The word heritage conjures up myriad images. Depending on where you are in the world, “heritage” could be majestic forts or lacquer bowls, pristine mountains or piping hot food in wooden homes. Gilded books or intricately embroidered artefacts, or perhaps a ritual in the amber haze of a fireside.
What role have women played in the past as contributors of heritage? What do we imagine when we think of women and heritage; an old lady bent over an embroidery? Or exuberant folk dancers and singers celebrating a festival? Or a smiling face doling out delicacies? Exploring the contribution of women towards heritage through the ages leads us to think about the way traditional gender roles have shaped their participation in this field. In India, it gets more complicated as the caste system further impacts the contribution of women from marginalised groups.
We have also been trained to recreate heirloom recipes passed down through generations by maternal relatives. In truth, the decorative arts, culinary heritage and craft tradition are visibly enriched by women’s participation. The domestic household, which has served for a long time as the main turf of women in regions around the world, has imbued them with knowledge of intangible heritage. It not only shapes their identities but also the identities of entire communities through generations.
Scholars tend to highlight only certain facets of history. As a result, women are often not recognized as crucial contributors to intangible heritage. The notion of women shaping and upholding heritage in the form of folklore, ethnic attire and rituals tends to slip in the shadows. We see our mothers and grandmothers carrying forward oral traditions and rituals. The lilting wedding songs, the prayer hymns, or the couplets sung by rural Maharashtrian women as they grind flour; all constitute oral tradition that serves to enrich not just the language but the culture and identity of people.
India is often called the land of festivals. Each festival has rituals, food and decorative arts unique to itself. Women are primarily the custodians of knowledge about festive customs. Decorative arts like pookolam and rangoli are part of daily rituals for many women. These art forms utilise natural materials like flowers and flour and are often the hallmark of celebrations and momentous occasions.
Around the world, indigenous women are repositories of traditional knowledge in healing, natural resources and ecosystems, farming methods, and midwifery, among other domains. British travellers in the 19th century recorded Ugandan women performing caesarean sections using local materials. In India, women are often responsible for sourcing and processing natural materials for consumption in their homes and are engaged in preserving natural ecosystems. The Chipko movement started by women in the 1970s to protect local forests is a prime example of women joining hands to protect natural resources.
Women have also uplifted the craft traditions of India. I remember the Sujnis that my mother would create and use till much later in our home. In many handwoven textiles, women’s contribution is perhaps not much visible in the entire process, but for every master weaver, there is an army of women spinning the yarn, dyeing it, and draping and using handcrafted items with great dedication. Textiles like Sujini and Kantha bedspreads constitute an expression of identity, a fulfilling pastime born out of a necessity. Pupul Jayakar, Kamaladevi Chattopadhyay, Suraiya Hasan Bose and Laila Tyabji are some noted craft and textile revivalists who have supported artisans tirelessly over the years.
Gargi, Maitreyi, and Lopamudra were prominent philosophers in the Vedic age. The early Vedic age must have seen women contributing to culture and thought before a subsequent decline in the degrees of freedom afforded to them in the subsequent age. Globally, eminent philosophers in history include Hypatia of Alexandria, Émilie du Châtelet and Simon de Beauvoir. Compared to men, we see a sparse representation of women in leadership. Leaders like Sultan Raziya and Rani Lakshmibai are few and far between. They are often exclusively viewed in the context of their relationships with prominent men of the times. This inaccurate perspective has seen a change in modern times. Now, there is emphasis on the fact that many female inventors, scholars and scientists never got due credit for their work. Rosalind Franklin, Chien-Shiung Wu or Jocelyn Bell Burnell, there is a long list of women who were credited much later for their scientific breakthroughs and left out of the haloed annals of Nobel laureates.
In literary pursuits, women have been the creators behind riveting fiction. Indian literary trailblazers like Kamala Devi and Ismat Chugtai, who wrote fearlessly from a distinct, unabashed female perspective, are widely read and celebrated today. Moreover, women have expanded their horizons into writing and direction in cinema and theatre. Indian cinema has seen scintillating stories by directors like Fatma Begum, Honey Irani, Aparna Sen and Deepa Mehta. Globally, directors like Andrea Arnold and Kathryn Bigelow are part of a tribe of female directors that shall only increase in number. The growing popularity of “men written by women,” a phenomenon that translates to fictional characters characterised by emotional maturity and awareness, can be attributed to greater women participation or a vocal female perspective in popular culture.
Women have also left a mark on the development of performing arts across India. In Jain and Buddhist literature, ganikas were described as accomplished in music and dance and respected by society. In the later periods, tawaifs were courtesans who contributed to literary compositions, dance and other performing arts. Colonialism saw moral policing and stigmatisation of courtesans which has largely erased their contribution to Indian heritage in modern times.
Women have always been crucial patrons to the art ecosystem, especially to unconventional artists across mediums. Gertrude Stein and Peggy Guggenheim are some notable patrons who have aided the growth of modern art by supporting path-breaking artists. In Indian history, women have played a significant role in creating glorious works of architecture. Women like Rani Udayamati, Rani Hiradevi and Begum Samru had commissioned marvels like the Rani ki Vav in Patan, the Chausath Yogini temple in Hirapur and the church of Sardhana.
In visual arts, women featured prominently as muses, and their representation was affected by the male gaze. However, some women artists across the centuries gave voice to their individualities. From Élisabeth Louise Vigée Le Brun, who excelled in portraiture in the court of Queen Marie Antoinette, to abstract art pioneer Hilma af Klint, women have used visual arts to express themes close to their hearts. In Indian history, we have a few examples hinting at the presence of female painters in the Mughal court. Folk arts like Madhubani are practised by women, not only to decorate their homes but also as a vehicle for their creative expression. The Indian art scene has benefited immensely from artists like Amrita Shergil, Anjolie Ela Menon and Mrinalini Mukherjee, stalwarts who thrived in a predominantly male domain.
Women’s participation is essential for an inclusive heritage. It accounts for their representation in cultural narratives, ensuring that their experiences are heard. Apart from preserving history, there is a rise in the progress of women when they become equal stakeholders in heritage. It leads to opportunities for economic growth and sustainable development for entire communities. As digitisation reaches the grassroots level, women, for long the custodians of our intangible heritage, shall contribute to its tangible facets with a deepening agency. In doing so, they create opportunities for marginalised women to navigate their path, ascertaining that their voices seep into our heritage.
About the Author:
Swadha Sonu
Swadha is a curious soul and a closet artist who’s passionate about Indian art and culture, particularly the textile and craft traditions of India. As a professional at the intersection of marketing and design, she loves to unwind with creative pursuits in the cultural sphere.
