British Museum: Between Assam & Tibet

I neglected to mention that during my visit to the British Museum a few weeks ago, I dropped by its exhibit Between Assam & Tibet, which displayed a collection of cultural artifacts and photographs of two tribes from the remote Indian state of Arunachal Pradesh, the Apatani and the Monpa.

The Apatani live in the hills of Arunachal Pradesh, and are animists. Their economy depends on growing rice in a unique way which maximizes the yield in their enclosed upland valley. The Monpa live on the Bhutan-Tibet-India border at high altitude. They are ethnically different from the Apatani and are Buddhists, in the past more closely linked to Lhasa in Tibet, than India to the south.

The photographs are by Michael Aram Tarr, an anthropologist and photographer, who has just spent the last five years living and working in Arunachal Pradesh, which is still pretty much an isolated region.

An interesting interview with Michael is here.

Arunachal Pradesh and Nagaland are regions of India which I haven't seen yet, and I wonder whether 2010 will see me leading a photo-expedition there.

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NY Times: Inside Peru's Cocaine War

Photo ©Moises Saman for The New York Times
In a very well produced slideshow (but non multimedia), the New York Times featured Moises Saman's photographs of the Peruvian military's war against drug producing and trafficking in Inside Peru's Cocaine War.

In a remote corners of the Andes, Peru's army is battling a resurgent rebel faction of the Shining Path, taking a page from Colombia’s rebels, which reinvented itself as an illicit drug enterprise, rebuilding on the profits of Peru’s thriving cocaine trade. The region is Peru’s largest producer of coca, the raw ingredient for cocaine and, as in Bolivia, coca, a hallowed symbol of indigenous pride, is ubiquitous here. The mildly stimulating leaf chewed raw here since before the Spanish conquest, is largely legal; cocaine is not.

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liveBooks: Art Wolfe: New Business Model

liveBooks, the company which provides custom photography websites has featured an interview with Art Wolfe, described as a conservation and fine art photographer, who is reinventing his business model by selling his stock images directly through his liveBooks website and a Photoshelter account linked to it.

The quality of the recording is not that good, as it's recorded in the open air but one gets the sense how Art Wolfe decided a few years ago that he had to diversify away from his stock photography, and enter the world of television through his Travels to the Edge series. Click the above image to take a listen.

(via The Click)

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Theyyams: Incarnate Deities

Photo ©Tewfic El-Sawy-All Rights Reserved.
As the regulars readers of this blog know, the Theyyams of Malabar Photo Expedition was a resounding success in terms of both imagery and logistics, but who (or what) are really the Theyyams?

The term Theyyam is the corruption of the Malayalam word Daivam or deity. It may also be derived from the Sanskrit word for deity which is "deva". It's an indigenous religious dance practiced only in North Kerala, and a cult predominant amongst rural areas, consisting of several thousand-year-old traditions, rituals and customs. It involves virtually all castes and classes of the Hindu religion in the area, and its adherents consider the Theyyams as incarnations of various deities, and seek their blessings and counsel.

There are nearly 400 Theyyams representing various local deities, as well as legendary and mythological characters. For instance, one of the Theyyam is named Moovalamkuzhi Chamundi, another is Puliyoor Kali and Padinhave Chamundi. I was also told by Vinay, our fixer, that only members of a specific sub caste can become Theyyams, and this privilege is passed on from generation to generation.

A fundamental component of the Theyyam performances is the make-up which involves intricate face-painting and various body decorations. During one of the rituals, we witnessed a Theyyam whose body was covered with cotton-like tufts to symbolize a tiger. Different costumes like an armor, complex headdress and other body decorations are prepared by artists members of the same caste. Some of the costumes are made of of coconut leaves, while headdresses and masks are made of more solid materials, while bracelets and anklets are heirlooms, passed on from father to son. Male and female deities are represented by Theyyam performers, and it's rather easy to differentiate between the two, since the performers incarnated as goddesses wear bras made out of two halves of a dried-out coconut shell!

Article appearing in the Manorama newspaper
(the widest circulated newspaper in the world!)
of February 25 on our photo-expedition.

The Theyyam prepares his performance by meditating while being made up, and enters in a sort of a trance, whereupon he walks (aided by assistants) over to the temple's shrine and gradually morphs into the shrine's deity. The Theyyam follows the accompanying cacophonous music and its furious drum beats by going further and further into a trance. At the appropriate time, the Theyyam is seated on a stool and devotees approach him with donations and solicit its advice, which he provides in a raucous voice. I was also told that the Theyyams' advice is provided in a mixture of Sanskrit, Old Malayalam and Tamil. I also found it interesting that both Theyyams and Kathakali performers use similar eye movements to convey emotions.

There's no question that the stage-practice of Theyyams and its intriguing rituals make it one of the most fascinating religious performances of India...and is the reason for it to have been the underpinning of my photo expedition in Kerala.

Documenting such unusual indigenous rituals and festivals by combining photojournalism and travel photography techniques is what makes my photo expeditions-workshops different than the rest...and what makes me enjoy them. Setting up photo tours based on itineraries copied from travel brochures is not what I believe photo expeditions should be.

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Theyyams of Malabar: Victoria Olson

Photo ©Victoria Olson-All Rights Reserved.
A sand bagger on the shores of Mangalore, Karanataka
The Theyyam of Malabar Photo Expedition was joined by a number of talented full-time and part time photographers, whose primary objective was to photograph the Theyyam religious rituals as well as the Kathakali dance-drama, both indigenous to Kerala.

This is the fourth of a series of posts which showcase a sample of the work of the photographers who joined the expedition. The fourth post features four photographs by Victoria (Torie) Olson, a contributing editor at Wild Fibers Magazine, and author based in Vermont. Another peripatetic globetrotter, Torie traveled to Bhutan, Morocco, India and Thailand among other countries, to document indigenous traditions including textile arts and fiber farming.

Instead of Theyyam and Kathakali images, Torie provided these images made near the shores of Mangalore where, during our photo expedition, she spent time documenting a number of fishing communities. I would guess that based on the jewelry, these women are from Gujarat. She uses a Nikon D90 with a 18-200 lens.

Photo ©Victoria Olson-All Rights Reserved.
Hauling the daily catch on the shores of Mangalore, Karanataka
Photo ©Victoria Olson-All Rights Reserved.
A worker on the shores of Mangalore, Karanataka
Photo ©Victoria Olson-All Rights Reserved.
Repairing fishing nets on the shores of Mangalore, Karanataka

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William Dalrymple: Nine Lives

By pure chance I landed on the website of one of my favorite authors, William Dalrymple, whose new book – Nine Lives: In Search of the Sacred in Modern India – will be published by Bloomsbury in October.

I've copied this excerpt of the accompanying blurb from the Amazon UK website:

"Nine people, nine lives. Each one taking a different religious path, each one an unforgettable story. Exquisite and mesmerizing, and told with an almost biblical simplicity, William Dalrymple's first travel book in a decade explores how traditional forms of religious life in South Asia have been transformed in the vortex of the region's rapid change. Nine Lives is a distillation of twenty-five years of exploring India and writing about its religious traditions, taking you deep into worlds that you would never have imagined even existed."

This promises to be a cracker of a book, and if you want to get a taste for its contents, you can read this article on the devadasis in the New Yorker magazine.

These are the kind of books that ought to be read by all established and aspiring travel-documentary photographers, since they provide ideas for photo-documentary projects, and intellectual/historical texture to successfully develop such projects.

Just before traveling last month to India, I recently re-read parts of Dalrymple's City of Djinns; parts dealing with the Sufi dargahs in Delhi, and this enhanced my appreciation of these sites while I visited them.

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2009 Sony World Photography Awards

© Wojciech Grzedzinski (Courtesy Sony World Photography Awards 2009)
The Independent featured winners of the 2009 Sony World Photography Awards as revealed yesterday. Each of the photographers on the list, along with the runners-up in the professional categories, will be exhibited at the Sony World Photography Awards ceremony at the Palais des Festivals in Cannes, on Thursday 16 April.

Of the 12 professional category winners, one photographer will be the recipient of the L’Iris D'Or, the Sony World Photography Awards Photographer of the Year. On the night they will be awarded $25,000. The winning amateur photographer, selected from the eight category finalists, will receive a $5,000 cash prize.

Wojciech Grzedzinski of Poland won the award for Professional Photojournalism and Documentary - Current Affairs, with his photograph of a Catholic priest blessing a soldier in full combat gear. Since time immemorial, religion has been used to absolve the sins of war...and why not, since most religions were, and are, the cause for violent conflict.

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