Released early this year, Wendell
Rodricks’ book
Moda Goa: History and Style , a work that presents a history of Goan costume, clothing and accessories,
has garnered a good amount of
unstinted praise from the popular press. This review will not however follow suit, but
will attempt instead a more critical position on this work.
To begin with, one should
recognize that in having consolidated the plethora of views on ‘Goan’ style and
costume,
Moda Goa has effectively
created the foundation for a discreet line of study; style and costume in the
areas around what has come to be called Goa. With the lavish images, and
acknowledgement of sources, Rodricks provides future researchers with a
starting point to commence their discussion of the themes that he attempts to
consolidate. We should also acknowledge that unlike so many other books, a good
number of the images in
Moda Goa
point to the identity of the individuals, who are otherwise unfairly left
without mention. However, some credit for this democratic act should perhaps
also be shared with Rajan Parrikar, given that these acknowledgements accompany
Parrikar’s photographs in the book.
By popular accounts,
Moda Goa would in fact live up to its
promise, of presenting a narrative of History and Style. The book continues the
grand tradition of understanding and writing about Goa that was first
established by Goan public intellectuals in the late nineteenth -century.
Toward that end, Rodricks must rightly be held to have joined that company,
demonstrating also the continuity of intellectual traditions that Rodricks is
heir to. The problem with this tradition however, is that it is one that is in
severe need of updating in light of theories propounded by scholars working
outside of the narrowly nationalist, orientalist and racist frameworks that
marked nineteenth century scholarship.
Rodricks’ work would have benefited
immensely had he engaged with contemporary scholarship. Indeed, had he done so,
it is more than likely that Rodricks would have crafted a remarkably different
book. For example, Rodricks currently attempts an encyclopedic presentation of
style and design, presenting a narrative of a linear history of Goan costumes, stretching
from the prehistoric to the contemporary. The result is a work that is markedly
thin in a number of areas, allowing him to suggest for example, it was the
Emperor Ashoka’s Greek wife Helen who ‘set the style for Indian women who
continue to drape their saris in much the same way even today’. While this may
be a part of the story, failing to mention research that indicates the more
contemporary origins of the story of the sari leaves us with the idea of a
pristine garment that has come down to us. Contemporary research suggests that
the contemporary Indian sari, along with the blouse and petticoat, was a
Victorian era adaptation in nationalist Bengal, this model being popularized
through
Raja Ravi Varma’s wildly popular depictions of brahmanical goddesses. Another
example is his suggestion that ‘The Muslims who traded with Goa after the
Inquisition was lifted wore traditional fez caps’ challenging the s
uggestion from scholarship
that the fez gained popularity in the sub-continent around the time of the Khilafat
movement, the deliberate adoption of a fez cap being a mark of solidarity with
the deposed Ottoman Sultan-Caliph. It is possible that, given the general
disregard for the nuances of sub continental histories outside of British-India,
Rodricks is in fact overturning established scholarship through reading the
largely ignored Indo-Portuguese archive. However his failure in following
standard academic norms of citations prevent us from ascertaining if this is
the case, or if Rodricks is simply extending commonsense back into time.
Engagement with this body of
research would also have ensured that at the very least Rodricks would have
problematized the linear history he makes use of. Linear history is eminently
suited to nationalist agendas that see the culmination of history in the idea
citizen for the nation. Once this ideal citizen has been identified all else is
held of dubious value. Given that the ideal citizen for the Indian nation is
largely imagined as the upper-caste Hindu, the history that Rodricks crafts is
an upper-caste history that often runs counter to the evidence that he himself
provides. Thus for example, the departure of groups from Portuguese controlled
Goa, was not necessarily that of Goans, but often of upper caste groups,
especially those who had already, prior to the arrival of the Portuguese,
established themselves as a dominant group along the length of the West coast.
Further, the presence of the (Mangalorean) Catholics in Kanara was not merely
the result of Goan Catholics fleeing Inquisitional terror, as Rodricks
suggests, but also the result of combined factors of peasant abandonment of villages
when faced with excessive taxes from the Portuguese State, and Maratha
incursions into the same territory. It is not as if this fact is not recognized
by Rodricks, but so great is his verve in telling a nationalist mythology that
he fails to make this, and other facts, cohere with the larger narrative he
weaves.
As a further result of following
these nineteenth century patterns of historiography, and having marked the (upper-caste)
Hindu as the central pole, the entry of Aryans into the subcontinent is clearly
specified as not an invasion, but an arrival (though to be fair, this early clarification
does not translate into consistency, given that the Aryans are saddled with
invasion later in the text). Such a clarification however, is not in evidence
in the case of the Persianised adventurers and dynasts in the subcontinent, who
are simply brushed off as ‘the Muslims’. It is perhaps this dismissal, where he
fails to distinguish between the Mughals, and the Deccan Sultanates that is the
reason for the plethora of gross historical errors. Take for example the
suggestion that the Vijayanagara empire
fell to the ‘merciless Tipu Sultan’, when it was in fact the Wodeyar dynasty
that was effectively displaced around 1761 by Hyder Ali, the father of Tipu
Sultan, whose throne Tipu inherited. The Vijayanagara polity fell much earlier,
subsequent to the battle of Talikota in 1565. With this dismissal, and the following
the nationalist common-sense of ancient Goa as a brahmanical seat, Rodricks
misses the opportunity to engage in more nuanced understandings of the
Islamicate impact on the evolution of Goan dresses, such as the
pano baju and the
cabai, that he discusses. Indeed, almost completely missing from the 'history' that Rodricks produces, is reference to the Deccan Sultanates, especially the Sultanate of Bjiapur that played a significant role, culturally as well as politically, in the development of the Goan aesthetic. All we have in the book are references to the Delhi Sultanates of the Tughlaks and the Khiljis; and subsequently the Mughals.
Finally, as a result of falling
into the nationalist trap of seeing invaders as largely having a negative
influence, and, especially in the case of the Portuguese, seeing their
influence largely as a rupture from what ought to have been, Rodricks is forced
to makes uncomfortable suggestions. Take for example the suggestion that “The
Kunbis who were converted to Christianity by the Portuguese were forced to wear
a blouse.” Rodricks would have done well to reference the literature that
discusses the extensive battles that depressed groups in other parts of the
subcontinent (one good example being
Kerala) where women had to fight against upper-caste oppression, for the right (to cover their breasts) that the
Portuguese state required by law. This is just one of the many places where one
wishes that Rodricks’ otherwise detailed work had benefited from deeper
reading to provide a more layered, nuanced, and perhaps responsible text.
Devoid of an understanding of the power relations that mesh with costume
practice, at times there is the danger that this book will slip into a mere
coffee-table picture book recounting mythology, not history.
Perhaps most disappointing in the book, is that as a result of making this choice to present to us an encyclopedic narrative of Goan history, and choosing the nationalist frame in which to cast it, Rodricks spends more time on the ancient, medieval and early modern periods of history. As a result, he barely spends much time on the more exciting, and chronologically nearer period of the twentieth century. One would assume that as a trained stylist, conversant if not in active dialogue with the styles of the recent past, this would be Rodricks' area of expertise, one where he would be able to shine through. Furthermore, with the liberation of the Goan underclasses from feudal dependence, as they moved abroad, bringing up money and differing fashion sensibilities, a great many changes were introduced into society. This period is thus hugely interesting. How did these fashions create different ways of being? These are some questions that could have been asked and answered, a route that Rodricks unfortunately does not take. In a similar vein, some of the more interesting stories from the present remain untold. In his final chapter, Rodricks mentions the challenges and potential for a fashion industry in Goa, but fails to mention his own challenges as he made his, at the time laughed at, leap into setting up base in Goa. Some attempt at this is made in the stand-alone piece by Meher Castelino but it lacks the involvement of Rodricks' first hand telling, and given his elegant voice, mores the pity.
However, to gain a comprehensive
sense of the value of the book, we need to ask why it is that Rodricks is
attempting this linear history? In this question lies the redemption of
Rodricks’ attempt, which can be seen as the effort of the Goan Catholic to find
and make space for himself within the largely upper-caste Hindu narrative for Goa
and India set in place by nineteenth century intellectuals. In doing so,
Rodricks has chosen one of two options, to negotiate space for himself, and
others like him, according to the norms that have been laid down by the dominant forces within India and Goa; rather than fighting for a more democratic and open telling of
a Goan history. Rodricks is not the only Goan Catholic to go down this road, we need only refer to the
review of Moda Goa by Maria Aurora Couto in the Outlook, to see that this affirmation of the Indian-ness of the Goan, as well as the space for the Goan Catholic within India is uppermost on her mind. Take for example, the deep concern for the Goan image, one that is born from a shame that most Goans feel when Goa is represented merely as a pleasure periphery with no valid 'culture', that is in evidence when Rodricks speaks of his interventions with the Kunbi sair; "if Gujarat can have its Patola and Maharashtra its Paithani, Goa too can proudly present its Kunbi sari in a new designer avatar." While we cannot therefore, fault Rodricks for his choice, we can nevertheless lament the
fact that the fine voice that he possesses did not choose what could have proven to be,
the more historic
option.
(A version of this post was first published in the Gomantak Times dtd 18 July 2012)