Shiraz Bayjoo's Installation Revisits Colonial Extraction at Kochi Biennale
At the ongoing Kochi-Muziris Biennale, London-based Mauritian multidisciplinary artist Shiraz Bayjoo is creating waves by turning the tide of history with a profound, site-specific installation. Titled Sa Sime Lamer (2025), which translates to "the path to the sea" in Mauritian Creole, this work meticulously recreates the colonial shipping away of spices, plant wealth, indigenous knowledge, and traditional skills from Kerala. Mounted at Aspinwall House in Fort Kochi, the installation faces the sea, directly responding to the location's own storied past as a pivotal colonial trading hub.
Exploring Maritime Routes and Cultural Reshaping
Bayjoo's work delves deep into the maritime routes that once connected Kerala to Europe, tracing how trade across the vast Indian Ocean fundamentally reshaped cultures and economies. Through a layered artistic approach, he examines the complex dynamics of power, exploitation, and cultural exchange that defined this era. The artist himself explains, "My work is about how the Dutch consolidated power, attempted to wipe out Portuguese influences and erase what they extracted from Malabar through oppression to enrich their lands and people."
Symbolic Elements and Historical References
The installation features nine mahogany pillars of varying heights strategically placed around the space. Some of these pillars are topped with ceramic figures of Dutch soldiers holding guns, symbolizing the military power used to control trade and dominate the region. Surrounding these figures are terracotta sculptures of pepper and nutmeg, dried coconut husks, coir coils, and earthen coconuts—all representing the region's agrarian abundance and the very commodities that fueled colonial ambition.
This arrangement evokes both ritual offerings and guarded storehouses, highlighting the tension between the sacredness of the land and its commercial exploitation. Additionally, soft muslin prints of turmeric and drumstick plants hang nearby, recalling the now-abandoned Dutch Hortha garden in Kochi. Bayjoo also references the Hortus Malabaricus, a 17th-century botanical compendium commissioned by Dutch governor Henrik van Rheede, which documented Malabar's medicinal plants while facilitating their transfer to Europe.
Indigenous Knowledge and Psychological Subjugation
Further enriching the narrative, embroideries inspired by earlier spice illustrations from Cristóbal Acosta's 1578 Spanish work, Tractado de las drogas, y medicinas de las Indias Orientales (Treatise of the drugs and medicines of the East Indies), are incorporated. These highlight how indigenous knowledge was systematically catalogued and circulated abroad, often without proper acknowledgment or benefit to the local communities.
The soldier figurines replicate those found on a Dutch-donated oil lamp at the Sri Krishnaswamy Temple after the Colachel treaty, symbolizing what Bayjoo describes as a subtle psychological subjugation. Through these earthy materials and poetic symbolism, the artist reconstructs a "path to the sea"—a route along which Kerala's spices, skills, and cultural wealth once sailed away, leaving behind enduring legacies that continue to shape the present socio-economic and cultural landscape.
A Multifaceted Commentary on Colonial Legacy
Overall, Shiraz Bayjoo's installation at the Kochi-Muziris Biennale serves as a powerful commentary on the colonial legacy in Kerala. By intertwining historical artifacts, botanical references, and symbolic sculptures, he not only revisits the past but also prompts reflection on how these historical exchanges have influenced contemporary identities and global connections. The work stands as a testament to the resilience of local cultures and the ongoing dialogue between history and modern artistic expression.
