Sharda are among
the actors who have made a career out of being mocked for
being dark-skinned.
When they are not playing the clown, dark-skinned actors
play the villain (often while sporting a South Indian accent).
Nana Patekar as Anna Seth in Parinda (1989), Sadashiv
Amrapurkar as Rama Shetty in Ardh Satya (1983), Prakash Raj
as Jaikant Shikre in Singham (2011)are but a few instances
of iconic villains whose villainess is emphasised through their
skin colour. As for the women, when they are not pigeonholed
as comic relief characters or villains, they are given the roles of
the sultry, lusty seductress, often led on by supernatural forces.
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and fall off their chairs, until the actual fair bride peeks out
from behind the black woman and starts singing. The men regain their breath, composure, and seats, and the black woman
is forgotten and soon disappears.
In a scene in the 2008 film, Fashion, the character played by
Priyanka Chopraa coveted fashion model gone wildrealises how low she has fallen, only when she wakes up with a
black man in her bed after a night of drug-induced intoxication. (It is interesting how intoxication has to be used as a factor to justify her attraction to the black man in the first place.)
The scene depicting her shock and remorse capitalises on the
assumed shared code and unquestioned acceptance of the
black mans body as sinful by the Indian audience. The camera
moves from her horrified face to reveal the black mans body,
dramatically depicted as being sprawled across white sheets,
while she clings to these very white sheets and attempts to
wipe off smudged (black) mascara from her eyes and face, revealing layer after layer of Fanons predictions about holding
up black as a symbol of shame and barbarity.
In another film from the same year, titled No Problem, the
post racial era augured by Obama is given a nod and mocked.
In this particular sequence, Paresh Rawal tells Akshaye Khanna
(who has inadvertently painted his face black by smearing
fresh paint all over it) that he hates black faces because it reminds him of his kaala munh (black face, that is, his disgrace).
Hearing the phrase I hate black faces, some black tourists
beat him up (hence advancing the thesis of black men being
prone to violence). The directors superficially compassionate
intervention is in the insertion of one particular woman frantically shouting: Obama is the President of the United States,
and you still hate us? The level of ridiculousness is beyond
belief, but so is the extent to which Bollywood would go to establish black as a negative marker, as the extreme other.
The Recognisable Other
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When an African abuses an Indian he repeats all that the white men
said about Indian indentured coolies; and in turn the Indian has borrowed from the whites the stereotypes of the lazy nigger to apply to
the African beside him. It is as though no black man can see another
black man except by looking through a white man. [emphasis mine]
Is this prejudice then attributable to the common intermediary? Have Indians been so brainwashed by their encounter
with the white man that they have even imbibed his prejudices? To a large extent, the answer is yes. Black Indian skin
might have connoted all things negative from the scriptures
onwards, but non-Indian black skin further imbibed the derision of Indias colonial masters. Indias encounter with Africa
(other than through the Siddi community, who are Indians of
African descent and have been living in the country since the
17th century) (Ali 1995) would have primarily occurred in the
shadow of British colonial conquests, and through the white
man. Africa, following colonial dictates, would just have been
perceived as an inferior colony where Indian administrators,
trained under the colonial office, would be sent to work as representatives of the empire. The reverse happened much less
often. Indians often found themselves as subjects and at the
same time agents of the British empire in Zanzibar, Kenya, and
South Africa, but very rarely did a colonial subject trained under British administration in any of the African colonies come
to India for the same kind of posting.
How colonial training and perceived proximity to whiteness
led to entire generations of brown sahibs, whose ultimate fantasy
was to emulate the ways of the white man, has already been
explored by Bhabha, among many others, so I will not repeat
the arguments here. In terms of decrying the relations Indians
would maintain with other colonies though, it is significant to
analyse here how this possibility of acting as an agent of the
empire meant that whiteness (and its accompanying prestige)
was considered more attainable by Indians than by their fellow
colonised in Africa. Whiteness, with its capitalist dynamics,
elevated India. But, there was the need of a foil to measure and
put into perspective the success story of this acquired whiteness, and this foil was provided in the shape of the darker African
skin. Black skin, set at the diametric end of the colour spectrum, proved the proximity of brown skin to whiteness.
This sense of superiority arising from closeness to whiteness
is reflected, among many other instances, in the interactions
of the young Mohandas Karamchand Gandhi with the black
natives in South Africa. Gandhi looked down on black Africans,
and this is reflected in the way he too adopted the discourse of
the coloniser and did not shy away from calling black Africans
kaffirs (literally infidel, but used in the South African context as a derogatory term for people with black skin). Gandhi
in fact went a step further to emphasise the difference between black Africans and brown Indians by postulating about
the belief in the common ancestry of Indians and Europeans:
I venture to point out that both the English and the Indians spring
from a common stock, called the Indo-Aryan. .
[T]he belief ... serves as the basis of operations of those who are trying
to unify the hearts of the two races, which are, legally and outwardly,
bound together under one common flag.
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A general belief seems to prevail in the Colony that the Indians are
little better, if at all, than savages or the Natives of Africa. Even the
children are taught to believe in that manner, with the result that the
Indian is being dragged down to the position of a raw Kaffir.
... [T]he Indians were, and are, in no way inferior to their Anglo-Saxon
brethren, if I may venture to use the word, in the various departments
of lifeindustrial, intellectual, political, etc. (Gandhi 1999)
Popular culture obviously reflects and refracts many of the debates, and the involvement of Bollywood in these representations is particularly influential. As studied by Angelie Multani
(2009) and Tejaswini Ganti (2012) among others, Bollywood
has successfully represented many of these debates, as well as
endorsed the competitive discourse that puts India in perspective with the rest of the world. While Multani traces the nationalistic streak of Bollywood by analysing how the portrayal
of the white man changes from that of the oppressor to that of
an equal, Ganti alerts us to the gentrified aspirations of Bollywood, which makes it appeal to and target the nationalist
chords in upper-class and upper-middle-class Indians, as well
as diasporic Indians. It is, therefore, not surprising that the
contest to elevate India vis--vis previous colonies forms part
of Bollywoods agenda.
I will do a brief analysis of a few scenes from recent films in
an attempt to unravel this logic.
In a scene in the 2008 film Singh is Kinng [sic] a gang of
Indian Sikh gangsters operating in Australia set off to threaten
an AfroAustralian, black man, who owns a burger van, to
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The makers of Singh is Kinng, when confronted with accusations of racism, defended themselves by saying that since this
is a scene that depicts interaction and solidarity among different diasporas, it disrupts and pre-empts accusations of racism.
But, if this scene had indeed been intended to display the virtues of diaspora by showing the interaction and solidarity between black diasporas and brown diasporas, why are the
gangsters the benefactors and protectors of the burger merchants family? Both communities are potentially marginal
and liminal figures; one through their poverty, and the other
because of their lawlessness. Yet, the film-makers portray the
Indian gangsters in such a way that they are able to effectively
extract their identity through the broader grouping of nonwhite diaspora in a predominantly white country, and emerge
as being better off in comparison to the members of the black
diaspora who, it appears, are almost the same, but not quite.
Not quite brown.
The logic offered by the makers of Singh is Kinng, here, is in
line with the nationalist discourse about India, which is the
logic of economics. It is pertinent that the brown gangsters are
the model minoritythe wealthiest and the most successful
so much so that their chief is referred to as King. This is in
keeping with the discourse about the rise of India following its
deep entanglement with the global economy in the last 1015
years. It is pertinent that black AfroAustralians are used as a
foil to the brown Indians because of Africas own perceived
loss of connections with international trade, as well as its
Notes
1 I use the term racism, even while distancing it
from the collapsing of skin colour with race.
Race is not biology, nor is it a category with the
same accepted codes for measurement. We
cannot universally talk of the black race for
example, because what is black in one context
may not be black in another. Black means different things in Brazil, South Africa, and the
US. Skin colour, hair texture, and facial features are variably used as measurement devices for race all over the world. My use of the
term racism here is to refer specifically to the
prejudice and chauvinism directed against
people on basis of skin colour.
2 For a more comprehensive understanding of
the different terminologies related to Africans
in India, and how the term habshi became pejorative and was associated with slavery, see,
Shanti Sadiq Ali (1995), who explains how Abyssinians were originally slaves from Ethiopia,
while the term habshi was a reference to slaves
from the southern region of Arabia. In time,
these demarcations fell off and were used interchangeably and with the intention to insult.
3 Frantz Fanon (1986: 106) discusses this unquestioned association of guiltiness with black
skin in his study, Black Skin, White Masks, tracing the association of black skin with evil, and
linking it up with how black people would consequently come to regard the colour of their
own skin as professing their guilt, when in contact with white skin: Sin is Negro as virtue is
white. All those white men in a group, guns in
their hands, cannot be wrong. I am guilty. I do
not know of what, but I know that I am no
good.
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With this, the EPWRF ITS now has 16 modules covering a range of macro-economic, nancial and social data.
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