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The reading talks about Suresh Punjabis work, so here is a link to an online exhibition I found.
Link: https://suresh-punjabi.webflow.io/suresh-punjabi-map

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Sorry for the late submission, but this is what came in my mind as we were discussing the digital age and South Asia's visual culture. This picture is also a comic relief from what we've been dealing with so far.

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Week:14 Stunning graphic image is being shared on social media with the claim that it is the night view of an illuminated India captured by NASA during Diwali.

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Week:14 Stunning graphic image is being shared on social media with the claim that it is the night view of an illuminated India captured by NASA during Diwali.

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Source: https://www.indiatoday.in/fact-check/story/fact-check-all-that-glitters-is-not-diwali-1613464-2019-10-28

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New Year's Greeting Card by Bourne and Shepherd, 1973

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New Year's Greeting Card by Bourne and Shepherd, 1973

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Week:14 Kashmiri men lined d up and gathered outside while Indian army conducts Cordon And Search Operations (CASO) in their homes

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Week:14 Kashmiri men lined d up and gathered outside while Indian army conducts Cordon And Search Operations (CASO) in their homes

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Source- Instagram page of "Stand with Kashmir" (https://instagram.com/standwkashmir?utm_medium=copy_link)
Photo credit- Rafiq Maqbool

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Wandererchiara (30/05/2017). „The depth of colours, and of Indian look.” Instagram (14/07/2021).

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Wandererchiara (30/05/2017). „The depth of colours, and of Indian look.” Instagram (14/07/2021).

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Raj K Raj: Thousands Of Farmers Protest Centre's New Farm Laws, NEw Delhi, Delhi, India - 29 Nov 2020.

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Raj K Raj: Thousands Of Farmers Protest Centre's New Farm Laws, NEw Delhi, Delhi, India - 29 Nov 2020.

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Since the mid-1980s, Gayatri Chakravorty Spivak has split much of her working time between Columbia University-where she holds the post of University Professor in the Humanities-and a cluster of villages in the Indian state of West Bengal. There, about a day's travel by train and motorbike from Kolkata, she runs four elementary schools where teachers of primary school children, whose standard mode of instruction has traditionally been rote learning and memorization, develop critical thinking abilities.

Spivak's scholarly work has been wide-ranging and influential-encompassing Marxism, deconstruction, feminism, and post-colonialism. She was born in Kolkata (then Calcutta) in 1942, and moved to the US in 1961 to do graduate work at Cornell. In 1976, she translated into English Jacques Derrida's De la grammatologie ( Of Grammatology), including within it a lengthy translator's preface that itself soon became the subject of extensive inquiry and debate. Her 1988 essay Can the Subaltern Speak? examined feminist suicide and its misunderstanding within the family. First presented as a conference paper in 1983, it went on to become a formative text within postcolonial studies, and helped to popularize and develop the concept of the "subaltern," first coined by Antonio Gramsci in his Prison Notebooks to describe "social groups on the margins of history."

I spoke to Spivak shortly after her return from a trip to West Bengal in April. At the time of her visit, preparations were underway for state assembly elections. We spoke about the elementary schools and her past writings on education, as well as how young children and their teachers can develop an understanding that it is they, as citizens, who own the state. Since we spoke, West Bengal has become the site of violence between supporters of the incumbent Bharatiya Janata Party [BJP], led by Narendra Modi, and the opposition All India Trinamool Congress. On April 30, Trinamool won a resounding victory.
-Francis Wade
Francis Wade: In the villages in West Bengal you are, as you've put it previously, instructing primary school children in "rituals of democratic habits." What do you mean by that?

Gayatri Spivak: The intellectual problem I work through in the villages is how minds that for thousands of years have been denied the right to think independently can be taught a mode of intellectual thinking modeled on imaginative activism. I'm not lecturing students on democracy; I'm teaching them English, Bengali, arithmetic, geography-the West Bengali state curriculum. But it's the way in which we teach these subjects that matters. One of the things I do is try to make them feel that people who are really smart don't always answer the questions the teacher asks. If one looks at Fanon, he knows that one of the real problems in a post-colonial situation is the existence of leaders, and the aspiration to be a leader. What he's talking about, what I'm talking about, what Gramsci was talking about, is that in the usual, everyday structure of government, like that in the United States, there is this kind of leadership complex, and that's very harmful-it's totally undemocratic.

Down in the villages, the kind of bad leadership where leaders are almost always crooks-that's a part of the politics down there. So how do you mold the supple minds of children without lecturing them? How do you make them fall into the habits of knowing when to not fight to win? I try to make the students feel that it's only if you're a little stupid that you want to lead the class and answer the questions all the time. I do that by making them see that I'm not answering the questions, even though I know the answers. So that's a democratic habit-you get into the habit with me of not wanting to lead, or knowing that that wanting to lead is stupid.

FW: Are the students generally responsive to this style of teaching-and, even, your presence there? You are, after all, a Brahmin, working among very poor, marginalized communities, so there's a great disparity in terms of where you've "come from" and where they have.

GS: What I'm doing there is hands-on work where I want to learn if it's possible to undo a historical crime performed by my own caste, that of the creation of untouchability and the creation of a whole area of what upper caste communities perceive as inferior people. We [Brahmins] don't touch these people; we don't drink water with these people, even in the hottest weather; we deny even the smallest of children the ability to drink from the ponds that are supposed to be our ponds. These things are relaxing, but the internal feeling is not gone, and caste prejudice is active. If one takes the caste system seriously, as one should, then one realizes that the real problem is that they think it's normal that they are held down, because the caste system was made by God, not by human beings. As for concepts, such as "democracy," we're talking about ideas that have been around for a long time, but not for these people, who are the victims of the caste system and who think that the good ideas are held by us [higher castes].

FW: It often feels as if, under Modi, violence as a political instrument is more freely wielded than before. How do the children you interact with understand this linkage between violence and politics?

GS: I always start the classes by choosing a recent event. This time around it was the elections there, and the oldest ones in the class, who are about 10, will be voting in eight years. So I asked them what they think about the elections, and one of my smartest students, Ram Bhandari Lohar, aged 9, replied-in English, because I always begin by speaking to them in English-"Election is game." I said, "Okay good. Explain to me in Bengali what you mean by 'Election is game'-what sort of game?" I'm speaking to him very slowly. He says to me, in Bengali: "Fighting." You see there is so much violence there, and so on that level, not to know about party politics would be impossible. These kids don't remain kids as they do in the United States.

But this is one of the examples of our success in the villages. He was able to talk about something that has a much broader implication, one that we understand here [in the US]. Certain lawmakers and people in power are protecting themselves against a truth that this little boy was accessing, which is that the presence of violence in electoral politics is a global reality. It's not confined to those villages. We saw that on January 6 [the attack on the US Capitol by Trump supporters]. We learn more from the boy's answer than to diagnose that there is violence only in Indian villages.

FW: In your 2004 essay "Righting Wrongs," you stake your position in the long-running debate between Booker T. Washington and W.E.B. Du Bois more than a century ago over how subaltern communities ought to go about attaining social and economic enfranchisement. You wrote: "I go with W.E.B. Du Bois rather than Booker T. Washington: it is more important to develop a critical intelligence than to assure immediate material comfort." Can you explain your investment in that position?

GS: I have done a lot of work in China, and two years ago I was talking to women's groups in various provinces around Yunnan. All the provincial reforms they were telling me about were geared toward income production. What I was trying to say in "Righting Wrongs" is that Du Bois was making the point that rather than only emphasize education as a means to income production, it would be better to produce in the person an intelligence with which they can make a decision about whether they're going to go for income production rather than, for instance, for producing a will for doing good. The sentence which precedes that in "Righting Wrongs" is where I'm criticizing the United States: "The bounty of some US benefactor would be the sharp end of the wedge which produces a general will for exploitation in the subaltern." So when Paolo Freire says that without the pedagogy of the oppressed, the oppressed will want to become sub-oppressors, you know that the guy knows what he's talking about. He's not romanticizing the oppressed. That's what I'm also trying to say. And that was the opposition between Booker T. Washington and Du Bois.

FW: In the same essay, after a passage in which you detail failed attempts to get a tube well for a village from a local administration-and where you reject any would-be offer of the same equipment from a "remote international philanthropic source"-you write: "We want the children to learn about the heartlessness of administrations, without short-term resistance talk." Why is it necessary for them to learn this?

GS: Well, I was wrong in that essay. The evidence I got from [the villages where I worked that were featured in the essay] was sentimental. Once I moved to the area where my schools are now, which is much more like modern poor India than the anthropologically preserved "tribal" enclaves where they were being protected by a feudal former landowner, the nature of my evidence moved completely. My developed approach to this question is to point to the Rosa Luxembourg style of social democracy, where you actually use the state, rather than just thinking of the state as heartless, and telling the children that it's heartless. I think that was a mistake. And when I cross into the practical world, that's my basic method: learning from mistakes. So here, my most profound mistake was to think that we should just say, "Ah yes, the state is an enemy." Luxembourg, Gramsci-they considered the state both medicine and poison. You learn to use it so that it doesn't become a poison, even if the follow-up can be punishment. You become a citizen and confront the risks.

But I do teach the fact that the state still does things for them because of me, since I know people in the state of West Bengal. But what I tell the supervisors [at the schools] is that [state officials] should work for just you, because you are citizens. I say to them: "I'm your enemy. I am good, my parents were good, but two generations don't undo thousands of years of oppression. You have to be able to do without me." And that's claiming the state. Of course, again and again, it doesn't work; but I hammer it in constantly, and I must say, my two supervisors, with whom I've worked the longest, do try to confront the state on their own.

FW: Is government underfunding of education in India, or anywhere else, for that matter, merely a product of state indifference to whether or not poor students progress, or do you sense that it's something more purposeful: that the state actively seeks to maintain a class apartheid?

GS: The desire to keep the ruling class ruling is true for all social formations. I can't give a definite reason for the gap in the quality of education, each situation has individual factors involved, but one can argue that it is to keep the largest sector of the electorate without the kind of critical judgment that would allow them to actually understand voting and to understand that the state is not their enemy, but rather something they make. That a citizen actually owns the state is something that must be kept a secret from them. The state is not their enemy; it's their instrument that must be kept clean so that it can work.

The thinking might go like this: It's best to give the largest sector of the electorate material benefits from the top down. They'll become happy with this feudal benevolence from the top, and they'll elect tyrants. I tell my supervisors at the schools that they'll be given football fellowships, but the state will never do anything that will allow them to think independently. They can't think independently because they've been denied that by the upper castes for thousands of years and now of course by the current rulers. This is a useful thing to discuss with them: how to think independently, how to devise problem solutions, and so on, because that's all I'm trying to teach.

FW: Have the villagers been abandoned by the state? It's easy to assume that, given such levels of neglect, the state is altogether absent.

These subalterns are not at all kept away from the state. The state needs them; the state uses them. The state is everywhere-always on their case. In the villages, in order for them to not vote BJP, Trinamool [the opposition All India Trinamool Congress] has vaccinated all the villagers. The vaccination program isn't so good in Kolkata, but I was amazed to see that even the poorest of the poor have had their vaccines. So the state is everywhere. The poor can't access the privileges of citizenship, but they are constantly accessed.

FW: You've spoken forcefully on mass violence in Myanmar over the years. There is now a nationwide movement agitating against the military that seems to be continually pushing the limits of defiance. What does that evoke for you?

GS: What is happening in Myanmar is what Rosa Luxembourg called "spontaneity." It's not a psychological spontaneity; it's a social motivation produced by the weight and length of unmitigated oppression. There has been so much violence, so much exploitation, so much oppression for so long. These people have grown up in it, and they've lost the fear of death. They're really not afraid to die. This is a very peculiar thing. Fanon said as a psychiatrist that when you come to a place where the equality of lives is denied-that basic equality that makes us human-then it produces violence in extremis. But it also produces a condition whereby you're no longer afraid of death. And the subaltern speaks through dying, like [Mohamed] Bouazizi [Tunisian vendor whose killing sparked the Arab Spring], and like [George] Floyd.

But it won't last. David Roediger has a very good idea, what he calls " revolutionary time." He suggests that, during a time of great political urgency, as today in Myanmar, people do many urgent things, perhaps even lose the fear of death. Yet while "revolutionary time" is very intense, it has no capacity to last; nor can you base a permanent political structure of change on this enhanced time. And as Gramsci said, you can't use incandescent political passion to produce permanent political structures. So while something unusual has happened in Myanmar, we cannot necessarily think it's going to last. Remember that Tunisia couldn't keep it, and Egypt couldn't keep it. We shouldn't hope too soon, but it's a powerful thing. Our role is not to just watch it, but to join if we can as an international voice.

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Gayatri Spivak: 'The Subaltern Speaks Through Dying'

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Since the mid-1980s, Gayatri Chakravorty Spivak has split much of her working time between Columbia University-where she holds the post of University Professor in the Humanities-and a cluster of villages in the Indian state of West Bengal.

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Travelandstayindia (18/06/2021). “What are your thoughts on waking up to this view? We’d be definitely stoked.” Instagram (14/07/2021).

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Travelandstayindia (18/06/2021). “What are your thoughts on waking up to this view? We’d be definitely stoked.” Instagram (14/07/2021).

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Week 13: conservancy workers, photo story by Sudharak Olwe

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Week 13: conservancy workers, photo story by Sudharak Olwe

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by: Sudharak Olwe
Tea Garden Labourers (TGL) make up about 20 percent of the population of Assam, which produces more than half of India’s tea. The ancestors of the current TGLs were tribals and backward castes brought in from neighbouring states and forced to work on the British plantations as indentured labourers from the mid-nineteenth century to the mid-twentieth century. At that time, they were little more than slaves, with no rights, no freedom and minimal access to medicines or education. Even today, they are among the most exploited and under-developed communities in the state. Reports estimate the TGL population to be around 6.5 million, a large number of which still lives in quarters provided by the 800-odd tea estates across Assam. These workers earn just about Rs 167 per day, with a few benefits and accommodation. They are not integrated into the Assamese populace, as the high-caste Hindus look down upon them as interlopers. The women are especially at the lowest end of the chain. Many of them have to cope with violence in the home from husbands addicted to country liquor, work through their pregnancies, return to work soon after childbirth thus denying their babies proper nutrition through exclusive breastfeeding, and also have to face sexual harassment from plantation managers and other authority figures. Some of them who don’t have extended family, are forced to take their babies to the tea plantation as they have no access to daycare facilities. Although they make up the largest female workforce in the country, they don’t have representation that empowers them to bring about change.

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Week 13 (2): India (1950): 'The Wages of untouchables are wrapped in a leaf and dropped from a safe distance into their hands'. This picture was taken by Margaret Bourke-White for LIFE Magazine in 1950.

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Week 13 (2): India (1950): 'The Wages of untouchables are wrapped in a leaf and dropped from a safe distance into their hands'. This picture was taken by Margaret Bourke-White for LIFE Magazine in 1950.

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https://www.instagram.com/p/BdfE2OdAQ6p/?hl=af

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Week-13 (1): T R Bishwakarma From the cover of ‘Dalit: A Quest for Dignity’.                      T R Bishwakarma gives a speech after the arrival of Muluki Ain in Kathmandu, 1963.                                  Source: Mithai Devi Bishwakarma / Nepal Picture Library

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Week-13 (1): T R Bishwakarma From the cover of ‘Dalit: A Quest for Dignity’.                      T R Bishwakarma gives a speech after the arrival of Muluki Ain in Kathmandu, 1963.                                  Source: Mithai Devi Bishwakarma / Nepal Picture Library

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https://caravanmagazine.in/vantage/pictures-dalit-quest-dignity-nepal

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Week 13: Dr. Ambedkar delivering his historic speech “Buddha and Karl Marx” on Nov 20, 1956 before delegates of the 4th World Buddhist Conference held at Katmandu, Nepal.

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Week 13: Dr. Ambedkar delivering his historic speech “Buddha and Karl Marx” on Nov 20, 1956 before delegates of the 4th World Buddhist Conference held at Katmandu, Nepal.

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Week 13: Classes in Photograph : Rabindranath Thakur with bunch of Santals

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Week 13: Classes in Photograph : Rabindranath Thakur with bunch of Santals

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https://bangalianaa.com/#prettyPhoto/0/

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Week 13: Dalit Housing, photograph by G.R. Pradhan, 1938

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Week 13: Dalit Housing, photograph by G.R. Pradhan, 1938

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Week 13: Lady Ottoline Morrell, 'A school of untouchables near Bangalore', January-March 1935. National Portrait Gallery Ax143753.

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Week 13: Lady Ottoline Morrell, 'A school of untouchables near Bangalore', January-March 1935. National Portrait Gallery Ax143753.

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Screenshot 2021-07-07 at 19-32-36 'A school of untouchables near Bangalore' - National Portrait Gallery

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Dalit Woman, Bombay (Mumbai), 1942.

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My maternal grandparents, the Maharaja & Maharani of Devas, my mother, uncle and great grandmother. Bombay. Circa 1931

Image and Narrative points contributed by Cory Walia, Mumbai

This picture is of my mother, the little girl in the center, and her immediate family taken around 1931 or 1932 in a British photo studio in south Bombay [maybe Kalbadevi]. There is no stamp on the photograph so I can't tell which studio it may have been. My grandfather in this picture brought his family to Bombay specifically for having a series of photographs taken in the studio. He was very fond of studio portraiture and would travel to Bombay often to get his pictures taken.

My grandfather, His Highness Malhar Rao Narayan Rao Puar was a King of a small kingdom in now Madhya Pradesh, near Indore called . Originally his family were Rajputs who like several of the other Rajput nobility embraced the Maratha/Peshwa fold and began adopting the Maratha language and customs in addition to their Rajput heritage. His family claimed to be descendants of Vikramaditya, the legendary emperor in ancient India. I hope it's true.

Seated on the extreme right is my maternal great grandmother, a lady called Krishna Rao Salgaocar. She was a commoner and belonged to the erstwhile Devadasi tradition from the Devadasi house of Saligao in Goa. In this photograph, she wears black (or navy blue) because she considered herself to be a widow of the father of her children, who while alive was a leading businessman of that time but refused to accept his children as legitimate - as was usual at the time when it came to relationships or children with Devadasis. The social status of the Devadasis had gradually fallen from tradition of respectability and equality over the centuries.

On the extreme left is her daughter, my grandmother, the lady who partially raised me and inculcated in me the love for art, mythology and cooking. She was born a Devadasi and was named Indira Salgaocar. Devadasis couldn't take the last name of the men they were with, so they took the name of the house that they belonged to. My great grandmother belonged to the Salgaocar house from Saligao - one of the two villages in Goa who produced some of the most beautiful and most famous of Devadasis. The other village was Mulgao.

My grandfather, the King was an early widower with no children, and so someone in court sent to him my grandmother, a young beautiful woman as a diversion and to keep him company. He found my grandmother to be a beautiful, sprightly, lively, ambitious and a highly intelligent woman. She was immensely attractive to him as a companion. Given that she was a Devadasi's daughter she was skilled in all sorts of arts, crafts, and cooking - a woman of multiple talents. He fell in love with her head over heels and decided that protocol will be damned. He married her in 1915, and made her his queen, his Maharani. As long as he was alive, no one could question him or say anything, but given that my grandmother was a commoner, the British called it a Morganatic marriage - A marriage of unequal social rank that would prevent the passage of the husband's titles and privileges to the wife and any children born of the marriage.

When Indira married my grandfather she became Her Highness Prabhavati Raje Puar - a new name that was chosen for her based on her horoscope as per Maratha customs. In front of my grandfather are their two children, my mother Princess Shashiprabha Raje Puar, age 10 and her brother, age 12, my uncle, Prince Martan Rao Malhar Rao Puar.

Two years after this photograph was taken, my grandfather, the king suddenly passed away and my grandmother and her kids were banished from the kingdom of Dewas. The marriage to the king no longer had a place in their society and the throne of the Kingdom of Dewas was succeeded by my grandfather's step-brother.

My grandmother, the banished Maharani along with her two children and some personal assets moved to Bombay - They first lived in Walkeshwar, then in Gamdevi and lastly in Colaba until the 1980s. For a while, they lived off their personal assets of gold, silver, cars and jewels, but in time all the wealth was spent and the world too had changed. My uncle, the Prince in the photograph served with the British Army until his death at the age of 51. He was a really gentle and a very nice man.

My mother Shashi too grew up to be a beautiful and an amazing woman. She met my father Kanwaljeet Singh also known as Cammii, at a ball dance at the Taj Mahal Palace Hotel in the 1940s. They fell in love, eloped and got married in a temple in 1942. They had two daughters but soon realized that a temple marriage was not recognized by the court of Indian law and my father had to move the Supreme Court of India to get the law changed and make his marriage legally recognised.

After I was born and my parents got divorced, my mother worked in my school as a nursery teacher, then in a passenger liner as a children's stewardess. Considering the reality checks in her life, my mother was pragmatic enough to handle her past as a royal princess and her humble life after, with utmost grace.

There have been people who have pointed out the scandalous past of my maternal family and I have shown them the door. I think the women in my family were strong, individualistic and beautiful women who made the best of their lives. Many people in India are embarrassed to talk about their Devadasi origins because society and history don't look very kindly upon it, but it was their reality - and yes, it was highly exploitative state of affairs. Some of our early singers and actresses in Indian Films came from the Devadasi tradition because they couldn't afford to be ashamed. They were forward and bold women who decided to earn their own keep. I don't see the frowning upon as justified, but everyone is entitled to their own point of view. I have fashioned my own life upon not caring about society's opinions, and it has worked out just fine.

Earlier, when I looked at this photograph I used to feel a sense of lost glory, but now I feel great pride in my ancestry. My grandfather was a good man, a spiritual man and he didn't care that his wife came from the background of a Devadasi. He was proud and happy to have her as his wife and welcomed his mother-in-law, also a Devadasi, in his palace. Not many people would have the gumption to do that, even today.

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The Devadasi who became a Maharani | INDIAN MEMORY PROJECT

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Image and Narrative points contributed by Cory Walia, Mumbai This picture is of my mother, the little girl in the center, and her immediate family taken around 1931 or 1932 in a British photo studio in south Bombay [maybe Kalbadevi]. There is no stamp on the photograph so I can't tell which studio it may have been.

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Week 12: Kodak Ad, 1956 in 'The Times of India'

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Week 12: Kodak Ad, 1956 in 'The Times of India'

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Week 12: The Fashionable Soul Sisters Of The 70s

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Week 12: The Fashionable Soul Sisters Of The 70s

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Image and Narrative contributed by Juhi Pande, UK / Mumbai
https://www.indianmemoryproject.com/48-3/

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"Tulsipur Airport, 1967. Dwarika Nath Dhungel (third from left) and a classmate have found willing partners for a photograph in two young Tharu women. The women had no qualms about complete strangers putting their arms around their shoulders. Perhaps they were too excited at the prospect of getting photographed to mind that. Dhungel believes it was down to their innocence."

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Kshirode Behari Mullick and his 5 brothers posing for a family photograph.
Source- http://www.museumofmaterialmemory.com/a-secret-history-of-the-mallik-family/

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From my family album: Mr Dadasaheb Torne and family (https://en.wikipedia.org/wiki/Dadasaheb_Torne)

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Week 12: Lafayette Studios [artist unknown], Prince of Morvi, 1933, in: Sarmaya Archive, No. 2017.39.15.

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Week 12: Lafayette Studios [artist unknown], Prince of Morvi, 1933, in: Sarmaya Archive, No. 2017.39.15.

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Indian use of photography --> overpainting
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Week 12: My paternal grandmother, Damyanti Thakur. Nitther, Kullu district, Himachal Pradesh. Circa 1978.

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Week 12: My paternal grandmother, Damyanti Thakur. Nitther, Kullu district, Himachal Pradesh. Circa 1978.

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(My grandmother, the landowner | INDIAN MEMORY PROJECT)

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From my family album, 1984, 1968, 1960

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On September 2, 2015, the lifeless body of 3-year-old Aylan Kurdi was found on a beach near the resort town of Bodrum, Turkey

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On September 2, 2015, the lifeless body of 3-year-old Aylan Kurdi was found on a beach near the resort town of Bodrum, Turkey

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Image: AP

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original caption for LIFE in 1947: "Misery of the dispossessed is reflected in the face of this Moslem boy, perched on the wall of the Purana Qila fortress in New Delhi. Below him thousands of this unhappy fellows, who have fled their homes in terror, are trying to survive until they can organize a convoy for the long march to Pakistan. In their squalid city of tents and lean-tos they have almost no room to sleep and little to eat. They are surrounded by filth and many will die without ever leaving camp."
source

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Week 11: The Royal Indian Navy Mutiny of 1946

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Week 11: The Royal Indian Navy Mutiny of 1946

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The INC and the Muslim League condemned the mutiny, while the Communist Part of India  was the only party that supported the rebellion.
Source: The Times of India archives

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Week 11: Worli tribals, Maharashtra. Credit: Sunil Janah (from the Swaraj Art Archive)

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Week 11: Worli tribals, Maharashtra. Credit: Sunil Janah (from the Swaraj Art Archive)

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Communist party worker pins a paper ‘Red Flag’ on a worker to make her a Red Flag member of the CPI. (https://thewire.in/culture/bringing-alive-the-lost-worlds-of-sunil-janah)

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Week 11: Viceroy of India, lord Mountbatten with lady Mountbatten return to India after attending Pakistan's independence 1947

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Week 11: Viceroy of India, lord Mountbatten with lady Mountbatten return to India after attending Pakistan's independence 1947

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Ann Ronan Picture Library
https://www.alamy.com

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Week 10: Jinnah at his last Press Conference before leaving for Pakistan; August 1947, Image Source: Homai Vyarawalla Archives, Alkazi Collection of Photography

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Week 10: Jinnah at his last Press Conference before leaving for Pakistan; August 1947, Image Source: Homai Vyarawalla Archives, Alkazi Collection of Photography

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Week 10: Homai Vyarawalla, The first unfolding of the Indian flag at Red Fort, Delhi, by Prime Minister Nehru on Aug. 16., 1947.

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Week 10: Homai Vyarawalla, The first unfolding of the Indian flag at Red Fort, Delhi, by Prime Minister Nehru on Aug. 16., 1947.

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source

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Screenshot 2021-06-23 at 23-39-30 India's First Female Photojournalist Captured A Nation In Transition

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Week 11: Margaret Bourke-White. Two Muslim men (in a rural refugee train headed towards Pakistan) carrying an old woman in a makeshift Doli or palanquin. 1947. 

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Week 11: Margaret Bourke-White. Two Muslim men (in a rural refugee train headed towards Pakistan) carrying an old woman in a makeshift Doli or palanquin. 1947. 

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Photography as agency? Refugee photograph their journeys.

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Photography as agency? Refugee photograph their journeys.

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https://petapixel.com/2016/03/25/refugees-photograph-journeys-disposable-cameras/

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source:https://www.history.com/news/gandhi-salt-march-india-british-colonial-rule

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Week 10: after the Jallianwalla Bagh Massacre in 1919, photograph by Narayan Vinayak Virkar

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Week 10: after the Jallianwalla Bagh Massacre in 1919, photograph by Narayan Vinayak Virkar

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source

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Week 10: Homai Vyarawalla: A show of hands: voting for Partition. Delhi, June 1947 | The Alkazi Foundation for the Arts

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Week 10: Homai Vyarawalla: A show of hands: voting for Partition. Delhi, June 1947 | The Alkazi Foundation for the Arts

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Irish-American fashion model Barbara Mullen poses for British Vogue for British Vogue, November 1956.
Photographer- Norman Parkinson
Source- https://shaadiwish.com/blog/2017/02/24/these-rare-photos-of-india-featured-in-vogue56-are-stunning/

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A soldier of Muktibahini. Photo: Raymond Depardon / Magnum Photos

https://www.thedailystar.net/freedom-in-the-air/photos

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Ariel Varges [possibly], unknown title [a photograph of the Guru-ka-Bagh incident in Amritsar in 1922], 1922, Nehru Memorial Library, Delhi 23088.

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Week 9: Bangladesh: A Brutal Birth by Kishor Parekh (published in 1972)

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Week 9: Bangladesh: A Brutal Birth by Kishor Parekh (published in 1972)

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Indian troops searching for weapons.

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Week 9: ‘A lesson in salaaming’: Local residents being ‘taught’ to show respect to Europeans in 1919 (Picture: Private collection)

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Week 9: ‘A lesson in salaaming’: Local residents being ‘taught’ to show respect to Europeans in 1919 (Picture: Private collection)

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Famine victims, Bangalore: Albert Thomas Watson Penn: 1877-1878:  Ethnological Museum, Berlin

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Famine victims, Bangalore: Albert Thomas Watson Penn: 1877-1878:  Ethnological Museum, Berlin

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Penn took this image during the Great Famine of South India, that took place under British rule. All the figures are positioned in the front of the dark interior, which makes a high contrast with the figures, and brings them closer to the viewer. The outline of the skeleton is visible here. The viewers will be struck by the ribcage beneath the skin. Interestingly, this image was retouched by the photographer to highlight the skull and ribcage.

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Beharby Dorothy Wildingchlorobromide print on tissue and card mount, 1928

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Wedding Portrait of an Indian couple, c. 1920-1940

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Wedding Portrait of an Indian couple, c. 1920-1940

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gelatin silver print and watercolour,
unknown photographer and artist
source

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Untitled by Manobina Roy | Courtesy of Joy Roy 

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Untitled by Manobina Roy | Courtesy of Joy Roy 

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Nautch girl dancing with musicians accomp. Calcutta, India

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Nautch girl dancing with musicians accomp. Calcutta, India

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ca Before 1900s
Source: Library of Congress

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week 8: typical Bangladeshi marriage 1960's

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week 8: typical Bangladeshi marriage 1960's

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Unknown Photographer, Princess Muktamba Bai (b. 1846, r. 1855-1885) of Tanjore, c. 1860.

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Unknown Photographer, Princess Muktamba Bai (b. 1846, r. 1855-1885) of Tanjore, c. 1860.

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in: Pramod Kumar KG, Posing for Posterity: Royal Indian Photographs, (New Delhi: Lustre Press, 2012), p. 81

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Week 8: Love marriage in Calcutta by Malavika Karlekar, 1931, © Courtesy Malavika Karlekar from the Center for Women's Development Studies New Delhi.

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Week 8: Love marriage in Calcutta by Malavika Karlekar, 1931, © Courtesy Malavika Karlekar from the Center for Women's Development Studies New Delhi.

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'Men leaving their villages to walk to relief centers in the district towns', Andhra Pradesh
source

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Burmese Dacoits Readied for Execution by Willoughby Wallace Hooper, 1880s, Princeton University Art Museum

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Burmese Dacoits Readied for Execution by Willoughby Wallace Hooper, 1880s, Princeton University Art Museum

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Week 7: "Cooks at Relief Camp (not slowing!)" by Willoughby Wallace Hooper, 1876-1878, Albumen silver print, The J. Paul Getty Museum

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Week 7: "Cooks at Relief Camp (not slowing!)" by Willoughby Wallace Hooper, 1876-1878, Albumen silver print, The J. Paul Getty Museum

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In 1994, South African photojournalist Kevin Carter received the Pulitzer Prize for his picture of a starving girl stalked by a vulture. Weeks later, he carried out a terrible, desperate act - an act that embodied the anguish of an entire nation

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Willoughby Wallace Hooper, Grain Cart Drawn by Coolies, 1876–1878, Albumen silver print, The J. Paul Getty Museum, 84.XO.940.7.4.

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Willoughby Wallace Hooper, Grain Cart Drawn by Coolies, 1876–1878, Albumen silver print, The J. Paul Getty Museum, 84.XO.940.7.4.

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Beneath the photography he writes:
" Nearly all the Cattle in the / district having died."

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Hooper, Willoughby Wallace: Child Born of Famine-Stricken Mother - Age: 3 months, Weight: 3 lbs.1876-1878       Medium: Albumen silver print. The J. Paul Getty Museum

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Hooper, Willoughby Wallace: Child Born of Famine-Stricken Mother - Age: 3 months, Weight: 3 lbs.1876-1878       Medium: Albumen silver print. The J. Paul Getty Museum

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Week 7: Here's the same imagine as an etching.

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Week 7: Here's the same imagine as an etching.

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Week 7: Willoughby Wallace Hooper, The Last of the Herd, Madras Famine, India, 1876-78, Albumen print, Royal Geographic Society London.

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Week 7: Willoughby Wallace Hooper, The Last of the Herd, Madras Famine, India, 1876-78, Albumen print, Royal Geographic Society London.

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Week 6: Maharaja Jang Bahadur and Maharani Hiranyagarbha, Nepal, ca. 1875. Photograph by Bourne and Shepherd, Ethnological Museum, Berlin

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Week 6: Maharaja Jang Bahadur and Maharani Hiranyagarbha, Nepal, ca. 1875. Photograph by Bourne and Shepherd, Ethnological Museum, Berlin

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Maharaja Jang Bahadur and Maharani Hiranyagarbha. The self-confident Maharaja is holding his sword and not looking towards the viewer; he is looking somewhere far away. His crown and jewelry express the splendor. Beside him, the Maharani is sitting, wearing a shiny dress. Beside them is an ornamental table. It was interesting that early Indian portrait photography was also influenced by the British style and manner, especially in the composition of the photograph. This photograph reminds us of the Victorian family picture composition. Also, the seated Maharani beside the Maharaja gives a brief glimpse at her lower status. The circulation of these sorts of images served two important purposes. Firstly, these images gave a visual impression of the magnificence of the Indian subcontinent under colonial rule. In a comprehensive view, it also gives the viewer an opportunity to compare the life of the common people to the Maharaja or Zamindar, and see how high a contrast it is.

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Week 6: Ahmad Ali Khan, Nawab Raj Begum Sahibah of Oudh, c. 1855, in: Pramod Kumar KG, Posing for Posterity: Royal Indian Photographs, Delhi Books, Roli, 2012, p. 103.

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Week 6: Ahmad Ali Khan, Nawab Raj Begum Sahibah of Oudh, c. 1855, in: Pramod Kumar KG, Posing for Posterity: Royal Indian Photographs, Delhi Books, Roli, 2012, p. 103.

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Week-6 The Princes of Orissa, c.a 1870.              "The Colonial Eye: Early Portrait Photography in India" in the Museum of Photography in Berlin. 

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Week-6 The Princes of Orissa, c.a 1870.              "The Colonial Eye: Early Portrait Photography in India" in the Museum of Photography in Berlin. 

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Source: Francis Firth & Co (1865-1893)
Albumen print 20.2 x 16.5 cm

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Week 6: Portrait of Nawab Shah Jahan Begum, G.C.S.I., of Bhopal, Bourne & Shepherd Studios, Woodburytype, London, 1877.

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Week 6: Portrait of Nawab Shah Jahan Begum, G.C.S.I., of Bhopal, Bourne & Shepherd Studios, Woodburytype, London, 1877.

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Maharaja Sawai Ram Singh II, Self-portrait with dogs,c. 1870. Digital print from an original wet collodion. Glass plate negative. Maharaja Sawai Man Singh II Museum Trust.

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Maharaja Sawai Ram Singh II, Self-portrait with dogs,c. 1870. Digital print from an original wet collodion. Glass plate negative. Maharaja Sawai Man Singh II Museum Trust.

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Week 6 (2nd post): Royal Women in Royal Photography

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Week 6 (2nd post): Royal Women in Royal Photography

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Princesses Kumudini (left) and Nalini (seated right), daughters of Monmohini Devi, in formal Indian costume. Photographed by Bir Chandra Manikya. Platinum palladium print. c. 1890.

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Week 6 (1st post): Royal Women in Royal Photography

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Week 6 (1st post): Royal Women in Royal Photography

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Maharani Monmohini Devi. The Maharani posing like British QuePrincesses Kumudini (left) and Nalini (seated right), daughters of Monmohini Devi, in formal Indian costume with European influences. Photographed by Bir Chandra Manikya. Platinum palladium print. c. 1890.en Victoria in what appears to be an eclectic and creatively staged shot. c.1890. Photographed by Raja Bir Chandra Manikya. Platinum palladium print.

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Traces of ethnographic photography in contemporary times? Photo by Matthieu Paley 2018

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Traces of ethnographic photography in contemporary times? Photo by Matthieu Paley 2018

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https://www.instagram.com/p/BksDaH2gqW5/

'Speaking the local language has been a blessing and a curse, for me a necessity. Wakhi is rarely spoken by foreigners and it took me years to pick it up, often during long treks. Entering a home, saluting “mum”, greetings my “sisters”, I always have to go through a round of questioning, it can be endless... Having the mouth of a foreigner wording their words, some more intimate than others, can be a source of laughter and surprise - sometimes suspicion. It’s definitely a great kick, but if I start playing with it then the attention stays on me and I don’t want that. Given time, the dust eventually settles, and I get taken into the intimacy of the words I used, a gift for taking time. On assignment for @natgeo with @outofedenwalk #slowphotography #wakhi #anotherafghanistan'

https://www.instagram.com/p/BksDaH2gqW5/

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"Group portrait of five women and one boy, posing in front of a tent. Three of the women and the boy, possibly the wives or daughters and son of Maharaja Sir Jung Bahadur Rana, the first Prime Minister of Nepal, are seated and wearing intricate headpieces. A female attendant stands on either side of the seated group."
(Artist/Maker: Bourne & Shepherd
Medium: Albumen Silver Print)
Source: The J. Paul Getty Museum

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Kamars, Blacksmith of Bihar, represented working is different sectors in different region, like goldsmith in Bihar and potter in Bengal. But in actual Kamar and Sonar/Goldsmith are different people in profession. The class deviation is presented that, Brahmins may drink water from Kamars hand, but not Sutars. In actual the class deviation of the people who worship Vishwakarma is a complex discussion. They used to claim they are descendants from Vishwakarma and they are Brahmins too. Drinking water is differently practiced in different places.

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'People of Nepal' by Dor Bahadur Bista, first published in 1967 (reprint of 2nd edition in 2015)
The book claims to 'present' all larger ethnic groups of Nepal, mainly in texts, but also in photographs. Here two statements:

"The requirements of living and farming in Manjh-Kirant [...] make the Rais a hard working people." (p. 38)
"Rais are renowned for their bravery, fearlessness and straight forwardness. They are also said to be proud and easily offended, and therefore have the makings of good friends and serious enemies." (p. 39)

(photography source: photographed from page 37 of the 2nd edition of the book, photograph taken by Dor Bahadur Bista)

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Week 4: The People of India, albumen print, probably by Clarence Comyn Taylor

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Week 4: The People of India, albumen print, probably by Clarence Comyn Taylor

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Title: 'Magar or Muggur, military tribe, Nipal'
(ethnic group of Nepal)
Source: Digital Collections of the New York Public Library

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Week 4: Anonymous, ‘Goojur [Gujar] Landholder’, in: The People of India, 3 vol., plate 157, albumen print 1868.

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Week 4: Anonymous, ‘Goojur [Gujar] Landholder’, in: The People of India, 3 vol., plate 157, albumen print 1868.

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The authors of “The People of India” described the ethnic group of Gurjars as political unreliable. The text of this plate goes as follows:

"They are the clans folk of the Goojur who made themselves so notorious at Meerut in 1857 [and] are described as indifferent characters, and for the most part bad cultivators, given to petty thievery and cattle lifting and resorting to indiscriminate plunder in times of disturbance.”

(cit. from Pinney, Christopher: Camera Indica. The Social Life of Indian Photographs, London 1997, p. 37)

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Week- 4 E. H. Man with five Andamanese, measuring pole in Background. 1878

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Week- 4 E. H. Man with five Andamanese, measuring pole in Background. 1878

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Copyright reserved by Pitt Rivers Museum, University of Oxford.
Place: Andaman and Nicobar Islands (Union Territory of India)
Information-
-E.H. Man was a British administrator and anthropologist.
-Age of the Andamanese from left to right- 17,22,18,16,25 years.
Source: https://pittrivers-photo.blogspot.com/2014/10/general-pitt-riverss-photograph.html

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Week 4: „The people of India“ Volume 2, published in 1868

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Week 4: „The people of India“ Volume 2, published in 1868

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Title: “Tun Sookh Doss. Hindoo Religious Mendicant. Allahabad.”
Unknown photographer,
plate 103
Source:https://archive.org/details/peopleofindiaser02greauoft/page/n173/mode/2up

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Felice Beato, Hodson's Horse Regiment, Albumen Print, 1858. This was the image I was looking for last week, to compare with the Samuel Bourne 'Hunters and Trophies' image.

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Week 4:              Kavere Boys (photograph from Expedition Riebeck), 1881, Ethnological Museum, Berlin, Photographer: Carl Wilhelm Rosset (?)

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Week 4:              Kavere Boys (photograph from Expedition Riebeck), 1881, Ethnological Museum, Berlin, Photographer: Carl Wilhelm Rosset (?)

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A large number of anthropometric photographs from South and Southeast Asia that are archived at the Ethnological Museum, Berlin came from Emil Riebeck (1853-1885) . He traveled to the Indian subcontinent in 1881. Riebeck’s approach was to collect detailed information about the ‘specimen’. For example, he used to stick a photograph on cardboard and record the date and location, as well as the tribe, name, age, skin color, skin texture, color of hair and iris of the subjects on each piece of cardboard. Besides this detailed information, his photographs came with the stamp: ‘Expedition Riebeck, Halle a. d. Saale (Allemagns)’. Such detailed complementary information is rarely found within the Ethnological Museum, Berlin’s India collection. In addition to detailed information, Riebeck also disclosed how he collected these photographs. He traveled to Chittagong (now in Bangladesh) in January 1882 to write his report The Hill Tribes of Chittagong (Die Hügelstämme von Chittagong). Riebeck in this report also describes his brutal trick of how he took his photographs. He wrote:
"‘...very few could resist the temptation of an open liquor bottle. I manufactured the liquor myself, by diluting grain alcohol with water and adding burnt sugar. The drink was tasty enough to satisfy their undiscerning throats. As a result, they not only gave me a great deal of their equipment but they also allowed me to take body measurements, and acquiesced to being photographed by my companion Rosset"

During Riebeck’s three-year expedition, he collected an extensive number of photographs and objects. Besides the Ethnological Museum, Berlin, these objects are also in collections in museums in Dresden, Vienna and Weimer. Riebeck donated his collection to the Royal Museum of Ethnology, and the Berlin Museum of Art and Design. On the occasion of Riebeck’s generous donation, these two museums organized an exhibition of his collection, from November 1883 to February 1884 in the atrium of the Berlin Museum of Art and Design.

Source: Specht, Katrine. 2012. "'The Repeated Ransacking of Unbidden Hands'." In The Colonial Eye: Early Portrait Photography in Inida, edited by Ludger Derenthal, Raffael Dedo Gadebusch and Katrin Specht, 19-23. Leipzig: Koehler and Amelang.

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Week 4: Anonymous, Naga People, India, 20th century

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Week 4: Anonymous, Naga People, India, 20th century

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Week 3: A Villager Selling Plantains, Sri Lanka, c. 1890 

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Week 3: A Villager Selling Plantains, Sri Lanka, c. 1890 

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Los Angeles County Museum of Art, gift of Gloria Katz and Willard Huyck, photo © Museum Associates/LACMA

Idle or waiting? How does the caption inform our perception as a spectator?

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Samuel Bourne, Hunters and Trophies, India, 1860s

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Samuel Bourne, Hunters and Trophies, India, 1860s

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An illustration of the moral superiority of the 'Englishmen'?

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hunters and trophies. India, 1860s. Samuel Bourne

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Bourne & Shepherd was an Indian photographic studio and one of the oldest established photographic businesses in the world. Established in 1863, at its peak, it was the most successful commercial firm in 19th-and early 20th-century India, with agencies all over India, and outlets in London and Paris, and also ran a mail order service. A devastating fire in 1991 destroyed much of the studio's photographic archive and resulted in a severe financial loss to the firm. The long-term impact of the fire, legal difficulties with the Indian government, which owned the studio building, and the increasing dominance of digital technology, finally forced the studio's closure in June 2016. At its closure, the studio had operated continuously for 176 years.
Source Wikipedia

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Week-3: Samuel Bourne, Haridwar from opposite bank of the Ganges, 1866.

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Week-3: Samuel Bourne, Haridwar from opposite bank of the Ganges, 1866.

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View of the city of Haridwar from the bank across the Ganges River. Two figures stand on the bank in the foreground, one bending over to pick something up off the ground. A third figure can be seen standing on the bank farther out towards the river.
Collection: Strachey Collection of Indian Views
Medium: Albumen silver print.
Source: British Library.

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Week 3: Samuel Bourne, Vishnu Pud and Other Temples near the Burning Ghat, Benares, circa 1865, Albumen Silver Print, 

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Week 3: Samuel Bourne, Vishnu Pud and Other Temples near the Burning Ghat, Benares, circa 1865, Albumen Silver Print, 

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Week 3: View on the Mall, Simla, 1863, by Samuel Bourne

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Week 3: View on the Mall, Simla, 1863, by Samuel Bourne

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photograph of the hill station Simla (also: Shimla) in today's Himachal Pradesh, India
(albumen print from wet collodion glass negative, pasted into album)
[found in the collections of the Victoria & Albert Museum]

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Week 3. Samuel Bourne, Ghat at Benares, unknown date, Albumen print, Scottish National Portrait Gallery, PGP R 1024.16. 

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Week 3. Samuel Bourne, Ghat at Benares, unknown date, Albumen print, Scottish National Portrait Gallery, PGP R 1024.16. 

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Week 3: St. Joseph’s Church, Lucknow, 1870s, by Samuel Bourne

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Week 3: St. Joseph’s Church, Lucknow, 1870s, by Samuel Bourne

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The vegetation as well as the architecture of the church gives no evidence that this is a location in India.

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It is the same Tajmahal that we know, an example of how far can framing take a photograph

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The Bourne & Shepherd Studio 2016 before shut down.

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Postcard from the 'Festival of Empire', 1911 (week 02)

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Postcard from the 'Festival of Empire', 1911 (week 02)

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Chaudhary (2012) uses world exhibitions / colonial exhibitions as an example of the visibility of colonies
[reference]

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short video showing the making of a daguerreotype

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How was it made? The Daguerreotype | V&A

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Week 2: Gurkhali Soldiers led by Jung Bahadur Rana during the Sepoy Mutiny 

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Week 2: Gurkhali Soldiers led by Jung Bahadur Rana during the Sepoy Mutiny 

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"Jung Bahadur Rana ... made a strategic decision to side with the British in the Indian Mutiny/First War of Independence in 1857, and was personally involved in the recapture of Lucknow from the rebels. In practice, Jung Bahadur traded support for the colonialists in exchange for Nepal’s freedom from British rule. This suited the British: the Anglo-Nepalese war had proved that Nepal would be hard to conquer and, as an independent state beholden to the British, it was a useful buffer zone between their Indian empire and China to the north. What is more, the British were keen to recruit hardy Nepalese hillmen into the British Indian Army, and although the Ranas at first tried to hinder this, it was impossible to stop the constant drain of manpower from the hills to India. In time, the hillmen, known as Gurkhas, became one of the most valued fighting forces in the British Indian Army." - Louise Brown
Source of photograph: History Lessons Nepal

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A Mosque in Meerut where some Rebel Soldiers may have Prayed

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A Mosque in Meerut where some Rebel Soldiers may have Prayed

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Photographer: Felice Beato, 1858
-------------------------------------------------------------

After the Rebellion: Religion, Rebels, and Jihad in South Asia

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Week 1: Early Photography in South Asia (Nepal)

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Week 1: Early Photography in South Asia (Nepal)

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Jung Bahadur Rana, the first Rana prime minister of Nepal. Born: 1817, died: 1877.
Photographic history of Nepal prior to the twentieth century seems to be not as robust and as accessible (at least, according to my light research) as India's. Since Jung Bahadur Rana died in 1877, I take his photograph here to be an example of an "early" photograph in the context of Nepal.
The Ranas are a very important and interesting family with regards to Nepal's history. Although a Shah kingdom, Jung Bahadur Rana established a system of hereditary prime minister in Nepal and adpoted the title of "maharaja," thereby, relagating the monarch to a ceremonious and titular role from 1846-1951.
The Ranas also have an interesting connection with the Sepoy Mutiny in India that I will aim to cover in the second week's post.
Source: Wikipedia

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Week-2 General Wheeler's entrenchment at Cawnpore, March 1858.

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Week-2 General Wheeler's entrenchment at Cawnpore, March 1858.

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Photographer: Felice Beato
Location: National Army Museum, Study collection, UK.

When news of the mutiny a Meerut reached Cawnpore, General Sir Hugh Wheeler built a fortified position, based around two barracks, outside the city as a possible refuge for the European community. In early June 1857 all the Europeans made for the entrenchment, whose enclosing wall, built of dry crumbly earth, was not yet finished. The subsequent Siege of Cawnpore lasted just over three weeks, and took place in June when the sun is at its hottest. The entrenchment had almost no shade, and contained only one well. This was in an exposed position, covered by enemy fire. Beato's photograph of the ruins in the entrenchment, with its carefully posed soldiers, was taken several months after the siege and subsequent massacre.