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The inaugural talk at the Pop Tech Conference in Maine on 20th October 2011

The Open Magazine

Rosalyn D’Mello

29th October 2011

The story of India’s contemporary photography movement is ridden with egoistic tussles. It’s no wonder then that it has taken so long for the country to host an international photo festival

I am not a photographer. Never have been, never will be. For me, the world began with the word, a curse and a blessing. A curse because I will never know what it’s like to experience the world through a camera lens. A blessing because I enjoy being a ‘fly on the wall’; because, unlike photography, the written word has the power to document both the visible and the subterranean. An image may ‘speak a thousand words’, but sometimes you need a writer to read between the pixels.

Take the image above, for instance. It’s a sun-drenched afternoon, day one of India’s first international photo festival. All the shadows meld to form an ambiguous mass of tangled feet and form. The subjects are smiling, at ease with each other, and comfortable with being framed against this kitschy backdrop. Each subject is a personality in his own right. From left to right, we have Prashant Panjiar, 53, Prabhuddha Das Gupta, 51, Raghu Rai, 69, Pablo Bartholomew, 55 and Shahidul Alam, 55. Ostensibly, it’s a feel-good photograph, certain to make your lips curl into a smile.

Having spent the last week at the Delhi Photo Festival, I find myself returning to this photograph. Like a sleuth, I look into it for clues that will help me understand the understated dynamic that each of the subjects shares with the other. There’s much more than meets the eye.

As a non-photographer and art critic only on demand, my dedication to attending each session at this festival bemuses me. But I find myself drawn, not so much to the world of photography as to the world of contemporary Indian photographers—the bad-boy, irreverent feel of it, the sense of camaraderie that’s difficult to pin down, and, above all else, the sheer mythic aura that surrounds most of the figures in the frame in question and a few others that aren’t in the frame. Never before had I witnessed three generations of Indian photographers on the same platform. Which brings me to the overwhelming questions that form the basis of this piece: why has India’s first photo festival been so long in the making, especially when the country has produced such inimitable photographers as Raghubhir Singh, Kishore Parekh, Sunil Janah, Raghu Rai, or World-Press-Photo winners like Bartholomew and Swapan Parekh? The Jaipur Literature Festival, India’s premier literary festival, is already half a decade old, and since Independence, the art world has hosted a series of large-scale exhibitions and summits. Why the lacuna in the world of photography? Was there ever an attempt to organise anything of this magnitude before? And finally, what are the factors that have conspired to make this much-awaited photo fest a reality?

I tried to look up the history of contemporary Indian photography. I wanted to be able to trace a lineage, like in contemporary Indian English poetry, which has an established, well-documented first, second and third generation. I found nothing of any consequence. I thought I was missing something until I realised it just hadn’t been documented. “There is no written history of contemporary Indian photography,” photographer Ram Rahman assured me. “Any knowledge one would have of it is entirely circumstantial,” he said. “So younger photographers don’t have any link to what has happened in Indian photography over the years.”

On Day Two, the Casuarina Hall at the India Habitat Centre had far exceeded its capacity. The festival’s organisers, Panjiar and Dinesh Khanna, apologised profusely. “We thought only 30 people would show up,” said Panjiar. There were easily at least 200. Dayanita Singh was the star attraction for the afternoon. After the crowd had settled into every nook and corner of available space, she began her talk with a story about a “forum” that existed many years ago which she said was like an “all-boys’ club”. Apparently, when one of the members of the club informed the others about the existence of a certain Dayanita Singh, Bartholomew retorted with a question, “Who’s Dayanita Singh?” This single question, she said, would be the title of her talk, and she dedicated the session to Bartholomew, who was seated beside her on stage.

Bartholomew confirmed the existence of this forum. “I think it was called the Forum for Contemporary Photography.” It was actually the Forum for Contemporary Photographers, I learnt later. It was conceived sometime in the early 90s and it had about 30 members, mostly photojournalists, and was very “Raghu-Rai driven,” so Bartholomew, who was the Forum’s chairman, said.

The previous evening, both Singh and Alam had mentioned the Forum in passing, and had spoken almost elusively about there having been much talk among its members to organise something like a photo festival, which never materialised. “There was too much talk, too much pontificating, but nobody actually did anything,” Bartholomew said.

“I was never a part of the Forum,” said Rahman. “I think Raghu had a problem with me. He misread something I’d written on photography for India Magazine. I had said that Raghubhir Singh was the only Indian photographer to have made a mark internationally, as a photojournalist and within the gallery and exhibition scene. And Raghu had attained the status of pop-superstardom. This was sometime in 1989. I think Raghu got upset and thought I was denigrating him, but that wasn’t at all the intention. Also, I don’t think the Forum regarded me as a real photographer because I was mostly doing architectural photography at the time.”

Rahman was part of another forum, the Professional Photographers Forum, which he says was more interested in promoting photography as an industry and lobbied for the cause of the profession: to loosen restrictions on importing equipment, making film more easily available, etcetera. “It didn’t have an intellectual pretension. It was about professionalising the industry,” he said. “The Forum had the idea of doing things more intellectually and there were a lot of ego issues, which was a fact. At that time, there were fewer photographers; you were either in the Raghu camp or the Raghubhir Singh camp or the S Paul camp.”

Rahman traces the explosion of the photographers’ ego to the late 70s, when India Today, India’s first national magazine, had just been launched.

This heralded the era of photojournalists, he said, who came to dominate the field of photography. “There was greater public exposure,” he said. “People saw your name and you got known. It became high profile because at this time, print, as a medium, was very important.”

It was only in the late 80s that a new breed of photographers started to emerge: those who worked independently, outside the realm of photojournalism. This included Rahman, Ketaki Sheth, Sooni Tarapoorwala, all of whom had studied photography abroad and who had connections in the United States because of the influence of Raghubir Singh.

According to Panjiar, part of the struggle was centred around the fact that photography had yet to be acknowledged as art. “Our focus at the Forum was driven by the idea of having photography accepted as an art form,” he said. “It soon slid into negativity when photographers started fighting with each other. I guess we were always looking for solutions outside of ourselves; we wanted the NGMA and the culture ministry to accept photography as art.” Panjiar believes that today, this debate about photography as an art form has finally closed. “We realised that trying to get acceptance was a futile exercise.”

Since then, there have been many advances in the world of contemporary Indian photography. Photojournalism is no longer the centre of the photography movement in India. Where before, most photographers were struggling with the simple task of earning a living, today, almost 80 per cent of the 200 people seated cramped in Casuarina Hall are independent photographers. Cameras no longer need to be smuggled into the country, and the digital revolution has made film redundant. Photography today has become the democratic medium it was always meant to be. The proliferation of magazines, websites, blogs, collectives, and the simultaneous expansion of gallery space to include photography, have helped foster the art form.

Finally, there is the possibility of a dialogue between the older and younger generations. The opening ceremony of the Delhi Photo Festival confirmed this. Organisers, Dinesh Khanna and Prashant Panjiar, founders of Nazar Foundation, a not-for-profit organisation conceived to mentor young photographers, took the backseat and instead of soaking in the credit, highlighted the contributions of a younger generation of photographers, including Sohrab Hura and Vidura Jung Bahadur, who had helped make the festival possible.

“This is a photographer’s festival,” said Jung Bahadur just before he began his talk at Casuarina. He was followed by Ravi Agarwal and Bartholomew, both established photographers. “I think it was Dayanita who said that this festival has brought about a healing for generations of photographers. This is truly an inclusive festival.”

“Dinesh and Prashant were the only ones who could do it,” said Rahman. “They’re the least threatening among all the older photographers.”

“It’s true,” said Panjiar. “We both have a good reputation and don’t seem to threaten anybody. We see ourselves as facilitators between the older generation and the younger generation whom we now want to take things further.”

This, then, is the way I read the photograph in question: Panjiar, carrying on his back the burden of the past. Rai and Bartholomew with palms outstretched, as if bestowing their blessings and delegating all responsibility. Das Gupta standing on the edge, as if he does not quite belong to the photograph. “I went to only one meeting of the Forum,” he said. “I found it too influential. This is the first time I’m actually interacting with the community, and it’s more for the sake of photography than any history with any organisation.” And finally, on the extreme right, Alam reaches out to Panjiar, the gesture of his hand at level with Panjiar’s, a sign that he’s been-there-done-that, single-handedly, almost. Through Chobi Mela, the photo festival he started, and Paatshala, the Subcontinent’s leading school for photography, Alam managed to create a photography movement in his oft-neglected country: Bangladesh.

FotoFest visionaries Fred Baldwin and Wendy Watriss honored by Center for Photography at Woodstock

It was the early nineties when I first met Fred and Wendy at their home in Houston. I continued to be awed by the phenomenal energy and passion of this wonderful couple. The award was long deserved.

The biennial Delhi Photo Festival 2011 is an initiative of the India Habitat Centre & Nazar Foundation to bring photography, the real democratic art form, into the public space, thereby creating awareness of photographic arts and initiating dialogue amongst its many practitioners and lovers.

Chobi Mela VI 2011

First of all, I would like to thank all 26 of the students in this workshop for being willing to undertake hard labor and endure pressure to push limits, break boundaries and grow. If have been critical in the beginning, it was because of my own passionate belief that they could succeed at a level they might not themselves imagine. I feel a responsibility to give them this opportunity to concentrate on what is most important, and to discover the joy in that hard, demanding work.

I am very happy that they now understand that photography is about self-discovery. I am pleased, and they should be pleased, about this wonderful work. This is their moment, and they should enjoy every bit of it.

A special thanks to Shehab, who has been very important in helping this to succeed.

Morten Krogvold
January 2011



By Jeremiah Foo

For those of you who didn’t come to Chobi Mela VI. Eat your heart out!

The end of the international photography exhibition Chobi Mela leads onto a two day Dhaka World Music festival – 4th and 5th February, 2011.

TIME : Friday 4th 3:pm – 11PM
Saturday 5th 3pm-11pm
Sultana Kamal Mohila Krira Complex. Dhanmondi

The first-ever Dhaka World Music Fest’ – February 4 – 5, 2011, brings the eclectic grooves and hypnotic rhythms of Cuban-funk, Afro-beat, Baul, Reggae, Pala and Bangla-Latin fusion to your ears like never before.

The 2-day musical extravaganza features a plethora of world-class musicians from home and abroad. The month of February is eternal in the heart of each and every Bengali people and celebrating this auspicious month through the Universal language of music goes far beyond our geographic periphery since 21st February is celebrated as ‘International Mother Language Day’ across the world.

The Dhaka World Music Fest promises to be Dhaka’s official yearly international music hotspot, ushering in its new era as World Music hub. This will be the ultimate international musicfest experience to captivate all music-lovers.

The Bands

Dele Sosimi Band – legendary Afro beat band from one of the originators of the Nigerian genre

Shahjahan Munshi – Master musician who brings the blues to baul

Motimba – fiery Cuban funk

Lalon band – Bangla folk rock fusion at its best

Rob Fakir – hypnotic contemporary Baul

Posted on February 2, 2011 by Chulie de Silva in Chobi Mela VI blog

Dhaka, Bangladesh. February 2, 2011: Chobi Mela VI – International Festival of Photography draws to a close on a high note after a two weeks long showcasing of creative talent in 29 print and 31 digital exhibitions. The last day to catch the exhibitions will be 3 February 2011 and they will be at the Bangladesh Shilpakala Academy, Alliance Francaise de Dhaka, The Asiatic Gallery of Fine Arts, The British Council, Drik Gallery, The Goethe-Institut and the Lichutola at Faculty of Fine Arts, University of Dhaka.

“The overwhelming sense of Chobi Mela VI in Dhaka, Bangladesh, in Asia at the beginning of what has been described as the Asian Century is one of potential. Huge creative potential, the potential to change the narrative of the global community, recast its mythologies and restate its essence,” says visitor Chris Riley from U.S.A.. “From Dhaka the stories must be different; they must be from a different perspective and in a different form. This is the Chobi Mela challenge: to emerge into the world and change it.”

Dhaka’s young band of photographers is more than ready to take up the challenge. There outlook is fresh and the creativity of their work is impressive. The euphoria, the excitement among the young and the veterans was palpable. The old hands were free with their advice but the young were not averse to arguing and holding on to their positions. A comment by Chris Riley sums up the festival aptly. “The brilliance of Chobi Mela persistently emerges as a near contact sport between the past and the future, old and young.”

Dr. Shahidul Alam, Festival Director recalls how people were incredulous when Drik decided to set up its own festival of photography, which would showcase the work of Bangladeshi artist alongside the most exciting work from the rest of the world. Against all odds the Chobi Mela festival has gone from strength to strength. “If impossibility is a criterion for success, then Chobi Mela has all the credentials,” says Alam.

To achieve this success Drik additionally used new technologies to include a global audience by live broadcast on Drik TV ( www.drik.tv) the inauguration at the National Theatre Auditorium, Bangladesh Shilpakala Academy and the evening presentations at Goethe Institut from 21-27 January.

To Debasish Shom, photography is the interpretation of a state of mind. He believes the physiological and emotional thoughts of the mind influence images greatly, and photographs act as a medium to unravel and express these thoughts.

A Bangladeshi photographer, Debasish Shom is a graduate from Pathshala South Asian Media Academy. Since childhood, Shom has always felt the need for a medium to aptly convey his emotions. When he graduated from university, he began taking interest in pictures and got admitted to Pathshala. Unlike many who have grown up with photographs, Shom’s first exposure of the art came through the institution.

Debashish Shom second from left at the special opening of four exhibitions at Drik 0n 23 January 2001. With him are (from Left to right) artist David de Souza, Chief Guest Kushi Kabir, Festival Director Shahidul Alam and artist Munem Wasif. Photograph Chulie de Silva

Soon, photographs and stories were beginning to take shape. His exhibition  at Chobi Mela VI, “Dhaka: My Dreams, My Reality” at the Drik Open Air Gallery is on till 3 February 2011.  It embodies the psychosomatic war between his dreams and reality. He portrays how a person under the influence of drugs perceives his space in the bustling city of the rat race. There is a sense of isolation, illusion, depression and emptiness everywhere that largely contradicts what one knows Dhaka city to be.

“When I photograph, I always try to redefine my space. What is seen and experienced is reconstructed and a contradiction created. That is how I feel I am most involved with space and matter.”

From the exhibition Dhaka My Dreams, My Reality by Debashish Shom

The exhibit encapsulates complex struggles into simple photographs that strike the viewers almost instantaneously. They are powerful and potent, providing an indiscreet insight into undiscovered realities. To interpret the mind’s transition and turmoil is exciting and difficult at the same time, and Shom has rather effortlessly captured it in his frames.

Shom has held exhibitions at Drik Gallery Bangladesh and Kiyosato Museum of Arts in Japan. His work was also showcased in Chobi Mela IV. As a successful artist, would Shom recommend a career in photography to others?

“If someone is passionate, I believe a career can be built through photography. There is a lot of opportunity in commercial photography that can be approached alongside documentary photography. I only speak from my experiences, and I still believe I can make it as a photographer. However, it is important rethink carefully before making up one’s mind in this field. There is a lot of hard work involved.”

With the rampant growth of digital technology, the field of photography has become increasingly competitive over the past few years. There are more people taking pictures now.

“I think it’s great so many people are taking pictures. It makes them value pictures. Photographs then become significant in their lives and they can appreciate the art better.”

Debasish Shom currently works for CANVAS – a fashion and lifestyle magazine.

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About Sabhanaz Rashid Diya

I’m a cranky, over-excited and lazy 18-year-old. I can suddenly “spark out” creativity and sleep non-stop for 12 hours. I also am frustrated (and in good moods, amused) by my own life. You can know more about me at 18forlife.wordpress.com

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