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Kerala, often lauded for its progressive social indicators, stands as a stark reminder that surface-level achievements can mask deep-seated prejudices. The article, "Beyond the surface: Kerala’s enduring battle with dark skin bias," meticulously uncovers the pervasive issue of colourism within the state, highlighting how the obsession with fair skin continues to shape lives, careers, and self-perception. Despite boasting high literacy rates and a rich cultural heritage, Kerala grapples with a harsh reality where dark-skinned individuals face ridicule, exclusion, and systemic discrimination. This dichotomy between the state's celebrated progressivism and the lived experiences of its darker-skinned citizens exposes a painful contradiction, forcing a critical examination of the values and attitudes that underpin Kerala's society.
The personal narrative of Cuckoo Devaky, a Bharatanatyam dancer, serves as a poignant illustration of the challenges faced by dark-skinned individuals in Kerala. Her experience at Adyar Kalakshetra, where she was met with giggles and whispers due to her complexion, underscores the deeply ingrained biases that exist even within artistic communities. The article reveals how Cuckoo was often relegated to playing characters with negative connotations, such as Hidimbi or Thadaka, simply because of her skin colour. This blatant discrimination not only limited her artistic opportunities but also deeply impacted her self-esteem and sense of belonging. Cuckoo's story resonates as a microcosm of the larger societal problem, demonstrating how colourism can permeate various aspects of life, from artistic expression to everyday interactions.
Cuckoo's struggle extends beyond the realm of dance, highlighting the broader societal scrutiny faced by dark-skinned individuals. She emphasizes the constant judgment and criticism directed towards their appearance, clothing, and even their gait. This relentless pressure to conform to a narrow definition of beauty can be incredibly debilitating, leading to feelings of inadequacy and self-doubt. Cuckoo's decision to become a model at the age of 45, embracing her dark skin and curvaceous figure, is a powerful act of defiance against these societal norms. Her journey, captured in the documentary Karuppazhaki (Black Beauty), serves as an inspiration to others who have experienced similar discrimination, encouraging them to challenge societal expectations and embrace their authentic selves.
The documentary Karuppazhaki, directed by Mini I.G., delves into the "politics of black" in Kerala, exposing the enduring casteism and racism that continue to permeate the state's society. Mini's reflection on the necessity of discussing these issues, despite Kerala's perceived progressiveness, underscores the importance of acknowledging the lived experiences of those who face discrimination. She rightly points out that only those who endure these hardships can truly understand the depth of the struggle. The documentary serves as a crucial platform for amplifying the voices of marginalized individuals and challenging the dominant narrative that often glosses over the realities of discrimination in Kerala.
Emmanuel Mettles, a psychologist-artist, further elucidates the psychological impact of colourism through his painting exhibition, 'Me, the Dark.' As a dark-complexioned woman, Ms. Mettles shares her own experiences of body shaming, highlighting the emotional toll that discrimination can take. Her work as a psychologist reveals that children who endure similar humiliation often suffer from shattered self-esteem, leading to emotional fracturing and hindering their ability to develop into strong and capable adults. This underscores the urgent need for societal interventions to address the root causes of colourism and create a more inclusive and equitable environment for all.
The article also highlights the intersectionality of colourism with caste and class domination. Noted dancer R.L.V. Ramakrishnan, who is fighting a case against another dancer for making colour-tinged casteist remarks, emphasizes the "pathetic admiration towards the upper class" and the pervasive discrimination faced by artists from marginalized communities. He argues that the assertion that fair complexion and attractive looks are prerequisites for classical arts is "blatantly racist and insulting," reflecting a deeply ingrained societal bias. Ramakrishnan's experience reveals how colourism can be used as a tool to reinforce existing power structures and perpetuate inequality within the cultural sphere.
Ramakrishnan further points out that classical art forms in Kerala have traditionally been dominated by forward castes, and that society has consistently been reluctant to acknowledge and appreciate artists from outside these privileged groups. This historical context helps to explain the enduring nature of colourism within the state and the challenges faced by individuals who do not conform to the dominant aesthetic norms. The article effectively demonstrates that colourism is not simply a matter of individual preference but is deeply intertwined with systemic inequalities and historical injustices.
In conclusion, the article "Beyond the surface: Kerala’s enduring battle with dark skin bias" provides a compelling and nuanced exploration of the pervasive issue of colourism in Kerala. Through personal narratives, expert opinions, and critical analysis, the article exposes the painful contradiction between the state's celebrated progressivism and the lived experiences of its darker-skinned citizens. It highlights the urgent need for societal interventions to address the root causes of colourism, challenge discriminatory attitudes, and create a more inclusive and equitable environment for all. The article serves as a powerful reminder that true progress requires not only addressing surface-level inequalities but also confronting the deep-seated prejudices that continue to shape lives and limit opportunities.
Source: Beyond the surface: Kerala’s enduring battle with dark skin bias