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An American’s ever lasting Indian affair

An American’s ever lasting Indian affair

Stephen Huyler pedalled into India on his twentieth birthday in 1971, carrying what he now openly acknowledges were the advantages of being a white male – letters of introduction to luminaries like Kamaladevi Chattopadhyay and Rukmini Devi Arundale. But what sets him apart is how he transformed these initial privileges into five decades of genuine cultural immersion and feminist advocacy.

His journey started almost by chance or should we call it destiny? Back in the US, he’d been a disinterested student until he began doing chores for his neighbor, who happened to be the pioneering Dada artist Beatrice Wood. This introduction to art sparked what would become a 52-year exploration of Indian villages and subcultures, leading to his transformation into Dr. Stephen Huyler – art historian, cultural anthropologist, and champion of overlooked artists in villages, particularly women.

When I first picked up his memoir “Transformed By India” to prepare for our discussion at the Bangalore International Centre, I was struck by the ease with which doors opened for him – it was classic White privilege. But as I read on, what emerged was the story of someone who recognised his advantages and used them not to further himself, but to amplify marginalized voices, especially those of women artists.

When I met him in person, I found Stephen to be disarmingly simple and friendly. He’s genuinely delighted to be back in India for the umpteenth time and thrilled to the response from young readers. He barely made it to our programme after missing his connecting flight – but his emotional entreaty (something he mastered in this country, he admits) charmed the airline into rerouting him in time. When he messaged about the delay, he mentioned it was time for a small Ganesh Puja. And it wasn’t just talk. Stephen pulled out a small pouch with a Ganesh image during our conversation, explaining it’s always with him. His home in Maine even has a pooja room with an altar to Indian deities and his mentors. I told him I’d done my own prayer at home to help get him to the event.
He appreciates our art in its context and this insight has shaped how he presents Indian art to the world – not as exotic curiosities, but as living traditions deserving of reverence. In his exhibitions, religious sculptures are shown with their ritual adornments, honouring how they’re viewed in India.

What appeals to me is his feminist perspective, particularly in documenting women’s art forms that others might dismiss as merely decorative. Through his lens, the rangolis and kolams that women create daily, and the seasonal wall art become powerful expressions of artistic agency. He challenges Western feminist narratives about Indian women, highlighting instead their inner strength and creative resilience.

The story of Sonabai Rajawar perhaps best illustrates his approach. While confined to her home in a Chattisgarh village for fifteen years by her husband, Sonabai had transformed her isolation into inspiration, creating whimsical clay sculptures throughout her courtyard using simple materials like hay, herbs, and spices. After Stephen came across her story, he helped bring her art to the world stage. Stephen arranged for her to demonstrate her techniques at San Diego’s Mingei International Museum, wrote a book about her, and made an award-winning film documenting her journey. Her story deeply influenced his understanding of both art and the human spirit. As he often says, “there is no oppression or difficulty that cannot be overcome with creative solutions.”

What makes Stephen’s journey remarkable isn’t just its longevity – 52 years and counting – but how he’s used his position to create platforms for others. His six books on Indian art and artists consistently center on artists’ and women’s voices and experiences. He’s become a “feminist by learning,” shaped by countless encounters with creative women who found ways to express themselves despite societal constraints.

Even now, as he tours India with his memoir, Stephen remains conscious of his privileged entry point. But he’s transformed that initial advantage into something more valuable: a lifetime of genuine cultural exchange and advocacy. In curating exhibitions worldwide and leading tours through India, Stephen has become more than just a cultural interpreter – he engages respectfully with another culture while maintaining awareness of his own position within it. A fine balance but one that he maintains with the same devotion between the two loves of his life – his wife in Maine and India who never ceases to draw him back.

Sandhya Mendonca, author, biographer, and publisher, casts a female gaze at the world in this column.

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