Kumbharwada

Dear KRIVIA students,

These photographs are great documentation. I wonder about two things: One, why are there such few women in these photos? We only see the back of one woman walking through the narrow gullies, but none of women potters who I have seen working alongside men. And second, none of the potters photographed have been named. This gives the viewer the impression that these photographs have been taken by someone who has not interacted with the subjects at all. While I realise that this is not always possible and perhaps not always desirable, it gives the subject/artist agency. The photographs would be read as 'a potter in Kumbharwada' but I do think that, somewhere, in order for our work -- and I take photographs too -- to be different from that of The National Geographic; for them to be immersed, to be involved, perhaps, we should take the trouble to find out who we are photographing. I am keen on starting a conversation about this and do not, by any means, see my views as edicts which should be applied to all.

Looking forward,

Subuhi Jiwani

After taking photographs in Koliwada for the past couple of days, I've realised that one might interact with one's subjects, but not necessarily ask them their names. The name-asking activity might even make the photographer seem more interrogative less casual and street-cool. In any case, our clicking goes on...

true...after the redevelopment proposed plan asking names of the residents make them feel more reluctant to speak...one should avoid doing so to have a fruitful discussion