Post independent Indian society carries many residues of its social practises, which are part of the psyche of the milieu for generations. These are exploited by the political and social systems as per their convenience. Due to which marginalised part of the society is always dependent on the ‘kind’ attention of the ruling, affluent class to register their existence, and take action required to bring the equality, justice in the lives of citizens.

Can the citizens be empowered without any movement related to any political view? As the core issue of the social and political system is, the decision ‘not to see, to pay attention to’ a certain part of social reality. This decision is layered upon with the attitudes related with practises based on caste and religion in society.

This decision ‘not to see’ create a reality where unwanted does not exist. A great strength is required to solve this existential crisis. This existential crisis can be solved by a simple act of empowering the marginalised to bring the unwanted in the visual landscape.

Indian Photography trust is one of the Organisation in India working towards this goal since its inception in 2005. Through its photography workshops and other programs for the children and youth in many of the marginalised communities of India. Samyak Drushti, its online magazine provides a platform for the work of this empowered young photographers to bring the unseen in the visual experience of the society. Their work is democratising the society in a new powerful way.

Traditionally an idea ‘Third Eye’ is part of Indian informed imagination and practise. Third Eye is related with knowledge, wisdom. Society carries the idea of eye of the knowledge, wisdom and also in another dimension take the decision ‘not to see’.

Behind this decision lies the fear of experiencing reality. Reality which is painful. Where you realise you are directly or indirectly part of that reality. This fear and pain is what one wants to avoid and conveniently take the decision ‘not to pay attention’, ‘not to see’.

If one is forced to see, then there is a reaction, but if one is made a silent spectator, a silent witness then there is a direct experiencing.

Work of young photographers provide this window for the viewer to see, witness share the pain, suffering they have witnessed, many a times lived. There is no force but presenting the heartfelt moments.

This act is a potent act which will bring the transformation in viewer.

These photographers are not looking at themselves as special beings in society, privileged to be more sensitive and demand an invisible right to be cared for by society. They simply live their life and also do photography.

Their intention is creating a new aesthetic language, which is dawning a ‘new emerging visual’ in social visual landscape. Where going beyond the visual pleasure, it is creating a new intensity in grammar of the language. It is not the view of the ‘outsider’ anymore but the view of the insider, who also shares the suffering, pain and trauma of his or her community.

This insider is not politically motivated pawn, he or she is a being who has realised the power to witness. Witnessing the experience and becoming aware how it brings a complete transformation. This is a new emerging India moving towards the equality, justice and liberty.

Mahendra Damle

Painter & educationist practicing for the last 25 years

He has been involved in developing pedagogical tools for the courses in the field of- painting, sculpture, textile, fashion, furniture design, animation & dramatics. He is keen follower of visual process from the perspective of neurology, artistic experience and image creation.
Photography has been the area of the exploration from this perspective. He has written on art, art education and its process in newspapers & magazines. Currently he is the principal of Rachana Sansad Academy of fine arts and crafts Mumbai.