Civilising subject(s): drawing pedagogy in Bombay in the age of industrial capitalism and empire.
This article charts a critical history of drawing, as it was taught within "general" schooling in colonial Bombay (now Mumbai), beyond the artisanal workshop, art, and industrial schools. Rather than children's creative or subjective expression as it is commonly seen today, drawing's presence in the...
| Publicado en: | Paedagogica Historica Vol. 61; no. 5; pp. 757 - 779 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Oct2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=188054204&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 188054204 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00309230 J54 jtl: Paedagogica Historica issn: 00309230 maglogo: N pubinfo: dt: Oct2025 vid: 61 iid: 5 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 188054204 10.1080/00309230.2024.2402755 ppf: 757 ppct: 22 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1011KB tig: atl: Civilising subject(s): drawing pedagogy in Bombay in the age of industrial capitalism and empire. aug: au: Mulgund, Deepti affil: Department of Art, Media and Performance, School of Humanities and Social Sciences, Shiv Nadar Institution of Eminence, New Delhi, India su: Drawing Curriculum Colonies Imperialism Industrialization Visual education Mumbai (India) sug: subj: Mumbai (India) Drawing Curriculum Colonies Imperialism Industrialization Visual education keyword: Bombay colonialism industrialisation visual education ab: This article charts a critical history of drawing, as it was taught within "general" schooling in colonial Bombay (now Mumbai), beyond the artisanal workshop, art, and industrial schools. Rather than children's creative or subjective expression as it is commonly seen today, drawing's presence in the school curriculum was a sign of the efforts being taken to create a workforce suitable for industrial capitalism, in Britain and in India. Analysing archival sources, and situating them within the broader discourses around colonialism, work, and the industrial subject, the article points out that when drawing was taught in Bombay it was hamstrung by issues metropolitan in origin, viz. course design, inconsistent pedagogic vision, lack of financial outlay as well as local conditions of low industrialisation. Similar problems plagued drawing in Britain. However, colonial power relations held Indian teachers and school-goers responsible for drawing's "failures" in addressing the crisis of technical skilling and employment generation in India, while in Britain the critique was directed towards the system. Drawing – despite these "failures" – came to be valued as a practice necessary in and of itself. Drawing, the article contends, offered an embodied and verifiable response to wage labour, as seen in its unfolding in the colony, i.e. a moral technology geared towards wage labour. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Paedagogica Historica is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Paedagogica Historica holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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