It was the 24th anniversary of the attack on and destruction of the Babri mosque in Ayodhya, Uttar Pradesh on December 6th, 1998. Click on the image above to go to a selection of essays about and/or related to Ayodhya.
My project on India began in Ayodhya. In fact, when I arrived in Ayodha in the Fall of 2009, I wasn’t even sure what the project was going to be. It was after staying in Faizabad – Ayodhya’s sister city some 30 minutes rickshaw ride away, for some weeks, and spending time walking and talking to people in Ayodhya itself, that the shape and structure of the work finally emerged. The Idea of India is a very personal engagement with complex histories, and my first attempt to break away from the suffocating definitions, rules, constrictions and limits of what passes for photojournalism. I did not want to have anything to do with it. It was during this work that I discovered why I went out into the world with cameras and a notebook, and what it was that I wanted to do with them. And though there were many mistakes along the way, and though the work remains intentionally ‘incomplete’ – what is this bizarre obsession people have with completing a project? No one completes a project, you merely abandon it!, because the questions I began to ask, the spaces I began to seek, and the inquiries I began to make, are still with me. And I am grateful for it. The curiosity, the excitement, the joy of producing this work remains, and since I can abandon the project at any time – the entire work has over 250 final selected images and dozens of essays, I have chosen not to. I do not want to give it up, nor do I want to feel that I am done with it. Perhaps it isn’t a personal choice anyways – the issues plaguing the region: the xenophobia, the sectarianism, and what Eqbal Ahmed called ‘distorted histories’, stay and are perhaps more extreme today than when I began working on the project. Perhaps I feel that now would be a good time to return, to re-start, to add more to the work if for no other reason than to keep up what was always an act of resistance and personal refusal to accept official and state historical narratives. It can still happen. After all, the project isn’t ‘complete’.
If we carry courage, and our determined resistance, then we do so because of the example that you, and so many of your travelling companions in our post-colonial aftermath, set for us.
Long live the Revolution. Long remain our resolve.
Vas Bien Fidel.
CounterFoto is celebrating 4 years. I will be attending some of the events this year, and giving a few talks. The topics will always be provocative and focused on things we rarely talk about as photographers. I will also do portfolio reviews. It’s exciting to return to Dhaka, and to re-connect what is frankly one of the most enthusiastic and exciting photography community I know! Details »
At times I can’t tell whether the writers and editors at the New York Times are just plain stupid, or supremely clever. For example, this entire piece is little short of an exercise in obfuscation and political propaganda, misrepresenting data repeatedly to shill for the argument – entirely false, that the economic situation of the average American is getting better, and hence, that Donald Trump is wrong.
Well, looking at the data you can concoct that argument, but it isn’t there in the data. So either Mr. Applebaum does not remember his high-school math, or, that he and his editors, believe that the ordinary New York Times reader is too stupid to remember her high school math.
For example, here is how they define ‘median income’ in the article:
“The median income is the amount that divides households evenly between those that make less and those that make more.”
That is not what median income is.
It’s fascinating to see the return of so many mid- 18th century Orientalist troupes and obsessions : this bizarre and needling determination to categorize and then – as if the categories created are genuine and natural, to analyze. The French are of course persistent and unrepentant Orientalists, and the more educated the worse. And so this gaze that first categorizes – ‘Arab masculinity’, and then pretends to analyze it.
What is ‘Arab masculinity’? Need we ask? Dare we ask where this object of study even comes from? Is it even real? Is there a unique Arab conception and manifestation of ‘masculinity’? Do a dozen stylized, fashion-shoot type set-up images of men who happen to be Arab provide enough material to explain not only the category, but its real existence? Do these men live in cages, isolated from the world and its influences? Do they experience whatever we may think are pure ‘Arab’ experiences, and not any spilling across geographical, intellectual, cultural, emotional and physical boundaries? An ‘Arab’ is an ‘Arab’ is an ‘Arab’, and damn is s/he is anything but a pure representation of an easily isolated and studied species.