On the occasion of Dr. Babasaheb Ambedkar’s 127th birth anniversary, art exhibitions, as well as series of talks and film screenings, were organized by some volunteer researchers, students and activists in their respective universities in Magdeburg, Germany; and Brussels and Leuven in Belgium.

The exhibition entitled “Colors of Rebellion” featured paintings from Savi Sawarkar, Malvika Raj, Priyadarshini Ohol and photographs by Sudharak Olwe. It aspired to bring to the fore the rebellious and rich tradition of Dalit art and aesthetics that at its very core poses a challenge to Brahminical hegemony. The exhibition was unique in that it brought together art spanning distinctive expressions as well as artists from different generations on one platform. In their art they weave their life experiences as Dalit artists as well as their own unique perspectives of it. Together, the exhibition provided a glimpse into the powerful political history of assertion and the process of Dalit consientization sparked by Dr. Babasaheb Ambedkar. The exhibition was successful in breaking the silence around caste-apartheid, and presented a window into a form of Indian art that not only yearns for liberation but also seeks justice and equality.

Through Madhubani art-form, Malvika captures the life and revolutionary spirit of Babasaheb Ambedkar and Savitrimai Phule as well as the Buddha’s spiritual journey. Madhubani art form has been traditionally reserved for the portrayal of Hindu mythology and deities. Malvika tranforms this art-form by depicting the stories of human rights’ icons that transformed the lives of millions. Priyadarshini Ohol, on the other hand, uses abstract expressionism as a form of freedom on canvas. Her unique style strives to transcend labels, social conditioning, expectations and exploitation of Brahminical patriarchy. Through her art she consciously expresses the desire to be free, equal and just. In contrast, Savi Sawarkar’s expressionist imagination and Buddhist aesthetics defies the dominant Brahmanical norms of art. His poignant portrayal of the life of Untouchables and Devadasis during the Peshwa rule – one of the worst periods of human exploitation and oppression endured by Dalits – visibilizes the unspoken interplay of caste- and gender-based discrimination. The same interplay in contemporary India is laid bare through Sudharak Olwe’s compelling photographs that document the situation of Dalit men, women and children in the modern-day-Peshwa rule. His work captures some incredible stories of resilience and courage of individuals and communities as they survive and defy the caste-entrenched reality of India.

As part of the exhibition, the artists were asked to describe in their own way their artistic journey: what their art conveys, what it means to be a Dalit/Dalit woman artist and how their art intersects with their identity as a Dalit/Dalit woman. In addition, the artists also presented their individual take on the label of “Dalit art” itself. While on the one hand it is a form of assertion, a challenge to the Savarna-dominated Indian art space, the label also categorizes and isolates Dalit artists who seek to create a space for themselves and claim Indian art as their own.

The exhibition managed to open up discussions among the international audience about the hidden apartheid of caste in India. It also fostered a much-needed space for critical questions on how to build solidarity among different resistance movements of the marginalized with an awareness of caste as a human rights issue.

The video interviews of the artists can be accessed at the following links:

The authors are members of Ambedkar Periyar Phule Network, (APPN) Europe – a collective of anti-caste researchers, students and activists in Europe.  They can be contacted at www.facebook.com/APPNEU or appneu@tutanota.com

A few images from the art exhibition –

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