Tulsi Swarna Lakshmi

Before The Death Throes | Metabolism of Culture

PhotoMail — Tue, 08 Oct 2024 05:13:55 +0000

This chapter explores how ancient and modern cultural practices shape collective identities. It examines how schismogenesis—social divisions based on inherited beliefs and rituals—continues to inform both individual and societal behaviors. The analysis centers around Abul Kalam Azad's photograph depicting a moment of calm anticipation before a sacrificial ritual, inviting readers to question the interplay of tradition, ritual, and evolving identities. Through Azad's lens, the chapter reflects on how historical practices remain embedded in contemporary culture, highlighting their ongoing relevance to power, identity, and belief systems.

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Beyond the mainstream: Xiangjie Peng’s Journey Through China’s Subcultures

PhotoMail — Mon, 16 Sep 2024 07:59:14 +0000

Xiangjie Peng's latest book challenges mainstream Chinese photography by focusing on overlooked subcultures. Through three series - Dwarfs Empire, Twins, and Cosplay - Peng offers a nuanced view of contemporary China. "I am interested in the so-called non-mainstream people," Peng explains, rejecting politically sanctioned subjects. His empathetic approach lends dignity to marginalized groups, revealing a diverse and complex China beyond official narratives. Peng's work demonstrates photography's power to find beauty in unexpected places, presenting a unique perspective on modern Chinese society.

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Battle of the gods | Metabolism of Culture

PhotoMail — Thu, 12 Sep 2024 13:28:10 +0000

In "The Battle of the Gods," Tulsi Swarna Lakshmi analyzes Indian photographer Abul Kalam Azad's "Men of Pukar" series, using it as a lens to explore the transformation of cultural symbols in India. The author focuses on the shift from the buffalo to the cow as a sacred animal, viewing this change as emblematic of larger cultural metamorphoses. This transition is reflected in the myth of Durga slaying Mahishasura, a narrative that transcends a simple tale of good versus evil. Instead, it represents the complex interplay between indigenous traditions and incoming Vedic culture. By examining the evolving perceptions of the buffalo—from a revered symbol of fertility and strength to a representation of evil—Lakshmi uncovers the deeper cultural metabolism of India, revealing how symbols and myths adapt to reflect changing societal dynamics.

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Fragmented Souls in a Mercury-stained Pietà, Minamata (film 2020)

PhotoMail — Tue, 20 Dec 2022 06:17:14 +0000

Minamata (2020), directed by Andrew Levitas begins with a glimpse of ‘Tomoko and Mother in the Bath’, shot by Eugene in 1971. As the image pans out, one can hear Tomoko’s mother Ryoko Kamimura singing to her daughter. The world stops for a moment… This powerful image changed the world of editorial photography. It is simple yet deeply disturbing. It portrays love, not violence, but it is not the kind of love that would let you cuddle in your comfort zone. It is a love that would shake and stir things up.

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Taboos and totems, the holy and the unholy

PhotoMail — Tue, 06 Sep 2022 06:03:50 +0000

There is an intrinsic conflict when anything becomes a totem to one and a taboo to another. But when seen objectively, these epical animals share one thing in common – mystical elements attributed to the tamable and productive or the untamable and powerful. The greater their contribution to humans survival and economic well-being, the more sacred they become.

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In my taxi, when a photo artist becomes a cab driver

PhotoMail — Sat, 19 Dec 2020 13:06:43 +0000

What motivated Weideman to keep photographing? The answer to this is also an important quality that makes his photographs intriguing. He continued shooting even though he was not exhibiting nor getting into any sort of limelight until the mid-90s. Passion for the medium, of course. But there is more.

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The Long Walk to Home: A Critical Reading

PhotoMail — Sun, 22 Nov 2020 07:36:48 +0000

During the corona pandemic lockdown, India saw its migrant workers walk in an ardent will to reach the safety of their homes… History repeats itself, they say. Well, not exactly the same situation, but during Indian’s partition, thousands of Muslims and Hindus had to cross over – in search of a new home in unknown terrain. Seen through the photographic eyes of Margaret Bourke-White and Sunil Janah – the horrifying events of Indian Partition 1947 comes alive – once again in the Corona days – much more violent, cruel, and gruesome. It is a stark reminder that even after 70 and odd years of independence, India still has not healed itself of poverty, inequality, and oppression.

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A Sense of Dislocation

PhotoMail — Mon, 24 Sep 2018 07:17:59 +0000

Indian photography hasn’t seen many such explorations that interact and intersect with other media such as light art. But this has started to change in the last couple of years, with a few photographers trying to do light painting; and it is in this context that Joyel K Pious and Gaurav Rachamalla’s collaborative photo project becomes striking. Although this style is popular in the west, this collaborative project stands tall and distinctive amidst the usual Indian street and documentary photographs. It probes the philosophical underpinnings that are intrinsic to the medium itself as well as pose several questions related to urbanisation.

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Derailed Camera, remembering John Abraham

PhotoMail — Sat, 02 Jun 2018 04:51:26 +0000

John Abraham joined the Odessa group that comprised of 75 members, using the money collected from the people, travel from Wayanad to Kochi and Amma Ariyan develops, parallel to the political history of Kerala. The public, apart from giving money, were also involved in the film production. They did it voluntarily, with a lot of enthusiasm. The screenplay and dialogues were written then and there, and shot. Commercial actors didn’t play a major role in this movie.

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நேர்கோட்டின் வளைவுகள்அபுல் கலாம் ஆசாத்தின் சங்ககால புகாரின் சமகாலங்கள்

PhotoMail — Tue, 26 Dec 2017 04:31:17 +0000

ஒரு கைதேர்ந்த சிற்பி, சிற்பத்தின் எல்லா பாகங்களையும் வடித்த பின்பு, ஒரு மௌன நிலையில் அதன் கண்களை திறப்பார். அப்பொழுது, அந்த சிற்பம் உயிர் பெரும். அபுலுக்கும், புகைப்படம் எடுக்கப்பட்டவருக்குமிடையே நடக்கும் உரையாடல் தான் அவரது புகைப்படங்களின் உயிரோட்டம். இவை, உலக நாடுகளோடு கலாச்சார வாழ்வியல், வர்த்தக பரிமாற்றங்களில் சிறப்புப்பெற்ற சங்கக்கால புகாரின் சுவடுகளைத் தேடவில்லை. அந்த பரிமாற்றங்கள் விட்டுச்சென்றுள்ள ஒன்றுபட்ட கலாச்சாரம் மற்றும் பன்முக வாழ்வுமுறையின் குறியீடுகளை அடையாளம் காண்கிறது. சாதாரண மனிதர்களின் சரித்திரத்தை புகாரின் ஆண்கள் மூலமாக சொல்லும் காலத்தால் அழியாத இந்தப்படைப்பு, வரும் காலத்தில் புகார், உலக கலாச்சார வரைபடத்தில் இடம்பெற, ஒரு கலைஞன் விட்டுச்செல்லும் விதைகள்.

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Manigramam, Prehistoric Merchant Guild of Tamil Legacy

PhotoMail — Sun, 12 Nov 2017 20:34:32 +0000

The existence of Manigramam (Manikkiramam) in Pukar, in this context, is an important surviving evidence of our shared lineage. As literary sources attest, Pukar was one of the gateways through which the Afro-Arabian traders entered Southern India. This simple board points to three thousand and odd years of cultural exchange that happened across borders.

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Sacred Thread, Hierarchal hegemony and identity

PhotoMail — Mon, 16 Oct 2017 02:49:53 +0000

Controversy surrounds the origin of Brahmin clans, which is divided into ‘gotras’, and as such mutually opposing thoughts and evidences – both scriptural and historical – are put forth by the differing factions. As far as South India is concerned, the Tamil Brahmins and their Vedic ideas started spreading during the period when Buddhism and Jainism was gaining popularity (around 5th century BCE).

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Palmyra, Caste system in India

PhotoMail — Mon, 18 Sep 2017 20:43:49 +0000

In South India, coconut palm and palmyra tapping was practiced by the indigenous population who, later during the process of class/caste consolidation, were called the Shanars (Channars). These early settlers considered Palmyra as the single most miraculous tree and were the largest consumers of its products. Scaling a Palmyra, which can grow up to 100 feet, is a rather specialized job done by the men.

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Gaze, Metaphor of Indian farming

PhotoMail — Tue, 12 Sep 2017 02:29:53 +0000

In this photograph, the farmer is not the one who is gazed upon. He is actually returning the gaze. There is an act of seeing and being seen. He becomes more present with an unspoken communication that is transpiring between the photographer and himself. There is a connection, an intimate relation between them.

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Cauvery, River Valley Civlisation

PhotoMail — Sun, 27 Aug 2017 10:17:53 +0000

River Cauvery - the lifeline of South India – that traverses through all the four states and Puducherry Union territory is personified as a goddess/woman. Several rituals, along her course, have been practiced since pre-historic times. The most important amongst them are the ones conducted at the mouth where the river merges with the infinite ocean – the end of a journey often analogized with the journey of a human life.

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Interview with Selvaprakash Lakshmanan

PhotoMail — Sun, 27 Aug 2017 09:41:18 +0000

Selvaprakash Lakshmanan is an independent photographer based in Bangalore. He earned his Masters in Communication from Manonmaniam Sundaranar University, Tirunelveli (2000 - 2002). In the year 2002, he started his career in photography as a staff photographer for Dinamalar, a leading Tamil newspaper and has later worked with Dinakaran, DNA and Time Out Magazine. His photographs have been published in leading National and International newspapers and magazines and exhibited in photo festivals. In this exclusive interview, he is sharing his work life and thoughts on photography.

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Celebrating Mattancherry

PhotoMail — Sun, 20 Aug 2017 08:57:18 +0000

PhotoMail takes a look at the re-opening of Draavidia in Fort Cochin, with its decade long history of involvement in the local scenario and URU in Mattancherry which brings with it the success of the KMB in the backdrop of the art history of the region. Includes exclusive interview with the founders of URU and Dravidia and a review of their premiere shows.

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Stucco Sculpture, Pre-hisoric Memories and Conflict

PhotoMail — Sun, 20 Aug 2017 01:59:19 +0000

As the tradition dictates, this stucco sculpture is not ‘signed’ by anybody either, even though it is not that old. Stucco techniques have been known to sculptors for millennia. Some historians opine that the pyramids were plastered white. The Greeks and Romans are known to have used stucco in constructions and sculptures. It must be during this period that Sangam era Tamils (the predecessors of modern south Indians) learned this technique, through maritime traders.

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Silappathikaram, A Tragic Epic

PhotoMail — Sun, 13 Aug 2017 06:03:55 +0000

Tamil people are familiar with this scene from the Classical period epic Silappathikaram. They are aware of the background of Kannaki, the lady in the pretty saree, and Kovalan, her husband, who is receiving the anklet. The scene depicts a pivotal moment in which the once wealthy and now penniless merchant Kovalan is returning to his wife, after a brief, passionate affair with a dancer and courtesan, Matavi.

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துயரத்தின் பிம்பங்கள்

PhotoMail — Thu, 01 Jun 2017 23:13:44 +0000

போர் புகைப்படங்களின் முரண்பாடு, இதன் மூலம் அம்பலமாகிறது. அது “அனுசரணையை” ஏற்படுத்துவதற்காக பிரசரிக்கப்படுகிறது என பெரும்பான்மையோரால் கருதப்படுகிறது. அதன் மிகவும் தீவிரமான உதாரணங்கள் – மெக்கலினின் பெரும்பான்மையான புகைப்படங்களில் உள்ளது போல – அதிகப்பட்சமான அனுசரணையை ஏற்படுத்த மிகவும் துயரமான தருணத்தை காண்பிக்கும். அத்தகைய தருணங்கள், புகைப்படம் எடுத்தாலும், எடுக்காவிட்டாலும், சாதாரண தருணங்களிலிருந்து தொடர்பற்ற நிலையிலிருக்கும். அவை தாமாகவே தனித்து நிற்கும்.

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“கோட் சூட்டும் புகைப்படமும்” – ஜான் பெர்ஜெர்

PhotoMail — Wed, 05 Apr 2017 07:02:23 +0000

சூட்டுகள் அவர்களை உருக்குலைய செய்கிறது. அவர்களுக்கு ஏதோ தோற்றக்கோளாறு இருப்பது போல் தோன்றுகிறது. ஒரு பழைய ஃபேஷனாக மீண்டும் மாறும் வரை அபத்தமாகவே தோன்றும். உண்மையில் ஃபேஷனின் பொருளாதார தர்க்க சாஸ்திரம், பழைய ஃபேஷனை அபத்தமாக காண்பிப்பதில் தான் வெற்றி அடைகிறது. ஆனால், இங்கே, நாம் அது போன்ற ஓர் அபத்தத்தை காணவில்லை; மாறாக, இங்கே உடைகளை அதனை அணிந்திருக்கும் உடல்களோடு ஒப்பிட்டு பார்க்கும் போது, உடைகள் அபத்தமல்லாததாகவும் இயல்பற்றதாகவும் தோன்றுகிறது.

The post “கோட் சூட்டும் புகைப்படமும்” – ஜான் பெர்ஜெர் appeared first on Photo Mail.

Interview with Johny ML

PhotoMail — Tue, 04 Apr 2017 23:19:42 +0000

Born to Lt. Vakkom K.Lakshmanan and K.Krishnamma in Vakkom in 1969, Johny ML started writing poetry at an early age and got his first poem published when he was thirteen. His father being one of the founder members of the Revolutionary Socialist Party (RSP) in Kerala, Johny developed an interest in politics and started following his father’s footsteps in village reformation. Reading collected writings by Karl Marx and Frederick Engels in his teens left a deep impression in him and guided by his mother he started reading poetry and literature avidly. Johny finished his school education in Government High School, Vakkom. He took science stream for his Pre-Degree and spent two years in the Sree Narayana College, Sivagiri, Varkala. In 1987, he joined the University College, Thiruvananthapuram and completed his BA and MA in English Language and Literature in 1992.

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Living Pictures – the “Mani Bust”

PhotoMail — Mon, 30 Jan 2017 13:41:40 +0000

In 1930,PRS Mani Iyer became the first official photographer of Ramana. His portrait of Ramana, commonly known as “Mani Bust”, became the most popular photo, widely circulated and worshiped by millions from across the world. Very little is known about this master photographer and his other photographs that he had taken while he was working as an Executive photographer at Modern Theaters, Salem.

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பேசாத கல்லும், விளையாட்டுப் பொம்மையும்

PhotoMail — Tue, 10 Jan 2017 06:06:29 +0000

கையில் கேமராவுடன் அலையும் சூபியாக மாறிய ராவுத்தரே அபுல். அவரது முன்னோர் எவ்வாறு மக்களிடம் பேசினரோ அவ்வண்ணமே தமிழ் பேசுகிறார். ஆனால், ஆசாத் எந்தவொரு மொழியிலும் பேசவில்லை என்று தான் நான் எண்ணுகிறேன். அவர் புகைப்படங்களின் மொழியினை பேசுகிறார். உலகில் அறியப்பட்ட, மற்றும் அறியப்படாத எந்த மொழியையும் பேசும் ஆற்றல் கொண்ட புன்னகைக்கும் புகைப்படக்கலைஞனே அபுல் கலாம் ஆசாத்.

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நினைவுகளால் உருவாகும் கோட்டைகளும், கிரீடங்களும்

PhotoMail — Wed, 03 Aug 2016 06:44:43 +0000

ராஜா தீன் தயாள், காலனித்துவ மற்றும் நிலவுடைமை கொண்டிருந்த அதிகார வர்க்கத்தின் சேவகராக, தீவிரப் பரப்புரையாளராக, தந்திரமான வர்த்தகராக தன்னை பிரதிபலித்துக்கொண்டு வெளி நாட்டவர் விரும்பும் வண்ணம் புகைப்படம் எடுத்து வந்தாலும், தற்பொழுது, அவரது புகைப்படங்கள் அழிந்து மறைந்துவிட்ட ஒரு காலத்தின் கல்வெட்டாக உயர்ந்து நிற்கிறது. இவர் எடுத்த முக்கால்வாசி புகைப்படங்கள் வெளிநாட்டில் களஞ்சியங்களில் உள்ளது. அவரது ஸ்டுடியோவில் மீதம் இருந்த, பெரும்பாலும் நிராகரிக்கப்பட்ட, அல்லது வேண்டாம் என்று தானே ஆர்டர் கொடுத்தவரிடம் கொடுக்காது மாற்றி வைத்த பிளேட்டுகள் பலவற்றையும், சமீபத்தில் IGNCA வாங்கி, பாதுகாத்து வருகிறது. அன்னாரது முப்பது ஆண்டு புகைப்படப்பயணம் இன்றும் இந்தியாவின் சிறந்த ஆவணமாக எக்காலத்திற்கும் நிலைத்து நிற்கும்.

The post நினைவுகளால் உருவாகும் கோட்டைகளும், கிரீடங்களும் appeared first on Photo Mail.

Contemporary Heroines

PhotoMail — Thu, 28 Jul 2016 04:54:36 +0000

Visual art works based on scriptures have for long been illustrative. Michelangelo’s work in Sistine Chapel and the Indian miniature painters are examples of this tradition. Black Mother I & II by contrast represents the contemporary society and its females, just as the characters in Silappathikaram is bound to have been derived from the immediate society of that age.

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