Pyjamas. Shampoo. Candy. Doolally. Loot. Bungalow. Cushy. Junk.
These words are all part of daily English speech. (Doolally being a personal favourite.)
They wouldn’t have been part of the English language had they not been assimilated during the British presence in India during the 1900s.
It’s a perfect way to detect how interwoven the two cultures are. The impact of the Raj is a ripple in the global historical pond that hasn’t stilled to this day.
India, the Jewel in the British Crown, the spice in the English economy, the Empire its Empress never set foot in. This is where Steampunk India comes in.
Steampunk is partly based on an avid love of history. Many Steampunks pride themselves on incorporating historically accurate aspects of the Victorian Era in their costuming, events or building projects.The genre has come quite a way from being mostly Western-centric, with costumes that only reflect the fashions of London society during a certain period, with personas and narratives that are predominantly culturally relevant to Caucasian participants.
More than most creative genres, Steampunk is placed to be truly multicultural, truly inclusive.
I have a fascination for the Victorian Era, a love for maritime history, and direct hereditary ties to the exploits of the British East India Trading Company. As a result I have an avid wish to see more India in Steampunk.
In particular more Indian India, as it were.
In general I want more of Africa, of China, Malaysia, Borneo, Argentina and other non-Western countries, specifically expressions of and representations by the people of each nation. Women, people of all colours, LGBT folk; it is deeply important to further a more egalitarian expression of race and gender, both within the context of events and performance and by authors of diverse heritage and persuasions.
The photo collage below forms an example of where Steampunk inspiration could be found. All these images are from the late 1800s – early 1900s. Clockwise starting top Right: An Indonesian Sarong Weaver. A Malaysian woman in Nonya attire. A young Berber from Tunisia. Araucanian Indians and gauchos, Chile. A young girl, Borneo, possibly from the Kayan tribe.
Collaborating with others for multiculturalism is vital.
One such collaboration took place last year. I was involved in two events for The Clockwork Watch Transmedia Project created by Yomi Ayeni. Through comics, interactive events and a website featuring a fictional Gazette of the world, Yomi has created a Steampunk milieu where Indian culture plays a more prominent role.*
(From Clockwork Watch: The Arrival by Yomi Ayeni & Corey Brotherson. Artwork: Jennie Gyllblad.)
As part of the year-long celebration of the 300th anniversary of Longitude in 2014, the Royal Museums in Greenwich organised two interactive events, featuring some of the characters from the Clockwork Watch comics: I played the role of Tinku Ranbir, wife of eminent Indian scientist Chan.
The second event, titled ‘Clocking Off Late’, featured a piece called ‘The Tinku Diaries‘. Tinku’s character occupied the floor of the Maritime Museum that houses the permanent exhibition ‘Traders: The East India Company and Asia’. Visitors to the gallery were introduced to Tinku and instantly submerged into the Clockwork Watch story which merged with the actual history of our world. Artist and musician Ziazan played a mischievous spirit, flitting in and out of the narrative, introducing the public to elements of the created world.
A selection of diary entries scattered around the displays for visitors to find were protectively snatched from them by Tinku’s companion,Thomas, (played by Philip Whiteman) coiling tight the spring of mystery and intrigue that winds the Clockwork Watch.
(Left: Ziazan carrying a special edition of the Clockwork Watch book. Right to Bottom: Tinku at her desk. A diary extract featured in the fictional London Gazette on the Clockwork Watch Site. Tinku speaks to a museum visitor whilst Thomas looks on, ready to usher the lady away should things get too personal.)
Yomi’s request to create the diaries as an original composition of my own allowed free reign to show an intimate glimpse of Tinku’s mind and experiences. Tinku’s predicament became very immediate to me during this creative process; an Indian woman in a Western environment, trying to carve out a meaningful place for herself while preserving her own values and integrity.
Her diary was also the perfect vehicle to include titbits from the East India Company history and acquaint visitors with a deeper look under the surface. I further incorporated some of the artifacts and paintings that are permanent features of the exhibit, in order to mix fiction with history, as is the Steampunk wont.
In her diary, Tinku mentions a Wadia Sahib. She is referring to Jamsetjee Bomanjee Wadia, (c 1754-1821), Master Shipbuilder at the Bombay Docks. His portrait by J. Dorman is part of the Trader’s Gallery collection:
The diary ‘extract’ is an original piece of fiction, written especially for Yomi Ayeni. There is a possibility it will eventually be included in the greater Clockwork Watch narrative. It was a true pleasure to write. Both the diary and the event it was part of form a great example of Steampunk used as a Classroom.
As part of Steampunk Hands 2015, The Tinku Diaries will be exclusively published to the Steampunk India website at the end of February. Date to be announced.
* http://www.clockworkwatch.com
Suna Dasi 
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