Light Writing on the Lathi Raj: Bombay, 1930–31

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2021-10-02 DOI:10.1080/03087298.2022.2118434
Avrati Bhatnagar, S. Ramaswamy
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Abstract

This article explores the intersection between policing and photography in the course of the Civil Disobedience Movement in colonial Bombay in 1930–31 by focusing on historical photographs compiled in a recently discovered album. When the ‘disobedient’ men, women and children of Bombay repeatedly challenged the colonial state by breaking laws deemed unjust under the leadership of Mohandas K. Gandhi, they came into direct confrontation with the most visible expression of imperial authority: the cross-racial Bombay Police armed with the ubiquitous baton (lathi). While Indian historiography is particularly rich in its exploration of both exceptional and quotidian forms of colonial violence, the visual history of violent policing remains underexplored. Through our analysis of photographic images from two specific episodes of the disobedient drama that unfolded in Bombay in 1930 – the raids at the salt pans in Wadala in June, and the national flag salutation ceremony at the Esplanade in October – we explore the complex and conspicuous entanglement of race and gender in a moment of heightened anti-colonial action and police violence in British India.  In underscoring the work of the camera in documenting the history of violent police action against non-violent civil demonstrators, we reveal its role as a historical actor and an active participant in history-making.
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拉提统治时期的轻写作:孟买,1930-31
本文通过关注最近发现的一本相册中汇编的历史照片,探讨了1930-31年殖民地孟买公民不服从运动过程中警察和摄影之间的交叉点。当孟买“不听话”的男人、女人和孩子们在莫罕达斯·K·甘地的领导下,通过违反被视为不公正的法律,一再挑战殖民国家时,他们与最明显的帝国权威表达方式发生了直接对抗:配备着无处不在的警棍(拉提)的跨种族孟买警察。尽管印度史学对殖民暴力的特殊形式和日常形式都有着丰富的探索,但暴力警务的视觉历史仍然没有得到充分的探索。通过我们对1930年在孟买上演的反抗戏剧的两个特定情节的摄影图像的分析——6月对瓦达拉盐田的突袭,以及10月在滨海艺术中心举行的国旗致敬仪式,我们探讨了在英属印度反殖民行动和警察暴力加剧的时刻,种族和性别之间复杂而明显的纠缠。 通过强调摄像机在记录警察对非暴力公民示威者的暴力行动历史方面所做的工作,我们揭示了它作为历史行动者和历史创造的积极参与者的作用。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
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