The 2019 Frames Photography Grants covered a broad range of subjects. Stories were made on human migrations, like the semi-nomadic Gadariya pastoralists, the Karens of Andaman Islands and the Changpas of Ladakh, and various craftsman communities like the Kumbhars, Sankharis and Pashmina weavers. Diversifying our focus towards minority religious groups, we covered the Jain pilgrimage to Shatrunjaya Hill, Sanamahi religion of Manipur, and Parsis of Navsari. Declining professions, like handpulled rickshaws, Irani Cafes, and salt pan workers also find a place in our stories in 2019. For the first time we traced the course of a river, the Jhelum, as it flows through Kashmir. For their documentation work, our Grantees travelled to all corners of South Asia, from Imphal in Manipur, to the Andaman Islands, and to remote Sickles village in the Himalayas of western Nepal. For their research work, they cohabited with communities to directly understand the challenges they face to keep their culture alive and relevant in modern times. Listed below, in brief, are the 2019 Frames Grantees, their projects and link to their published work:
Kajol documented the human cost of harvesting salt along the Coromandel Coast in Tamil Nadu. She travelled to Marakkanam, where labourers work for long hours in a highly saline environment, without wearing any protective equipment or receiving any medical compensation. She photographed the process of harvesting salt from sea water, the personal narratives of the workers, their daily labour involved and the difficulties they face due to the low pay and seasonal nature of the job.
Soumya highlighted the current status of hand-pulled rickshaws operating in Calcutta and their historical and cultural association with the city. He tracked rickshaw pullers to document the general conditions in which they live and work, and the workshops where rickshaws are repaired. His narrative also provides insight into the relationship migrants have with Calcutta and the economic hardships they have to endure working in an unorganised industry which is on the decline.
Soham photographed the Gadariya community which migrate every winter between Bihar and Bengal in search of grazing lands for their sheep. He followed the Gadariyas in their wanderings and visited their home in their native villages to interact with their families. His narrative explains the symbiotic relationship the semi-nomadic Gadriyas have with agricultural land owners in the Rahr region and how changing socio-economic aspirations pose a threat to the continuation of their pastoral lifestyle.
Siddharth focussed on the Amaibis, priestesses of the Sanamahi religion of Manipur’s indigenous Meitei people. The role of the Amaibi is not determined by gender and comprises both male (Nupa) and female (Nupi) Amaibis. Amaibis are gifted with the ability to communicate between the other world of the Umang Lai (sylvan spirits) during Lai Haraoba. Much venerated for their special powers, they present a case of gender fluidity in a cultural context.
Jai engaged with the Prajapati community living in and around Delhi. The Prajapati are hereditary potters, also known as kumhars, and they provide clay products which are essential in Hindu religious and cultural practices. Jai visited potter colonies to find out about their Alwar roots, the fine art of making pottery, the inter-personal relationships within the families, and the challenges they face in sustaining their age-old profession in an increasingly globalised market
Indranil interacted with the community of conch cutters, known as Sankharis. Sankharis make conch bangles which are worn by Bengali Hindu married women as a symbol of their marital status. For his work, he visited workshops and showrooms in Kolkata’s Baghbazar and in suburban Barrackpore. He also profiled individual Sankhari artists, their living spaces, and why their conch cutting craft is struggling to compete with alternative choices and changing value systems.
Aakriti researched Mumbai’s famous street-corner Irani Cafes, of which less than 25 are operational today. Through her focus on architecture, she recorded the collective memory Parsis and Iranis have for their ancient homeland in Iran and their Zoroastrian faith, while at the same time adapting to European influences, and catering to the changing demographics of Mumbai. She also profiled current owners, migration histories with their families, and how they are innovating to keep their business running.
Lopamudra cohabited with the Changpa people in remote Rupshu Valley in Ladakh. Her photography tracks the daily migrations the Changpas make during the freezing winter months, in search of pasture for their sheep. The Changpas harvest fine sheep wool which is used as raw material in making Pashmina. Their deep connect with nature is reflected in their outdoor lifestyle, which is changing due to increasing urbanisation of Ladakh and climate change.
Parshati is a researcher with special interest in trade and migration routes. She traced the course of the Jhelum River from its origin in Verinag, making its way through Srinagar, and its crossing over to Pakistan-Occupied-Kashmir at Chakothi. She also investigates how the Jhelum has played a defining role in shaping Kashmir’s history, syncretic culture, architecture, sacred landscape, and continues to be part of the unfolding geo-political conflict in modern Kashmir Valley.
Pinky Sanyal visited Purulia district, in West Bengal, to document the Tusu festival, celebrated by the Kurmis and other tribes of the Chhota Nagpur region. Tusu is a thanksgiving festival for a good harvest, hence linked to agriculture and fertility. Pinky wanted to highlight the role of unmarried girls in the festival, the making and parading of colourful choudals in local melas, and their immersion in rivers on the day of Makar Sankranti.
Priyanka is interested in collective memory, identity, gender, sexuality and social justice. She travelled to Sikles village, in western Nepal, to document the Arghum ceremony performed by the Gurung community after the funeral of a deceased person. The elaborate funeral rites are influenced from Hinduism, Bon religion, Buddhism and shamanism. Other than facilitating the smooth transmigration of the soul, Arghum brings about social cohesion in the Gurung community through collective grieving.