By AMITA KANEKAR
Among the many myths that pass for history in Goa, a popular one is about how Hindus were relentlessly oppressed under Portuguese colonial rule. Not only were temples broken, rituals banned, and conversion enforced, we are told, but Hindus were also humiliated and tortured (via the Inquisition), so much so that everyone had to either convert or flee the Old Conquests. Most Goan Hindus are brought up on stories of religious oppression, along with religious heroism, i.e. of Hindus who had to fight valiantly for their religion and their idols.
THIS EVENT HAS BEEN POSTPONED TO THE END OF THE YEAR. INCONVENIENCE CAUSED IS REGRETTED.
In March this year Dr. Jason Keith Fernandes was invited to choose one piece from the Museu Oriente’s Kwok On collection (Lisbon) and make a presentation as a part of their India Visual cycle.
Choosing the idol of the Goddess Yellamma as a starting point, in a reprise of his presentation at the Museu Oriente, Dr. Fernandes will suggest that what often appears Hindu is in fact also profoundly Islamic in nature.
“The Unsung Glories of the imam: Silence, Absence and the Islamicate in the Kwok On Collection’s India holdings” will demonstrate the manner in which practices associated with the Shia faith, and the historic figure of Imam Hussein are central to much South Asian (Indian), and indeed Goan culture.
Jason Keith Fernandes was awarded a Doctorate in anthropology for his research that examined the conflicts around the demand for the recognition of Konkani in the Roman script in Goa’s Official Language Act. Jason came to anthropology after a Bachelor’s degree from the National Law School of India, Bangalore and a Master’s degree from the International Institute for the Sociology of Law. A recipient of various scholarships, he has worked in the developmental sector, taught at the National Law School, and is a contributor to various local and national newspapers.
Dr. Fernandes is currently a post-doctoral scholar at the University Institute of Lisbon.
By JASON KEITH FERNANDES
(English version of the text presented at the Museu Oriente on April 19, 2017, as part of the series A Índia Visual. The original Portuguese version can be downloaded here. For the PDF of the English version click here.)
Before anything else I would like to thank a couple of people who have ensured that I have this opportunity today. I would like to thank, first of all Ines Lourenco for having invited to make this presentation. I have been following the India Visual series for a while and always nursed a secret desire to be able to speak from this platform. For this opportunity Ines, many thanks.
I would also like to thank the team at Museu Oriente, Liliana Cruz, Sofia Lopes and Cátia Souto for their help with this presentation. I recognize the presence of my doctoral supervisor Profa. Rosa Maria Perez. And finally, I would like to thank the members of the audience for their presence.
To move on to the substance of today’s presentation, I would like to begin with a confession. When I received the invitation to present at the India Visual lecture series I was told that I would have the option to visit the reserves of the Kwok On Collection and choose a piece, or pieces I would like to speak on.
As any museum aficionado knows, it is a huge opportunity to visit the reserves of a Museum, and not one to be missed. I was particularly excited because it would give me the chance to determine if my suspicion about the nature of the holdings was fact or simply a wild idea. The suspicion was that the India segment of the Kwok On collection would in fact be a collection of Hindu objects. This is to say, that India will have been implicitly understood as ‘Hindu’ by those who constitute the collection. I was not wrong in my assessment, and what I beheld in the collection, or at least the portion I was able to review, was rack upon rack of material that is associated with what we call Hinduism. Missing from these racks, at least on first glance, were materials that could be associated with Islam and Christianity. It is to this absence that the title of my presentation makes reference to, and which I would like to reflect on for just a moment before moving forward.
Por JASON KEITH FERNANDES
(Texto da conferência apresentada a 19 de Abril, 2017 no Museu do Oriente, Lisboa no âmbito do ciclo A Índia Visual. PDF em português e PDF em inglês.)
Antes de mais gostaria de agradecer a oportunidade que me foi dada para estar, hoje, aqui.
Em primeiro lugar gostaria de agradecer, à minha colega do CRIA Inês Lourenço por me ter convidado a fazer esta apresentação. Tenho seguido a série Índia Visual durante algum tempo e sempre alimentei o desejo secreto de poder participarnesta plataforma. Por esta oportunidade Inês, muito obrigado.
Gostaria também de demonstrar a minha gratidão para com a equipa do Museu Oriente: Liliana Cruz, Sofia Lopes e Cátia Souto por todo o apoio prestado durante esta apresentação. Aproveito a ocasião para agradecer também a presença da orientadora da minha tese de doutoramento, a Professora Doutora Rosa Maria Perez. Por último, mas de modo algum por ordem de importância, quero de agradecer a presença de todos os que aqui estão presentes hoje.
Antes de entrarno assunto que hoje nostraz aqui, gostaria de fazer uma confissão: Quando recebi este convitefoi-me dito que teria a possibilidadede visitar a reserva do Colecção Kwok on e seleccionar uma peça, ou peças, sobre a qual gostaria falar.
Qualquer apreciador de arte sabe que visitar as reservas de um Museu é uma experiência única. Fiquei particularmente entusiasmado porque desta maneira poderia ter a oportunidade de confirmar se a minha intuição, sobre a natureza desta colecção, seria uma realidade ou simplesmente uma suposição . O meu pressentimento dizia-me queo núcleo dedicado à índia da colecção Kwok On seria um conjunto de objectos Hindus. Quer dizer, a Índia teria sido implicitamente entendida como ‘Hindu’ por quem constituiu acolecção. Infelizmente a minha intuição não me enganou. Na reserva da Colecção, encontrei um acervo extraordinário mas na sua maioria associado ao culto hindu. Ausente deste espólio, pelo menos na primeira vista, estão objectos ligados ao Islão e à Cristandade. Esta é a ausência a que se refere o título da minha apresentação – e sobre a qual gostaria de reflectir por alguns instantes.
By AMITA KANEKAR
How can we forget Atithee devo bhava (the guest is god), that pillar of Indian culture? Such was the lament from some sections of the Indian media following the latest murderous attacks on Africans, this time in Noida and triggered by the death of a local teenager. Five Nigerian students in the neighbourhood were arrested after being accused by locals of everything from drugging the boy to eating him, following which mobs began to search for and beat up other Africans, grievously injuring four men who were cornered in a mall. Except for arresting the Nigerians on charges of murder (they were later released for lack of evidence), and thus adding credence to the wild rumours going around, the police did nothing.