| Summary: | The paper looks at the works of Arvin Ombika, a descendant of indentured background, who
appropriates the traditional Mauritian Hindu kerchief, commonly called mouswar or mouswar latet, in
his paintings. The research briefly provides historical and cultural knowledge about the significance of
the scarf within the Hindu communities in Mauritius to create the context. From previous research, it
was recognised that the kerchief has shifted from its pragmatic use over time and has become an integral
part of rituals across the Hindu cultures in Mauritius, establishing itself as a symbol of the Indian
Indentured ancestors. The study also brushes over the depictions and uses of the kerchief in the works
of other local artists to further reinforce its potential as a symbol of expression. It then focuses on the
creative results of Ombika, where the latter depicts, uses and re-interprets the traditional kerchief to his
artistic ends. The study traces the beginnings of Arvin’s using the bandanna at the beginning of his
artistic career, its brief secession and reusing the traditional symbol as a readymade or painted pattern.
The paper also analyses the thought process and underlying concept behind using the mouswar. The
author also looks at the other creative possibilities through the designs of the kerchief, leaving behind
all the traditional and political connotations towards becoming a pure aesthetic motif of expression.
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