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Ayahs' Influence in British Homes: Decoding the Power of Colonialism
The custom of employing ayahs emerged as a pivotal colonial institution within British families' livelihood during the colonial period. Ayahs, hailing from South Asia, performed multifaceted roles in British colonial households in India, including nannies, nurses, domestic servants, and on occasion wet nurses. Stranded in a foreign environment, numerous memsahibs (middle-to upper-class married British women in India) heavily depended on the expertise and knowledge of their Indian ayahs. Ayahs were commonly perceived as affectionate yet voiceless assistants. They formed profound emotional bonds with Anglo-Indian children under their care, often resembling surrogate mothers. This stout connection between the colonized and the colonizers within the colonial household frequently blurred the boundaries of authority over the household. However, colonial authority was intertwined with the practice of discriminatory social categorization, serving the interests and protection of the state, thus ayahs were inseparable from female subaltern subjectivity.
Existing historiography on Ayahs recognizes their significance and agency within the British Empire, along with their changing positionality. Historians such as Durba Gosh, Indrani Sen, Olivia Robinson, and Satyasikha Chakraborty have challenged the prevailing narratives that depict ayahs as lacking agency. Consequently, this article will delve into the multifaceted significance of ayahs in the colonial context, exploring the dynamics of their roles, the narratives that defined them, and the broader implications of their representation. While British women had been making journeys to India and hiring ayahs in small numbers since the 1620s, the emphasis here is on the period surrounding the Indian Mutiny and the years that followed.
In 1857, the Indian Mutiny marked a significant and violent moment in British colonial history. This rebellion against British rule garnered widespread attention and was particularly highlighted in art and media across the British Empire. Notably, “the Mutiny's gendered violence against British women and children, brought attention to the role of ayahs who emerged as protectors, safeguarding British families from their fellow Indians”. Therefore, it is crucial to consider the potential consequences of this role, as the Indian nationalist movement began to emerge in the mid-nineteenth century.
Abraham Soloman’s painting, “The Flight From Lucknow” (See figure:1) stands out as a distinctive representation of the role played by ayahs during this time. As the rebellion spread, British forces under the leadership of Sir Henry Lawrence were forced to evacuate the cantonment area of Lucknow and seek refuge in the fortified Residency. The shelling of the Residency and the subsequent cut-off of supplies intensified the desperate situation.
In this historical context, the painting by Solomon depicts the dire circumstances faced by the civilians during the mutiny. The attire of the first two women, who appear to be ill-prepared for such an event, reflects their lack of anticipation for the severity of the rebellion. The desperation in their expressions is palpable, capturing the chaotic atmosphere prevailing at that time. The presence of an ayah, carrying a sleeping child, highlights the vulnerability of the civilians amidst the tumultuous situation. The ayah, presumably responsible for the care of the fair-haired young woman and her child, symbolizes the support provided by ayahs to British families in India. However, even under the protection of such caretakers, the civilians faced grave danger.
The suffering of British women and children during the mutiny evoked sympathy and outrage in Britain, prompting fierce retaliatory measures. This traumatic event left a lasting impact on the collective psyche of British society, leading many to harbor deep mistrust towards the Indian population. Consequently, “British families became increasingly apprehensive about welcoming Indian women, particularly into their most intimate spaces”. This increasing apprehension towards Indian women can be attributed to efforts aimed at preserving racial and cultural dominance within the colony, ensuring the perpetuation of imperial control.
Another painting which captures the unwavering dedication of ayah to their employers' children is Emma W. Fullerton’s 'Indian Ayah with Sleeping Children' (See figure 2)
This evoking portrayal of the ayah in this painting highlights her distinctive indigenous attire, including a detailed red dupatta, bangles on her arms, a prominent golden nose ring, and her bare feet, all serving to underscore her native identity. This stands in contrast to the infant she cradles in her arms, whose blonde hair and fair skin are softly illuminated by daylight in the image. The contrasting complexions of the two emphasize the ayah's indigeneity, while the intimate scene reveals the intricate relationship between ayahs and children that transcends racial boundaries. Just behind this tranquil duo, an older child rests on an improvised bed, surrounded by locally inspired objects. This scene further underscores the juxtaposition between the white children and their Indian surroundings. Yet, what makes this painting truly captivating is not just the depiction of a nurturing ayah caring for white children, it is the absence of the memsahib. In the left background of the tableau, Fullerton has included a long-barreled rifle leaning against the wall. This dark symbolism raises questions about the missing white mother and accentuates the ayah's role as a protector. The painting's gentle and affectionate quality, coupled with the absence of a white authoritative memsahib figure, offers a rare glimpse into the British colonial household. Ayahs fulfilled the nurturing function of a mother by constantly protecting and caring for the children, which allowed the memsahib to fulfill her colonial role of bearing many children and managing the bustling domestic sphere.
One of the most conspicuous outcomes of the close and affectionate bonds formed between Indian ayahs and British children was a discernible influence on the language development of these young ones. This intimate motherly relationship created a unique linguistic crossroad. This language transmission is evident in more subtle forms of caregiving. As with most young children's caretakers, ayahs frequently sang lullabies and nursery rhymes. But in this particular setting, ayahs sung Indian lullabies to British children effectively transferring aspects of Indian culture through a regional dialect and language, which subsequently impacted the child's first language exposure at an early age.