Exploring the Goddess: Religion and inclusivity within the Hindu community in South Africa Nalini Moodley Tshwane University of Technology E-mail: moodleyn@tut.ac.za This paper examines the interaction of religion with ethnic and racial discourses in contemporary South Africa and questions how this process has affected the projection and development of Indian identity in this country. In particular it looks at the established Indian identity as it has traversed the Apartheid years to contemporary post-apartheid South Africa and the articulation of religious and ethnic identity in public spaces of engagement. The paper explores the use of Hindu iconography, especially the goddess Kāli, in the art works of artist Reshma Chhiba which has recently attracted critical discussion and debate within the Indian community. The paper asserts that Hindu iconography when used in contemporary art practices create platforms for critical engagement within a community and country which perpetuates stereotypical understandings of the Indian minority yet provide a view into obscure artistic knowledge amongst this community. Key words: religion, ethnicity, Hinduism, minority Verkenning van die Godin: Godsdiens en inklusiwiteit binne die Hindoe-gemeenskap in Suid Afrika In hierdie artikel word die interaksies tussen geloof en etniese- en rasdiskoerse in hedendaagse Suid- Afrika ondersoek, en verder word die wyse waarop hierdie interseksies die projektering en ontvouing van Indiese minderheidsidentiteit affekteer, bevraagteken. Die ondersoek behels die wyse waarop Indiese identiteit, soos gevorm tydens en na Apartheid, tans artikuleer met religieuse en etniese identiteitsraamwerke binne die publieke, interaktiewe sfeer. Hindoe ikonograie, veral die rakende die godin Kāli, soos weerspieel in die werk van kunstenaar Reshma Chhiba, dien as fokuspunt in die huidige bespreking. Chhiba se kuns ontketen tans heelwat kritiese diskoers binne die Suid-Afrikaanse Indiese gemeenskap. Die artikel se uitgangspunt is dat die gebruik van Hindoe ikonograie binne ‘n kontemporêre kuns konteks ‘n platform skep vir kritiese ondersoek in ‘n gemeenskap sowel as land waar stereotipering van die Suid Afrikaanse Indiese kultuurgroep voortduur, en terselfdetyd andersins obskure kunskennis binne die Indiese gemeenskap self, belig. Sleutelwoorde: Godsdiens, etnisiteit, Hindoeïsme minderheid I ndian art presents a test case for the western understanding of India, as its aesthetic standards differ so much from those of the classical west (Mitter, 1977: xviii). Partha Mitter goes on to say that in early European explorations of Asia, travellers saw “Hindu sacred images as infernal creatures and diabolic multi-limbed monsters” (1977: xviii). While Mitter’s view may be outdated and predictable, some Indian art in South Africa is still interpreted in this way, though not only from a western perspective but by the local Indian population as well. Although the Indian population has been resident in South Africa for 155 years, no meaningful study has been done of contemporary Indian art. Although little research has been undertaken with regard to the nature of the Art History curricula throughout South Africa, an observation of all university curricula via their websites reveal that even Indian art history of the sub-continent is not considered in any signiicant form. 1 While this paper acknowledges the limited scholarship of Indian art in South Africa, it further recognises the limited engagement with art produced by South Africans of Indian ancestry. The discourse of the work of artist Reshma Chhiba is such an attempt. The paper argues that Hindu South Africans, while distanced from India, maintain Hindu practices and ritualistic beliefs with a great deal of effort and commitment as a mark of their Indian identity SAJAH, ISSN 0258-3542, volume 30, number 3, 2015: 87-98