Voices on Canvas
– Anwesha Ghosh
SY BSc Economics (2023-27)
Estimated Reading time ~ 5 minutes
Despite 78 years of independence, many women in parts of India continue to face suppression and domination. The challenges that they endure even today just feel like a glimpse of all the intense struggles that women had to face during colonial times. Every day, women thrive to survive. Now that society is shedding light on feminism and women empowerment, these issues are no longer confined to domestic boundaries; they are global issues.
“When you build in silence, people don’t know how to attack.” Art has always been a powerful medium for breaking barriers and freeing yourself. The vibrant colours on paper, canvas, walls, and cloth carry a unique way that transcends words. Another poignant example of art as a form of liberation is in Adrienne Rich’s poem, Aunt Jennifer’s Tiger. Through her needlework, she portrayed herself to be a tiger, symbolising her fierce and courageous nature yet trapped. Her art symbolized how desperate she was to escape the oppressive weight of domestic life, where her metaphorical ‘wedding band’ felt like a burden.
Art speaks volumes without words, constantly evolving with time and never becoming obsolete. Over the years, art has consistently challenged the monstrosity of such societal norms.
Frida Kahlo, one of the greatest artists of the 20th century, was a Mexican painter and an icon of womanhood and feminism who created paintings depicting pain and suffering throughout her life. She broke traditional norms, reflecting her journey towards independence and self-introspection.
Frida Kahlo is a symbol of women’s inner strength, and she was a master of self-portraits. Throughout her life, she faced numerous physical and emotional challenges, including a tragic accident and an exhaustive relationship with Diego Rivera, who was also one of the greatest painters of the 20th century and is particularly known for his reintroduction of the fresco painting style into modern art and architecture. Frida Kahlo’s painting titled “Self-Portrait with Cropped Hair” reflects her desire to be independent and free from societal constraints. In the painting above, after breaking things off with Diego Rivera, she cuts off her long hair, which he was attracted to. The scissors in her hand depict her rejection of traditional expectations placed on her, setting herself free from a male-dominated society. Her surroundings are uninhabited, which adds to her despair.
Art has not only been a medium to express emotions but also has created communities and encouraged women’s participation in the workforce. Madhubani Art is an example of such an art form.
It is a form of folk art that originated in the Mithila region of Bihar. Legend says that King Janak, who was the ruler of the Mithila kingdom in the 7th or 8th century BCE, first introduced Madhubani painting when he asked for illustrations that portrayed his daughter Sita and Prince Rama’s wedding. Madhubani painting or Mithila art was not recognised as a formal art form until 1934, when a devastating earthquake hit Bihar and the southern parts of Nepal. The British colonial officer at that time was William Archer, who stumbled upon this art form painted on the walls of every household when he came for inspection. He was so awestruck that he started studying the art form, documented the intricate work and eventually published a paper in 1949. But unfortunately, it failed to gain global attention.
However, in 1966, Pupul Jayakar, the then-head of the All India Handloom Board and Mumbai artist Bhaskar Kulkarni started teaching local women in the villages of Jitwarpur and Ranti ways to express Mithila art onto paper. During an exhibition in New Delhi in 1967, the first paintings caught international attention. The paintings travelled to other countries, including the US, Japan, Europe, and the USSR in 1970.
It became a vital source of income for women expressing their creativity and narrating their stories. It helped create a community where they felt safe, exchanged ideas, and shared their happiness as well as suffering. From adding symbolic meanings to fish and lotuses to making vibrant colours such as black and yellow with cow dung, turmeric, and Kusum flowers. Some of the paintings revolve around themes of gender equality and even environmental concerns. For example, a deer is associated with Lord Krishna in Hindu culture; a lotus represents purity and enlightenment and portrays Lord Brahma and Laxmi in Madhubani paintings; and a snake symbolizes the power of regeneration.
Through Madhubani painting, they converted their houses into living art galleries of sparkling colours where each painting told a unique story.
As the art form gained recognition, women like Sita Devi and Ganga Devi became leaders in their community and received Padma Shri. They became role models for younger generations to take up Madhubani painting as a career, represent their culture and heritage, and become financially independent.
Another compelling form of art is theatre. For instance, Kabuki theater and its history serve as a perfect example in this article to demonstrate how societal norms shaped women and restricted their roles in Japan in the 17th century.
Initially, Kabuki was a form of dance founded by Okuni (the girl on the stage) in 1956 near the Kamo River in Kyoto, which was then the capital of Japan. She started performing unique styles for people who gathered there as a source of income, additionally with a motive to promote her religion. She overcame her family pressures to re-establish their family shrine, and decided to expand her dance form by incorporating music and drama in Kabuki. She found her passion, through which she raised her voice against the pain she had to face in her past.
Her marriage to Nagoya Sansburi was a turning point for Kabuki. Nagoya belonged to a rich family, and he also became a popular actor through Okuni. He realised that she would have to abandon her views on religion for Kabuki to gain recognition. He introduced ‘Kyogen,’ which is basically a comedic element to depict the regular lives of people. He also came up with crossdressing. He made Okuni dress up as a man wielding a sword on each hip.
After Okuni’s early death, the first step taken was to remove women from Kabuki. After Kabuki expanded and gained recognition, Japan’s government decided to launch an investigation that revealed some of the women’s involvement in prostitution and provocative performances. The government decided to ban women from Kabuki due to ‘moral concerns.’
The irony is that an idea of a culture or a heritage—’Kabuki’—which was first brought forward by a strong, independent woman is now recognized as an all-male traditional style of Japanese drama. The ban did not just remove women from the stages; it erased their voices and stories and silenced them. They were objectified by men portraying women on the stage, leaving behind a hollow legacy of Okuni.
“Feminism isn’t about making women stronger. Women are already strong. It’s about changing the way the world perceives that strength.” Over the years, art has helped immortalize the struggles faced by women all over the world ; however, it’s our society’s responsibility to preserve them and find ways to encourage women and achieve equality.
Excellent write-up. Hats off to ‘depth of study & information’. Best wishes.