Child abuse: can India afford to remain in denial?

Traditional notions of the Indian family allow child abuse to happen with impunity.

 

Last week in the Indian capital Delhi two men drank, watched porn and then lured a five year old from her play area using a chocolate as bait. They kept her in captivity in a rented room in the same building where she lives with her parents and systematically raped her, in turn. For three days. Her cries led neighbours to find her locked in the room, bruised and bleeding. By then, the two men had fled, thinking they had left the child for dead.

Doctors treating the child say they extricated pieces of candle and glass bottle from the little girl’s vaginal orifice. The rapists have confessed to inserting candle parts and a glass bottle into the child in a panicked attempt to stop her bleeding, while confirming that the child was raped even after she began bleeding profusely. She has suffered severe internal injuries as a result and will now need surgery to reconstruct her intestines.

This horrific case has triggered angry protest marches in Delhi, akin to what the city witnessed after the excruciatingly brutal gangrape of a 23-year-old student aboard a bus in December 2012. This time even school children have played a vocal part in the anti-rape demonstrations. Yet rapes and child rapes are continuing unabated.

Just last week the case of a four-year-old girl raped by her neighbour in Haryana  – a state that borders Delhi – was reported, along with the rapes of a five-year-old girl in the central Indian state of Madhya Pradesh, a six-year-old girl in the state of Uttar Pradesh, two rapes involving two twelve year olds, and a thirteen-year-old who was gang-raped in Delhi for nine days.

Between 2001 and2011 there have been 48,000 cases of child sexual abuse. Moreover, there has been a 336 per cent jump in cases between 2001 and now. The Indian media is now calling these numbers an epidemic.

There is a valid argument to be made about woefully inadequate public services fuelling the crisis. Inadequate forensic labs, dysfunctional police training colleges, corruption and a lack of sensitisation are key among factors that exacerbate an institutional apathy that victimises the victim. In this most recent case on the nation’s radar, police officers offered the child’s family 2,000 rupees (£20 approx) as a price for their silence.

Yet the most compelling deterrent to such crimes can only come from a change in familial mindsets. India prides itself as a child-friendly country where within families, members of the immediate and extended family are believed to view children as a prime source of their family’s joy. But statistics suggest that the home is where the Indian child and woman is most unsafe. “Ninety-seven per cent [of rapes] are committed within homes, three per cent by strangers,” Delhi’s police commissioner confirmed in an address earlier this week.

Most cases of sexual abuse happening in domestic environments go unreported. But reported cases alone suggest that rape and child sexual abuse are mostly happening within the home and with a disturbingly increasing frequency. A harsh spotlight ought to be put on prevailing notions of the Indian family. The universal understanding in India that the family system is beyond reproach and family elders are perpetually pristine must be questioned.

In Indian society appearances are paramount and the keeping up of appearances by families is the epicentre of this societal veneer. “Covering up” for family members is an essential part of maintaining this veneer. Moreover, as a culture at large, and within families in particular, elders are considered to be beyond blame and censure. Youngsters are told that  elders are the apotheosis of all that is best and beautiful. Accordingly, the young are expected to exhibit an unquestionable reverence to all elders and especially towards relatives.

In Indian culture, every blood relationship has an ascribed moniker such as chacha for father’s brother, mama for mother’s brother and so on. It is under the guise of these sobriquets that relatives commit heinous crimes within their families with impunity. More chillingly, when a child or woman makes abuse known, the social stigma is seen to lie with the victim, not with the perpetrator. A mentality that espouses that children know less, compared with elders who are always right sadly still holds sway. At best, this patronises the child, and at worst labels him or her a repository of shame and discredit. The child is simply put down for his/her audacious attempt to malign a much-respected relative. Hushing up cases of abuse then maintains the status quo of the pride and place of the extended family in the wider culture.

Unsettlingly, the mindset that emanates from traditional notions of the Indian family is seen to empower family members to commit sex crimes towards children, knowing they will be well protected. When tradition serves as a veil behind which atrocities can happen without censure, then tradition must be called up, put in the dock and sent to the gallows. A society that fails its children, has failed entirely. India cannot afford to remain in denial about child sexual abuse any longer. Corrective measures are essential. But shrill chants on the streets in themselves will not herald the urgent change needed. Change has to start with the mindset in every Indian home.  

A placard is seen as demonstrators participate in a protest in Allahabad. Photograph: Getty Images
Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.