The image of the snake charmer is one of the most enduring and problematic symbols associated with colonial India. Rooted in British imperial narratives, it was used to construct a romanticised, exoticised vision of India that appealed to Western audiences while distorting the realities of its people and culture.
During the British Raj, the snake charmer became a symbol for the supposed mystique of the East—a land of spectacle, superstition, and otherness. This stereotype was reinforced in global showcases like the 1924 British Empire Exhibition, where India was displayed as an object of curiosity and control, its complexities flattened to fit colonial agendas.
In this context, the snake charmer imagery served two purposes: it fuelled Western fascination with the "exotic" while perpetuating a narrative of India as a land in need of civilising—a justification for empire.
Such stereotypes ignored the cultural significance of the snake in Indian traditions and reduced the practice of snake charming to a mere performance for imperial audiences.
Reclaiming the Snake: The Shakti Collection
In Indian culture, the snake is much more than a colonial stereotype. It is a powerful and sacred symbol, representing transformation, protection, and divine energy. In Hindu mythology, snakes are connected to deities like Shiva and Vishnu, representing forces of creation, destruction, and renewal. They also symbolise Shakti, the feminine energy that sustains life and brings about change.
In the Shakti Collection, I combine the snake with the matka (clay pot) to challenge and reclaim the colonial image of the snake charmer. The vision of a snake rising from a pot—once used to exoticise and simplify Indian culture—is reimagined as a symbol of strength and power.
The Shakti Collection celebrates the snake as a source of transformation and resilience, pushing back against colonial stereotypes while honouring the rich traditions of South Asian culture. Each piece reflects the strength and history of the South Asian diaspora, connecting it to themes of identity, heritage, and growth.
The Altar of Objects & Belonging: Reclaiming Stories
While the Shakti Collection reclaims the snake charmer’s imagery, the Altar of Objects & Belonging, created for the Being Human Festival that took place earlier this month, expands this reclamation into a broader exploration of colonial history and identity. This work questioned What the 1924 British Empire Exhibition left out, and reflects on how symbols, objects, and narratives were used to define and control colonised communities.
The altar invited participants to bring personal objects and heirlooms, creating a shared space for reflection and connection. By centring on items that hold personal and cultural significance—such as family jewellery, fabrics, and photos—the altar became a counter-narrative to the dehumanising displays of empire. These objects, like the symbols in the Shakti Collection, carry memory and meaning, telling stories of migration, belonging, and resilience that challenge colonial stereotypes.
Moving Beyond Exoticism
Through both the Shakti Collection and the Altar of Objects & Belonging, my work seeks to reclaim narratives that were shaped by colonial powers to exoticise and other. These projects highlight the power of symbols and objects to both preserve and distort history, urging us to re-examine the legacies they carry.
By reclaiming the snake charmer imagery, we reject the colonial gaze that sought to reduce India to a land of mysticism and spectacle. Instead, we celebrate the richness and strength of South Asian culture, finding empowerment in the stories, symbols, and objects that connect us to our heritage and each other.
As my practice has evolved over the years being able to embed this decolonial narrative in my jewellery collections through Shakti has felt really powerful.
