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Women in Love
As photographer Naureen Shah’s portraits depict, South Asian
lesbians in the west, by virtue of their colour and alternative
lifestyle, are a minority twice over.
The closing of ranks was ironic, given that Naureen’s intention from the very
beginning, far from being exploitative, had been to illustrate through her photographs,
that non-white, sexually diverse individuals in a predominantly white society are a
minority within a minority. “South Asian lesbians are usually disowned by their
families,” says Naureen. “Most South Asians, even those living abroad, cannot
comprehend the concept of lesbianism; they can’t understand how two women can have
sex with each other. Then, South Asian lesbians in the west can’t even associate with
the mainstream lesbians because they’re categorised as women of colour and culturally
as well, they’re very different.” This dissociation from family and from society has
resulted in an isolation that is reinforced by the community’s almost paranoid fear of
exploitation.
many of whom surprised her with the ease with which they accepted their sexuality
despite belonging to a marginalised section of society. One of the lesbians whom
Naureen met was a 50-plus Indian named Rita Kohli who runs a shelter for women in
Toronto, and subsequently agreed to be one of the participants in Naureen’s project. In
the text titled “Refusing to be closeted”, that accompanies her portrait, Kohli writes:
“My conversations with such lesbians from the South Asian region led me to
think that it would be very interesting to do a photo project with them in which the text,
provided by the participants themselves, could reach out to those who do not belong to
the lesbian community so that they can understand how lesbians feel,” says Naureen. “
It was thus meant to be an educative process and did not have a purely artistic aim – I
didn’t want to exploit the sexual aspect of their lives,” .
With the idea for the project taking shape in her mind, she applied for the
coveted Canada Arts Council grant – along with about 5000 other applicants – and
won. That proved to be the easy part. The uphill battle began when Naureen began
contacting lesbian acquaintances and lesbian organisations for participants to the
project. At best, she was firmly rebuffed and at worst, she encountered open hostility.
“The ones who didn’t know me would ask me how I identified myself – as a dyke, a
femme, or a bi-sexual – and when I told them I was straight, they would abruptly
refuse,” recalls Naureen. “‘How can you represent us? You don’t know anything about
us,’ they would say.” Resentment was voiced that a heterosexual rather than a gay
photographer had received the grant for the project with some even alleging that had
Naureen been a lesbian, the grant would have been refused. No amount of reiteration
that she had not been required to mention her sexual orientation nor had she chosen to
do so on her application for the grant would convince them otherwise. Says Naureen,
“They’re very complexed because they’ve been so discriminated against even in the
west.”
After being turned down by almost 50 South Asian lesbians during the course of
over six months, Naureen was on the verge of shelving the whole project. As a last
resort, she posted a notice inviting participants for the project on the website of Desh – a
South Asian-based organisation that promotes artists. She avoided any mention of her
own sexual orientation. This time around, the response was more positive. “I got six
replies from New York alone,” she says. “I got in touch with them immediately. They
didn’t ask me and I didn’t tell them – they assumed I was gay.”
I trusted Naureen
SHOW WHAT?
Examined
Or put on display.
This is my world,
I am American.......
It took Naureen one year to complete the project. Titled, “Look beyond Labels,”
it includes photographs of 13 women aged between 19 and 50 whose only criteria for
selection was that they be South Asian and sexually diverse, which meant that both
lesbians and bisexuals were eligible. However, while Indians, Sri Lankans and
Bangladeshis all make an appearance in the collection, Pakistanis are conspicuous by
the absence. According to Naureen, Pakistani lesbians have not yet come out, and she
feels that until she includes some, her work will not be truly complete.
This omission notwithstanding, Naureen says, “With each of them it’s been a
journey. Each visual is different. For instance, I photographed a Sikh girl who’s very
traditional and lives with her family. I photographed her in the gurdwara. Her text is in
the form of a letter to her mother explaining who she is. Although she’s mentioned her
sexuality to her family, her mother thinks that she’s involved with someone, a man, and
this is just an excuse not to get married to anyone her family selects for her.”
“To be honest,” says Naureen, “I didn’t realise what I was getting into when I
started. In the beginning I was working on the similarities rather than the differences. I
said I’m a South Asian, a woman, but they said ‘no, you’re different; you’re an
outsider.’ At first I was resentful of their attitude but by the end of the project I learnt to
appreciate the differences. The message I kept picking up was that it’s not just a matter
of sexuality; it’s a matter of lifestyle.” Naureen also discovered unexpected aspects of
sexual politics at play in this alternate lifestyle. For instance, she learnt that many
lesbians resent bisexuals, describing them as “tourists in the world of lesbians” and
“women who are not honest to the cause of lesbians.”
“A lot of my perceptions changed over the year I worked on this project,” says
Naureen. She mentions the shoot she did with an Indian bisexual in New York, a
performing artist who is deeply immersed in the eastern music tradition. Naureen
photographed her in a benarsi sari, bangles on her wrists, hands decorated with henna,
kissing her black American female lover. “I thought I would be repulsed,” says
Naureen. “But that wasn’t the case. I also believe now that in most cases, lesbian
orientation is inborn; many of the women said that even while they were growing up
they knew that they were never attracted to men.”
The texts that accompany the photographs offer a glimpse into the psyche of the
women portrayed. A vein of defiance runs through them, a challenge thrown to the
accepted notions of sexuality and a refusal to be either objects of voyeurism or even
pity. Nevertheless, as Rita Kohli says so eloquently in her text, women like her “live in
exile” and are destined to be “exiled again and again.”
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