In 2018 I devised a performance for the Whitworth Gallery in Manchester.
‘Build me a loom off of your back and your stomach... is a performance of durational
dance, distance and diaspora. The artist
Raisa Kabir weaves and dances, carrying
the lengths of cloth-making labour
throughout the gallery space. A visualisation
of dislocated geographies, the weight of ongoing trauma, and their ghosts.’
It was a performance born out of responding to the histories of Partition 1947 of South Asia, which cut across the new international borders of Pakistan and India, and later creation of Bangladesh. The piece aimed to draw resonances between migrant labour, the exodus of many South Asian’s from poorer regions, and the histories of textile production and craft/industrial labour from Bangladesh, India and Pakistan. Linking contemporary narratives of post colonial mobility and the colonial trade in textile labour, production and resources under British Empire.
The piece used the labour of textile making processes and the visual technology of a weaving floor loom, and brought this object of racialised craft labour into the institutional space of the gallery.
It used the placing of my own brown body, as a living archive, to tap into the violent displacement and movement of peoples during partition, and their resonant ghosts, to become present within the performance. It interlaced the acts of weaving and dance, tethered to the brown body - mine -through a performance that acts as an invocation of these ghosts. It restates and re-situates that mining of labour from brown bodies, and racialised craft work, to the accrued wealth from exploits of empire.
The act of weaving on the loom in the gallery, carrying it tied to my own body, through the gallery space, dancing with it, pulling it across the distance of the space, evoked the knowledges carried by diaspora peoples, through the movement of dance, the weighted down feet, and distances travelled.
After dancing with the loom, I settled down to weave on the floor, upon a small prayer mat, and invited the audience to come closer and sit with me whilst I began to build a loom between the soles of my feet. Stitching into the soles with a needle, passing thread between the soles of my feet I created a small loom, held in tension through by body, my body becoming a loom, a space of production, a tiny corporeal archive, held in the space between my feet. this small weaving was completed then woven itself into the larger woven piece on the wooden floor loom. Weaving in the dance into the tiny loom, and re-weaving that itself into the un/woven sculpture of the floor loom.
The performance drew resonances between the migrant labourer exodus of many South Asians after 1947 partition, and the histories of textile production and craft/industrial labour from Bangladesh, India and Pakistan and Britain.
It interlaced the acts of weaving and dance, tethered to the brown body through a performance that acts as an invocation of these ghosts. It restates and re-situates that mining of labour from brown bodies, and racialised craft work, to the accrued wealth from exploits of empire.
It also attempted to root these immaterial ghosts, trans nationally, through Diaspora, the violence within colonial intuitions of gallery spaces, as places, where diaspora history is directly linked, to the labour of colonised peoples, and subsequent wealth residing in the spaces of textile production and history of Manchester.
Stitching into my feet with a needle, passing thread between the soles of my feet I created a small loom, held in tension through by body, my body becoming a loom, a space of performative disruption.
Raisa Kabir
Performance documented and all photos by Angela Dennis
