End Of Year Photograph

Photo © Muhammed Muheisen/AP
This is my 2116th post since I started The Travel Photographer blog, and with it I'd like to close 2010 with this lovely photograph by the very talented Muhammed Muheisen.

It appeared on the LENS blog of the New York Times a few days ago, and it shows three young refugee girls; two from Afghanistan and the third from Pakistan, attending a Qur'an class in a mosque in Islamabad. You may want to click on it to enlarge it.

The expression of the cute middle one is just sublime...especially that her cloth prayer book is upside down. Not very attentive are we now? And the "I Love NY" hoodie worn by the third girl kept a smile on my face for a while.

I hope it does the same to my readers.

Till next year!

The 1000th Google Follower

Photo © Haleh Bryan-All Rights Reserved
I was glad to see my Google followers have reached the 1000th mark yesterday, auguring well for The Travel Photographer's blog in 2011.

The 1000th Google Follower is Haleh Bryan who publishes her own blog Haleh Bryan Photography which showcases her talented personal work. Apart from her art photography, she has a gallery of Egypt which the above image is from.

Four Photographers Document Cockfights

Here's a feature which groups individual photo essays of cockfighting by four photographers. I thought of grouping these essays, and also mention my own. Two of the cockfights occur in the Philippines, one in Haiti and the fourth occurs in Bali.

Photo © Julie Batula-All Rights Reserved
The first photo essay is Julie Batula's One Way Out; a photo essay of black & white photographs of cockfighting or sabong as it's called in the Philippines, where it's one of the oldest and most popular sports.

As Julie says: "Roosters continue fighting because they cannot escape, regardless of how exhausted or injured they become. It is a routine where they are forced to fight or die, and where death is the only way out."

Julie Batula is a Manila-based artist and documentary photographer, who is influenced by the works of Sally Mann and Nan Goldin.

Photo © Mitchell Kanashkevich-All Rights Reserved
The second photo essay (it's more of a multi-photo blog post) is by one of my favorite travel photographers: Mitchell Kanashkevich. He tells us he was riding a motorcycle to the city of Dumaguette in the Philippines and came by an area where cockfights were from morning till midnight everyday for a few days.

Mitchell Kanashkevich is a travel/documentary photographer, and is represented by Getty Images. He's been featured on this blog a number of times.

Photo © Swoan Parker-All Rights Reserved
The third photo essay is by Swoan Parker who features a 16 color photographs in a photo essay titled "Place Your Bets" of cockfights in Haiti.

Swoan Parker is a freelance photojournalist based in New York City available for global assignment. Her work has been published in The New York Times, The Wall Street Journal, USA TODAY, The Los Angeles Times, Newsday, TIME, and National Geographic Traveler among others.



The final photo essay is mine, and is titled Tajen. It was photographed on the island of Bali last August.

Katharina Hesse: Human Negotiations (& Interview)



Katharina Hesse is a photographer who currently works in China and Asia, and has been based in Beijing for the past 17 years. She graduated in Chinese and Japanese studies from the Institut National des Langues et Civilizations Orientales (INALCO) in Paris.

She has recently uploaded some of her gripping photographs of Bangkok's sex industry unto a 6 minutes-movie which she titled Human Negotiations (above), and during which she also talks about her project in a Skype-interview with Elisabetta Tripodi, and which appeared on the blog e-photoreview.

Human Negotiations is an experimental two-year collaboration between Katharina and writer Lara Day, using images and text to explore the lives of a community of Bangkok sex workers. I cannot begin to fathom how Katharina managed to gain the trust and confidence of her subjects to such a degree...and she says as such in her interview, and that the most important task in her project was to gain the trust of the sex workers and their clients. All serious photographers agree with her advice, since only full and complete mutual trust gained over months and months can make such intimate projects possible.

Katharina's has an impressive background. Not only is she a self-taught photographer (always a huge plus for me), but she initially worked as an assistant for German TV (ZDF) and then freelanced for Newsweek from 1996 to 2002. In 2003 and 2004 she covered China for Getty’s news service. Her images were featured in numerous publications such as Courrier International, Der Spiegel, D della Repubblica, EYEmazing, Zeit Magazin, Glamour (Germany), IO Donna, Die Zeit, Marie-Claire, Le Monde, Le Monde Diplomatique, Neon, Newsweek, 100Eyes.org , Reporters without borders(yearbook 2010, Germany), Stern, Time Asia, Vanity Fair (Italy/Germany), and Wired (Italy) among others.

Katharina's photographs of Xinjiang, Kashgar and Urumqi are probably the best I've seen of that region....so go to her website after you watch the above movie.

Marji Lang: Gujarat

Photo © Marji Lang-All Rights Reserved
Marji Lang is a French travel and documentary photographer, whose color-full photographs in her India galleries just jump at you.

She's fallen in love with India and has already traveled there four times. Over the past 10 years, Marji traveled in South East Asia, and was influenced by Henri Cartier Bresson and more recently by the work of her compatriot and Indiaphile Claude Renault.

She rarely plans ahead her trips, and just takes it a day at a time. No specific hotel reservations nor fixed itineraries. She prefers making her photographs with a human presence...but is not against making a few that are devoid of people (such as the one above). Marji only uses a 24-70mm lens.

I was interested in her Gujarat gallery as some of her photographs are of Jain female pilgrims (sadhvi) in Palitana, one of our stops during my forthcoming photo expedition In Search of Gujarat's Sufis next month.

Romain Alary: The Street

Photo © Romain Alary-All Rights Reserv
Romain Alary is French photographer-filmographer who traveled extensively, and has recently completed a voyage of many months from Paris to Tokyo. He now lives in France where he's involved in both photography and cinematic projects.

From an entry in his blog, Alain was involved in the movie "Women Are Heroes" by JR whilst parts of it was being filmed in India. The reason I mention this is that he posted a movie clip of Bundi, which is very well made...a time-lapse of the small Rajasthani town, which I initially took to be Pushkar because of its central lake. Most of Bundi's houses/bulidings are painted blue, which gives the movie an interesting look. It's not posted on Vimeo, so you'll have to click on Romain's blog to view it.

NYT's Week In Review Section


The snow storm may have something to do with it, but I read The New York Times' Sunday edition from cover to cover yesterday, and saw its Week In Review section carried the above photograph.

Hurray! I chose this photograph as my favorite in my post on the 55 photographs featured by Reuters on its Best of The Year Photojournalism, and is by Adrees Latif who made it during relief supplies being delivered to flooded villages in the Muzaffargarh district of Punjab in Pakistan.

I described it as "one of these photographs that tells it all...the struggle for survival, the physicality of despair..."

Two questions pop to my mind....Do the photo editors of The New York Times read my blog??? And do I take that as a sign to hang my cameras and become a photo editor?

I think the answer to the first is 'maybe', and the answer to the second is a categorical 'no'.

Neil Wade: Kham & Amdo



Neil Wade is an editorial and corporate photographer based in Taipei, Taiwan. His photography was featured in varied magazines as National Geographic, Forbes, The Financial Times of London and Skateboarder.

Kham is a region currently split between the Tibetan Autonomous Region and the Chinese provinces of Sichuan, Yunnan and Qinghai. The people of Kham are reputed warriors. Many Khampas are members of the Bon religion; an esoteric branch of Tibetan Buddhism, and are considered with suspicion by more mainstream Tibetan sects.

The traditional Tibetan region of Amdo is located on the northeast corner of the Tibetan Plateau. Most of Amdo lies in modern day Qinghai province. It is famous for producing some of Tibet's most famous spiritual leaders.

Eric Kruszewski: Tibet



Eric Kruszewski is a Baltimore-native, who started traveling internationally in 2005. He is drawn to new cultures, faces, practices and daily life. His website features galleries from Tibet, Mongolia, India, Georgia, and closer to home, Alaska and the American West. Spend some time at Eric's Mongolia gallery, which has some nice photographs of the Naadam festival.

The above photograph is of Tibetans prostrating themselves in Lhasa. Prostration is an important expression of Tibetan Buddhism. It's said that Tibetans are expected to prostrate themselves 100,000 times a year. Although they prostrate themselves at temples, some pilgrims cover the entire 33-mile route around Mount Kailas by repeatedly prostrating themselves.

The first time I saw a Buddhist pilgrim prostrating himself in such a way was at the Boudhanath Stupa in Kathmandu, about 10 years ago. He wore a full-body leather apron, and wooden "clogs" for his hands, and he circumambulated the stupa for as long as I was there.

POV: Is This The Xmas Spirit?

AP Photo/Hussein Malla/ Courtesy Denver Post PBlog
The human genius in reducing religious and/or social events down to nauseating manifestations of mindless consumerism, bad taste and repulsive glitz is seemingly alive and well in all major cities, minor cities and wherever there's the need for marketing, selling and buying.

However the 2010 award for the most loathsome display of this talent belongs to the Emirates Palace Hotel (Abu Dhabi), whose general manager Hans Olbertz, was quoted as saying the 43-foot (13-meter) fake fir has 131 ornaments that include gold and precious stones including diamonds and sapphires valued at $11,000,000.

Notwithstanding the fellow's subsequent apologies, and his admission that it was "over the top", the tree stands as a symbol of what Christmas (and every other religious observance) should not be.

Merry Xmas & Happy Holidays!

The Travel Photographer's 2010 Favorite Image Makers (Part 2)

Following yesterday's post, here are the second 5 of the 10 travel and/or documentary photographers (listed in no particular order) whose work was posted on this blog, and whose photographs were my favorites during 2010.

As I said, deciding which is a visual favorite amongst the hundreds of photographers I've shown here in this blog is a highly subjective and personal choice...nothing more or less. Every single photographer whose work was featured on my blog is worthy of praise and admiration.

1. Jamie Williams:
Photo © Jamie Williams- All Rights Reserved
This photograph is part of Jamie Williams' Tibet series, and is featured in his gorgeous website. I posted on Jamie Williams here.

2. Kieron Nelson:

Photo © Kieron Nelson-All Rights Reserved
This photograph of a Zhuang fisherman is part of Kieron's Guangxi gallery. I posted on Kieron's Vanishing Cultures photographs here.

3. Andrea Pistolesi:

Photo © Andrea Pistolesi-All Rights Reserved
This photograph of a Cambodian dancer is part of Andrea's gallery of Cambodia. I had featured Andrea's reportage work on the Rohingya refugees here.

4. Diego Verges:

Photo © Diego Verges-All Rights Reserved
This photograph is one of the latest of Diego's projects which are featured on his website. I featured Diego's work in a number of posts...this particular one is here.

5. Jørgen Johanson:

Photo © Jørgen Johanson-All Rights Reserved
Although I posted Jørgen's work on Tibet, I also encourage you to visit the rest of his galleries, including the one of Ethiopia, where I've seen the above photograph.

The Travel Photographer's 2010 Favorite Image Makers (Part 1)

First, let me render unto Caesar what is Caesar’s...this post was suggested by travel photographer Paolo Evangelista. He suggested I ought to post some of my favorite photographers whose work I've featured on this blog over the year....great idea!

So here's the first 5 of the 10 travel and/or documentary photographers (listed in no particular order) whose work was posted on this blog, and whose photographs were my favorites during 2010. The remainder (Part 2) will be posted tomorrow.

As I always say to whoever is interested; deciding which is a visual favorite amongst the hundreds of photographers I've shown here in this blog is a highly subjective and personal choice...nothing more or less. Every single photographer whose work was featured on my blog is worthy of praise and admiration.

I decided against grouping these photographs in a slideshow, so this is going to be a rather vertically long post:

1. Matjaz Krivic:
Photo © Matjaz Krivic-All Rights Reserved
This photograph is part of Matjaz's gallery of the Pir-e Shaliar festival in the Kurdish area of Iran. I posted Matjaz's work here.

2. Raphael Nguyen:

Photo © Raphael Nguyen-All Rights Reserved
This photograph is part of Raphael's gallery of super saturated photographs of Hoi An. I posted Raphael's work here.

3. Chico Sanchez:

Photo © Chico Sanchez-All Rights Reserved

This photograph is part of Chico Sanchez's audio-slideshow of Flamenco dancers. I posed Chico's work here.

4. Jehad Nga:

Photo © Jehad Nga-All Rights Reserved
This photograph is part of Jehad's Turkana exhibit at the Bonni Benrubi Gallery in NYC, and was also included in the Daily Telegraph article on his photographs. I had posted Jehad's work a number of times here.

5. Richard Murai:
Photo © Richard Murai-All Rights Reserved
This photograph is by Richard Murai, who recently won the Travel Photographer of the Year contest in the World in Motion category. I had posted an image by Richard Murai here.

Soham Gupta: The Down & Outs of Howrath

Photo © Soham Gupta-All Rights Reserved
 Following my post of yesterday on my forthcoming Kolkata Cult of Durga Photo-Expedition, I thought it timely to feature Soham Gupta's work on the homeless of Howrah. Soham is a Kolkata-based humanitarian photographer, who specializes in documenting social injustice and works with disadvantaged children. He started as a writer, but later realized that he had the ability to tell stories in a better way, through photographs.

The Down & Outs of Howrah is a haunting photo-essay on some of the destitute who live near the world-famous Howrah Railway Station. Howrah is situated on the west bank of the Hooghly River, and is linked to Kolkata by the famous Howrah Bridge. It is a twin city of Kolkata, and is the second largest city of West Bengal in terms of both area and population. Its railway station is the busiest and second-oldest station, and one of the largest railway complexes in India.

Soham tells us that most of these homeless individuals are drug users, and have developed mental disorders. Some of them carry the HIV virus because of shared syringes.

I encourage you to visit his website, and explore his other galleries. He documents the Bishnois, the Rajasthani gypsies and the Pushkar Fair. I consider his edgy and high contrast black & white photograph to be influenced by what I call the "Bangladeshi" school. You be the judge.

Kolkata's Cult of Durga: New 2011 Photo Expedition



I'm pleased to announce details of my Kolkata's Cult of Durga Photo Expedition™ scheduled from September 29 to October 13, 2011.

Kolkata's Durga Puja is the most important religious festival of West Bengal, celebrating the Hindu goddess Durga. Due to its importance, it's the most significant socio-cultural event in Bengali society of the year. It's during this annual spiritual event that I shall conduct a photo expedition/workshop.

The purpose of this photo~expedition is to photograph the innumerable rites associated with the Durga Puja festivities; and since Kolkata offers a diverse, gritty, and a visually compelling environment to photographers, it'll also be a "street-photography-heavy" workshop, with a multimedia component.

For details, drop by Kolkata's Cult of Durga Photo Expedition™

The 'Best' 2010 Images Of The Travel Photographer



Following the lead of many of the big picture blogs and news outlets such as The WSJ Photo Journal, Boston's Globe's The Big Picture, The Denver Post's PBlog and Reuters' Full Focus, amongst many others, I am featuring what I liked best of my own photographs made in 2010.

Many of you will be relieved that it's a silent slideshow...we already have too much cheesy Xmas music, jingles and whatnot around us to drive us aurally insane as it is!

It's also available at The Travel Photographer's Vimeo Channel.

Wendy Marijnissen: A Year In Pakistan


Based in Antwerp, Wendy Marijnissen is a freelance documentary photographer from Belgium, who has a career in looking for, and reporting on, stories with a social context. She completed a long term reportage in Israel and Palestine, using music to show a different part of daily life in this stressful and violent region. She's currently working on a new project about childbirth and maternal mortality in Pakistan, of which some of her compelling photographs can be seen in the above movie.

Another of Wendy's compelling photo essays is on the dai. A dai (or dayah in Arabic) is a traditional midwife or birth attendant in the Middle East, and Pakistan. Midwifery skills are usually passed on from generation to generation and most practitioners have had no formal training.

The unhygienic conditions in which the dai work, their lack of education and the delayed referral to hospitals in case of complications are the major cause for the high maternal mortality rate in Pakistan.

Fernanda Preto: Cowboys of Pantanal



Fernanda Preto is a Brazilian photojournalist currently based in Sao Paulo, and after living in the Amazon area for three years, has worked in environment and social reportages. She obtained degrees from the Panamerican School of Arts in Sao Paulo and from the Tuiuti University of Parana.

Her short film is about the Cowboys of Pantanal, which she produced using a Canon 5D Mark II. Pantanal is the largest tropical wetland in the world. Its largest area is in the state of Matto Grosso do Sul, with the rest being in Bolivia and Paraguay. It's considered as one of the last 37 natural wilderness areas in the world. The cowboys working in the area have survived for more than 100 years, doing the same task as the fathers and forefathers did, drive cattle to the highlands before the floods.

You can also see Fernanda's very well composed still images of the Pantanal Cowboys on her website by hovering your cursor over Features.

Next Week on The Travel Photographer




What's on tap for the week starting Monday, December 20? Take a look:

1. The work of a Brazilian photographer/photojournalist featuring her work on Brazil's cowboys.
2. The portfolio of a humanitarian and cultural photographer...with a focus on South Africa.
3. The work of an Indian photographer on the homeless of Kolkata.
4. And speaking of Kolkata...I'll be releasing the details of my photo~expedition/workshop in October 2011. It already has been announced yesterday to my newsletter's subscribers who are given priority.

Plus the usual "shooting from the hip" post. I didn't have the time last week for a meaningful rant..but you never know.

Ashura: Photos In "The Big Ones"

Photo © REUTERS/Morteza Nikoubazl (Courtesy Reuters Photo Blog)
Photographs of the Day of Ashura are carried by a number of the newspaper large picture blogs, largely because of its graphic nature, and while I initially thought it might have been because it reinforces the stereotype of Islamic fervor being violent, I've reconsidered and I'm quite certain that this is not the case. I recall seeing lovely peaceful scenes of Muslims celebrating Ramadan on The Big Picture blog.

Photo © Daniel Berehulak/Getty Images (Courtesy WSJ Photo Journal)
Be it what it may, the photographs are graphic because the acts of self mortification and flagellation carried out by the Shias are just that...extremely graphic. Flagellation is not at all exclusive to Shia Islam, but is also practiced by certain elements of the Christian faith.

Photo © REUTERS/ Ali Hashisho (Courtesy Reuters Photo Blog)
The Day of Ashura falls on the 10th day of the Islamic month of Muharram and for the Shias, commemorates a day of mourning for the death of Hussein ibn Ali, the grandson of the Prophet Muhammad, at the battle of Karbala.  Shias consider Hussein the third Imam and the rightful successor to Muhammad, and the grief for his death is demonstrated by the self-flagellation in parades and other venues.
Photo © Soe Zeya Tun/Reuters (Courtesy WSJ Photo Blog)

For Sunni Muslims, Ashura is observed by fasting as the Prophet Muhammad did, to commemorate the day when Moses and his followers were saved from Pharaoh by God by creating a path in the Red Sea. Surprising, huh?

The top photograph is of a girl with a green headband with the words "Hussein" as she attends the Ashura religious festival in Khorramabad, southwest of Tehran.

The second photograph is of a Shia devotee in New Delhi beating his bloodied chest as part of the ten-day mourning period marking the death of Imam Hussein. 

The third photograph is of a Lebanese Shia whose shaven head bleeds after tapping his forehead with a razor during the Ashura ceremony in Nabatiyeh.

The fourth and last photograph is a Shia walking on hot coals during a Ashura ceremony at a mosque in Yangon, Myanmar.

I ought to plan attending Ashura to photograph its ceremonies...it would be fascinating. Yes, bloody and graphic...but I'd attend it given half the chance. I came close years ago to do so when working in Bahrain, but I was advised not to attend it with a camera. Different times, I suppose.

New Website: The Travel Photographer

As announced in my Next Week In The Travel Photographer post, I've completed (well, almost) the face-lifting, liposuctioning and tightening of my website, and it's now ready to brave the outside world. It's based on a WordPress blogging theme which I deem to be just right for my style of gallery categorization.

The 18 galleries are categorized as in photo essays, and each has a thumbnail with a short description. It makes sense, it's easy to navigate and is simple and intuitive.

One caveat: The Photo Expeditions link is intentionally not working...and that's because I have yet to announce the details of my next one in October 2011...so be patient. It'll be announced in a few days.

Here's the current link.

And it's iPad-friendly as well...by the way, iPad's Mobile Safari can't manage a HTML file with more than about 6MB of images on it, so I had to take this into consideration when building this portal. The individual galleries are iPad-readable but not all images will download on Mobile Safari...this will be fixed either by using a work-around trick, or just reducing the resolution of the images.

National Geographic Photo Contest 2010

Photo © Chan Kwok Hung- Courtesy National Geographic
The National Geographic 2010 Photo Contest winners were announced. More than 16,000 photographs were submitted from around the globe, and 3 earned top honors in the people, places, and nature categories.

The winner in the People category is photographer Chan Kwok Hung of Hong Kong, who captured the photograph of an Indonesian farmer and his buffalo charging through the mud in a buffalo race called "makepung".

I also liked the photograph of a Xhosa boy crying during a circumcision ceremony by Robin Utrecht which garnered the Honorable Mention in the People category.

Samih Güven: India & More

Photo © Samih Güven-All Rights Reserved
Samih Güven is a Turkish photographer currently residing in Paris. Despite degrees in political sciences and Turkish language/Oriental civilizations, he practiced photography for over 20 years. His recent voyage to Asia is encouraging him to become a professional photographer, and to take up formal training in photojournalism.

He is also a founder member of a French collective called Phrawup.

Take a look at his India color portfolio from which the above photograph is taken, as well as those of Burma, China and Nepal to name but a few. His galleries are both in color, and black & white.

Vincent Prévost: West Papua

Photo © Vincent Prévost-All Rights Reserved
 I occasionally receive emails from photographers such as the one from Vincent Prévost that make the work of maintaining The Travel Photographer blog feel really worthwhile.

Vincent tells me he's been a regular reader of The Travel Photographer blog for about 2 years, and that it has been a source of inspiration to him. He cites my two posts on Grenville Charles and Diego Verges, who documented tribes of West Papua,  as triggering his own photo expedition "Highlands Encounters" to this remote part of the world.

That's what this blog is all about...to inspire photographers to explore other unfamiliar areas, to try new techniques and to document endangered cultures.

He has been teaching French in South Korea since 2002 and is also a freelance editorial photographer who fuses fine art and journalism. While most of his work is in color, he also enjoys black & white photography, and travels with compact audio equipment to add a further dimension to his visual work.

West Papua is an Indonesian province that borders the independent nation of Papua New Guinea and forms the western half of the world's second largest island. The indigenous people of West Papua are of the same ethnic origin as those in the eastern half of the island of New Guinea. Ethnically and culturally, they are also related to other Melanesian peoples of the Pacific.

Tatiana Cardeal: Ancient China

Photo © Tatiana Cardeal-All Rights Reserved
Tatiana Cardeal is a photographer, a visual artist (and a dreamer). She's a Brazilian independent photographer based in Sao Paulo, who spent her early career as an art director and graphic designer for international magazines. In 2003, she shifted her focus to photography and started to document social, cultural and human right issues where she made her mark.

Her particular interest is in South American indigenous people, but she just featured really terrific photographs of China in this portfolio which she titled Ancient China. I suspect that it's brand new as some of its captions are yet incomplete.

Clients and publications of her images include work with Amnesty International, Childhood Foundation, OXFAM International, Fundación AVINA, The UN Institute for Disarmament Research, Forum Syd, World Pulse and the medias The Independent, WOZ newspaper, National Geographic Channel, Deutsche Welle, and the magazines The New Internationalist, Courrier International, Max, Plenty, Tomorrow, Oryx In-Flight, AFAR, WIENERIN, Annabelle,The Big Issue and YES!

The BBC Celebrates Sir Wilfred Thesiger

Wilfred Thesiger in Ethiopia 1934 (Courtesy The BBC)
For historical buffs and admirers of adventurers/explorers, here's a BBC feature that will please you.

Sir Wilfred Thesiger took nearly 40,000 photographs during his eight decades of travels throughout Africa and the Arabian Peninsula. The BBC, in commemoration of his centenary of his birth, has featured an audio slideshow of his photographs.

Thesiger is best known for two travel books. Arabian Sands (1959) narrates his travels in the Empty Quarter of Arabia between 1945 and 1950 and describes the vanishing way of life of the Bedouins, while he Marsh Arabs (1964) is an account of the indigenous people of the marshlands of southern Iraq. 

From an article 'Gentleman Thrillseeker 'in the Independent newspaper:

Since 1930 Thesiger had documented his journeys in photographs, diaries, and letters to his family. Many of his finest photographs were taken, after 1945, in Arabia and Iraq; he took thousands more, just as fine, in the mountains of Asia, Morocco, Kenya and Tanzania. Thesiger's photographs have long been regarded as works of art in their own right; they also preserve a unique and imperishable record of vanishing tribal societies.

Thesiger was an intriguing man...to say the least. There are plenty of articles and opinions pieces about him and his life.

The Big Picture Blog: Best of 2010

Photo © Goran Tomasevic (Reuters)
Boston Globe's The Big Picture Blog is featuring the first part of three sets of photographs, which define 2010. The first set consists of 40 photographs...with some gems from Emilio Morenatti, Finbarr O'Reilly, while this one from Reuters' Goran Tomasevic is probably my favorite so far.

It shows U.S. Marines from Bravo Company, 1st Battalion, 6th Marines, protecting an Afghan and his child after Taliban fighters opened fire in the town of Marjah, in Nad Ali district, Helmand province on February 13, 2010.

Sam Chadwick: Cuba & More

Photo © Sam Chadwick-All Rights Reserved
Sam Chadwick is a travel photographer and a Hell's Kitchen (NYC) resident where he works on a variety of photographic projects and planning his next photographic travels.

He started photography as a main means of documenting his 5-day ascent of Mount Kilimanjaro. Since then, he traveled to over 50 countries, creating a large collection of images of people, cultures and environments. In 2007, he reached the semi-finals of the Shell Wildlife Photographer of the Year, and his images have appeared on Reuters.

You can see his many galleries on his website, from Guatemala, Belize, Nepal, Costa Rica, East Africa and my favorite Cuba.

Update on the Fujifilm Finepix X100 Rangefinder


WIRED's Gadget Lab has blogged on Fujifilm's new details of its forthcoming X100, which looks like an old-style 35mm rangefinder but is really a hybrid because it sports a mix of an optical and electronic viewfinder.

For those who haven't seen my earlier blog post on this hot baby, it's a camera I want ....and it's a real shame that it's not available in retail stores until March 2011. What's the payback for having been really good all year if Santa can only deliver this in March or later???

In any event, the X100 has a 12.3MP APS-C sensor, and a non-removable 23mm (35mm equivalent) ƒ2 lens.  It has manual focus (contradicting one of my discussions with a fellow photographer a few days ago), and will cost about $1000.

WIRED seems to think that the fixed lens might be a drawback when compared to Micro Four Thirds cameras...I dont know. I have the Panasonic GF1 with the sweet 20mm f1.7mm lens, and I haven't felt the need to have another focal length when I use it.

Ancient Technical Publications of Karnataka

Karnataka has been a innovation hub not just now but  has been land of science and technology, since time immemorial.  Let us see some of the technical writings in ancient times.

Kamasutra(171 BC)  by Vatsyayana - work on Erotics (kama)

Gajastaka (8th century AD) by Shivamara II - on Elephant Management in Kannada

Kalyanakaraka (850AD) by Ugraditya - WOrk on Medicine in Sanskrit.

Abhidanaratnamala or Sadrasanighantu (800 to 900 AD) unknown author - Medicinal work in sanskrit with kannada commentary.

Ganitasarasangraha by Mahaviracharya -  Mathematics work, ground breaking theories on Algebra, Arithmetic and Geometry

Lokopakaram (978 AD) Chavundaraya - Veterinary Science, Aromatics,Horticulture,Medicine, Astrology, Water resource, Cookery,etc

Gajankusha also known as Narayana wrote on Erotics

Jatakatilaka (1049AD) by Sridharacharya - work on Astrology in Kannada.

Madanatilaka(1050 AD) by Chandraraja - work on erotics in Kannada

Mitakshara (1070 AD) by Vijananeshvara - A legal work on Hindu inheritance in Sanskrit

Kshetraganita, Vyavaharaganita, and Lilavati  (1191 AD) by Rajaditya - Mathematical Works in Kannada

Karnataka kalyanakaraka(1150 AD) by Jagaddala Somanatha  - work on Medicine in Kannada

Govaidya(12th century AD) by Kirtivarma(chalukya Price) - Work on Vertinary Medicine in Kannada.

Abhilashitartha Chintamani (Manasollasa)(1127-1138 A.D) - work on rt, architecture, dance, music, ornaments, food and drinks, love and lust

Rattamata(1300 AD) by Rattakavi  - work on Meterology and omens in kannada.

Khagendramanidarpana(14th century AD) by Mangaraja I - work on Toxicology in kannada.

Akaradi Vaidya Nighantu(1300AD) by Amrita nandi - Kannada Medicine Dictionary with Meanings in Sanskrit.

Asva Vaidya (14th century AD) by Abhinava Chandra  - work on Vetinary Medicine. in Kannada.

Manmathavijaya(14th century AD) by Kavi malla 

Vaidyamrita(15th century AD) by  Sridharadeva - Medical work in Kannada.

Ayurveda Sudhanidhi compiled by Sayana (1570AD) - Work on Ayurvedic Medcine in Sanskrit.

Works on Carnatic Music and Bharathanatyam , which originated in Karnataka and works on Hindustani Music which primarily developed in karnataka are vast, which  we will see in another Article.

Ref
History of Kannada Literature by R. Narasimhacharya, Praktana vimarsa vichakshana mahamahopadhyaya rao Bahadur.

Gamaka - Art of Story Telling

Gamaka or Kavyavachana is a special ancient art of Karnataka. This is one among the 64 vidyas mentioned in the Hindu puranaas. The origin of Gamaka goes back to the age of Ramayana. Adikavi Valmiki taught Ramayana to Lava and Kusha, his disciples in Gamaka form. These two boys sang the whole of Ramayana in musical form before the great Sri Rama. Gamaka is the art of singing classical literature in musical form. Kannada literature is enriched by the classical poetic kavyas of the great poets like Pampa Ranna, Harihara, Raghavanka, Naranappa of Gadag Lakshmeesha, Torave Narahari. These literature are sung in different ragas, according to the meaning bringing out the poetic beauty. Gamaka is the perfect combination of "Kavya" or Literature and music. Artist who sings 'Gamaka' is known as 'Gamaki'. An able Gamaki should be well versed in both Music and Literature.

Gamaka
Gamaka' programme usually will be scheduled by two artists. The 'Gamaki' will sing the kavyas and the other 'Vyakyanakara' will explain the same. Gamaka is a form of story- telling wherein, One person sings a stanza of a poem, applying suitable ragas to it so that is will be melodious to hear. Another person then explains the meaning of the stanza with examples and anecdotes. It demands an in-depth knowledge of Carnatic music, old Kannada epics, the meter(s) of poetry, and the epics and puraanas. Gamaka brings alive great epics for the benefit of the common man. Gamaka draws raagas from traditional Kannada folk Dhaati(tunes) and Carnatic music . The singing itself is called Gamaka and the singer a Gamaki. The explanation of the rendering is called Vyakyana. Most noticeable thing in this art is that the singing has no rhythm.


Vyakhyana
A Vyakhyana is a running explanation in an easier language of what is said in the original, with little elucidations here and there. A Vyakhyana, particularly of a Kavya, deals with eight different modes of dissection of the Sloka, like Pada-Chheda, Vigraha, Sandhi, Alankara, Anuvada, etc. This forms an important aspect in the study of Sanskrit and Kannada Sahitya Sastra. An Anu-Vyakhyana - like the one written by Sri Madhva - is a repetition of what is already written, but in greater detail. An Anuvada is merely a running translation or statement of an abstruse text of the original. Tika is only another name for Vyakhyana. The best Vyakhyanas are of Vachaspati Misra on the Darsanas, especially on Sankaras Brahmasutra-Bhashya.

Gamaka Development
Gamaka is centuries old, believed to date back to the time when Valmiki narrated the Ramayana and twins Lava-Kusha sang them. Earlier Gamakis were part of Maharaja's court, but their art was not limited to the palace. They sang at temple, wedding, village katte, popularising it among the people. The art slowly faded away but was revived during the 1900's by eminent persons of literature like Prof. A.R. Krishna Shastry, D.V. Gundappa and others. Gamaki gained ground during G. Narayana's tenure as Kannada Sahitya Parishat's President and later as Karnataka Gamaka Kala Parishat's President since 1982.

Gamaka in History
Gamaka as the art of effective recitation of poetry, is probably as old as poetry itself. Poetry being intended to be recited and heard rather than read from the printed or manuscript page and not all poets being adept or effective in presenting their compositions to full effect, a person who specialised in the art of recitation and helped the poet to achieve his/her effect appears to have coexisted with him/her from early times. Appellations like "Gamaki", "Vadi" and "Vagmi" are frequently mentioned in early works as the appellation "Kavi"(poet) does. The royal courts of ancient times had places of equal honour for all these. Early poets like pampa and ponna are clearly referred in this context. The Gamaki enjoyed a place of distinction in royal courts and enjoyed public esteem next only to that of the poet.
Keshiaraja in his sabdamanidarpanam has mentioned Gamaka. There are references in the inscriptions to persons who excelled in this art and enjoyed royal patronage. An Inscription of 1068 described Gangarasa as a great lover of four kinds of artists mentioned earlier(kavi,gamaki,vadi and vagmi). Another inscription of 1255 extols the unsurpassed excellance of one Traividya Balachandra in these arts. Another one of 1533 of the time of Achchyutaraya tells us about a lady of Tirumalamma who was a great gamaki besides poetess on her own right. Innumerable inscription record grants made to persons for reading and reciting puranas in temples for the benefit of the listeners.

Several kannada works from Kavirajamarga down to Bharaesha vaibhava not only bestow high praise on the gamaki but also describe him in action and accordingly define the qualities that go to the making of a great artist in that line. He has poessess a good voice and have the capacity to understand the different sentiments to be expressed and the art of modulating his articulation to suit the sentiment and the situation. Music and Musical accompaniment may have a place in the art, but no more than what can aid and augument the expression of the literary content and intent of the work. An overdoes of music may obscure the literary worth of a poem and its total absence may diminish the depth and intensity of its appeal. The art of effective recitation of poetry, which is gamaka, has to achieve a happy compromise between the two. That is the gist of what poets like kumaravysya and Laksmisha expected this artist to do. There have been many who recited particular works so well and effectively that their names got attached to work themselves. Udayagiri varadani Ramayya and Gubbi Mallanarya became famous for their reading of Basavapurana so much as to join the names of the work and the reciters as if the work belong to them. In our own times we have seen that Bindurao came to be known as Bharata Bindurao because he specialised and excelled in the recitation of Kumarvysya's work.

Kavyas rendered Gamaka
Gamaka includes rendition of the verses in epics like Torave Ramayana and Kumaravyasa Mahabharata set to a classical raga, and an interpretation of the same with a brief explanation generally called vyakyana. The poems are chosen mostly from old Kannada epics such as 'Karnataka Bharatha Kathamanjari', Jaimini Bharatha, Harischandra Kavya, dEvi bhAgavata, and Torave Ramayana.

Gamaka Vachanas
Vachanas are also rendered in Gamaka Style. This is called Gamaka Vachanas. It is also uses Hindustani ragas for rendering the music.

Kumara Vysya Contribution
Kumara Vyasa's works belong to the Nadugannada (Middle-age Kannada) period of Kannada literature. His influence on later Kannada literature is significant. Gadugina Bharata is still widely read. It is popularly sung in a unique style known as Gamaka. Kumara Vyasa's most famous work, the "Karnata Bharata Kathamanjari" (The Mahabharata of Karnataka)is popularly known as Gadugina Bharata and Kumaravyasa Bharata. It is a sublime adaptation of the first ten Parvas (chapters) of the Mahabharata. A devotee of Krishna, Kumara Vyasa ends his epic with the coronation of Yudhishtira, the eldest of the Pandavas. The work is easily the most celebrated in Kannada literature. Its fame arises due to its universal appeal.

Gadugina Bharata is entirely composed in the "Bhamini Shatpadi" meter, a form of six lined stanza. Kumara Vyasa explores a wide range of human emotions, examines values, and displays extensive mastery over vocabulary. The work is particularly known for its use of sophisticated metaphors. It has earned him the honor of "Rupaka Samrajya Chakravarti" (Emperor of the World of Metaphors). Kumara Vyasa is also renowned for his characterization. "Karnata Bharata Kathamanjari" is also known as Dasha Parva Bharata because it originally had only 10 parvas as opposed to the 18 in the original Mahabharata. It is said that Kumara Vyasa died before completing the remaining 8 parvas.

There is a strong belief among locals that Kumaravyasa was a blessed poet of Sri Veera Narayana i.e Lord Vishnu. The poet used to sit in front of sanctum sanctorum in the temple and the Lord himself narrated the story of the ancient Mahabharatha from behind the statue. The poet transformed the story into an excellent poetry.

Kumaravyasa has shown an exemplary style of writing in the introduction. He proudly claims that his poetry is matchless and that it caters to the taste of all kinds of readers. He writes "A king enjoys the valor in the poetry, A brahmin the essence of all vedas, Philosopher, the ultimate philosophy, ministers and state administrators the tact of rule, Lovers, the inspiration. Besides this he proudly acclaims that this work of his is the "GURU" of the works of all other great scholars." However, his self-lessness may be noted when he says he merely noted all that was narrated by his lord, his actual poet".

The other, lesser-known work of Kumara Vyasa's is "Airavata."

Misconceptions
Gamaka is different from Gamak and Gamakam, the words used in Carnatic music to refer to the styles of rendering a note (ornaments (in music))

Exponents
Some of the early Gamakis included Abhinava Kalidasa Late Basavappa Shastry, Late Bharat Bindurao, Late Krishnagiri Krishna Rao and Late Shakuntalabai Panduranga Rao while the recent names include B.S.S. Koushik, Hosahalli Keshavamurthy, Gangamma Keshavamurthy and others. Gamaka Gandharva and Rajyothsva Prashasti puraskrutha Hosahalli H R Keshava Murthy is a living legend of Gamaka. Gamakakalanidhi Basavappa Shastri was one of the famous Gamaka singers. Among popular Gamakis are Rajyothsva Prashasti and Kanaka Purandara Prashasti puraskrutha Basavapatna Subbaraya Kaushik, Rajyothsva Prashasti puraskrutha Hosabale Seetharam Rao, Narahari Sharma Kerekoppa, Mattur Ramamurthy, Raghavendra Rao and Kam Su Venkatadri Sarma.

Gamaka Academies
Karnataka Gamaka Kala Parishat (Academy of Gamaka Art, Karnataka) is an organisation that is formed to support and encourage the Gamaka Art form. Over the last 28 years, Karnataka Gamaka Kala Parishat has been working in Bengaluru to popularise the art of Gamaka. The Parishat has its branches in all the districts of Karnataka. There are about 450 active Gamakis, of which over 100 are in Bengaluru.
Sankethi Sangeetha Saba
Vidyaranya Veda Patashale
Kannada Sahrudaya Prathistana conducts Gamaka recitals throughout the year at the famous “Kumara Vyasa Mantapa”, Rajajinagar.

Gamaka Innovations
Gamaka, though it is essentially the art of poetical recitation, has not always remained so confined. Varadachar and Gurudanagiri Nagesh Roa were well known for their rendering of "Kanda" verses from the stage. In rendering shatpadis effectively Balakawadi srinivas Iyengar and Chikka Rama Rao had made a great name. Basvappa Shastri enjoyed great reputation for his reading of Bharata.

The art of Bhagavata in Yakshaganas is not very different from that of the gamaki proper except that his rendings subserves the immediate purpose of the dramatic situation to be enacted. The singing of the Bhagavata links up the sophisticated art of the gamaka with the unsophisticated art of folk song.

Enlighted Audience
The Gamaka not only requires talented Gamaki's and Great works but also Enlighted audience. The Audience quest for Knowledge and Enlightenment, which you find abundantly in Karnataka has contributed to the flourishing Gamaka tradition. Not till very long ago kumaravysya's Bharata and Lakshmisha Jaimini Bharata were very commonly read to rural audiences in karnataka. Such sessions served the purpose of both entertainment and enlightenment. The Gamaka Tradition was thriving in 9th century AD as seen from the words Gamaki and Gamaka used to refer to the artists. Even if less than before, these and other classics of kannada poetry continue to be popular when recited by competent gamakis. One more work in the form of kuvempu's Ramayana darshanam has been added in recent gamaka repertoire. Among gamakis who acquired fame during the last few decades of this century the prominent ones are krishnagiri krishna rao, kalale sampathkumarachar, Bharat Bindu Rao, K.T.Ramaswami Iyengar, H.K Ramaswami , chandrasekharyya, Raghavendra Rao, Shakuntalabai panduranga Rao and Kaushik. All of them displayed mastery in the ancient and popular art of poetical recitation and have successfully maintained the old tradion.


References
"Dr. Suryanath U. Kamat", A Concise history of Karnataka from pre-historic times to the present, Jupiter books, MCC, Bangalore, 2001 (Reprinted 2002)
The Art of Posterity by Jyothi Raghuram
http://karnatakagamakakala.org/
http://www.iadvaita.com/
http://www.kamat.com

Origin of Satavahana

Satavahana Dynasty is also called Andhra’s. Let us analyze this

Who is Satavahana dynasty?
The Satavahanas were the political successors of the Mauryas in the Deccan and their rule lasted for four and a half centuries from about 230 B.C. their empire seems to have extended from the Konkan Coast in the West to the Godavari and Krishna Deltas in the East, while to the South it must have reached as far as Chandravalli.

Where is this claim made?
If we search the various sources. We can see this claim comes only with reference to Puranas.Those who claim Satavahana as Andhra’s cite the Puranas as the only source. Let us see the various Puranas.

1. No where in the Puranas Satavahana’s is mentioned.
2. No where we have any references to Satavahana kings.


So what does the purana’s tell?

Matsya Purana: Sisuka Vishnu Purana: Sipraka
Vayu Purana: Sindhuka Bhagvatha Purana: Vrsola Bali (i.e. Strong Sudra)
Brahmanda Purana: Chismaka

All this is supposedly to refer to King Simuka who established Satavahana dynasty.

All Purana’s refer second king as Krishna

Third is given as
Matsya: Sri-Mallakarni Vayu, Brahmanda, And Vishnu: Sri Satakarni
Bhagvatha: sri-Santakarna


The List of Names in Matsya Purana
1.Sisuka (Chimuka)-23 years, 2.Krishna-18 yrs, 3.Sri Mallakarni (Satakarni I)-10yrs, 4.Purnotsanga-18 yrs, 5.Skandhastambhi-18 yrs, 6.Satakarni (Satakarni II)-56 yrs, 7.Lambodara-18 yrs, 8.Apilaka-12 yrs, Meghasvati-18yrs, 0.Svati-18 yrs, 11.Skanasvati 7 rs, 12.Mrgendra Svatikarna-3yrs, 13.Kuntala Svatikarna 8 yrs, 14.Svatikarna-1 yr, 15.Pulumavi (Pulumavi I)-36 yrs, 16.Riktavarna-25 yrs, 17.Hala-5 yrs, 18.Mandalaka-5 yrs, 19.Purindrasena-5 yrs, 20.Sundara Satakrna-1 yr, 21.Chakora Svatikarna-6 months,22.Sivasvati-28 yrs,23.Gautamiputra Satakarni-21 yrs,24.Pulumavi(Pulumavi II)28 yrs,25.Sivasri-7 yrs,26.Sivaskanda Satakarni-7 yrs,27.Yajnasri Satakarni-29 yrs,28.Vijaya-6 yrs,29.Chandasri Satakarna-10 yrs, and 30.Pulumavi(Pulumavi III).

Let us see what the coins and inscriptions say
Chimuka, Krishna, Satakarni I, Satakarni II, Sata, Apilaka, Hala, Gautamiputra Satakarni, Vasistiputra Sri Pulumavi, Vasistiputra Sivasri Satakarni, Vasistiputra Satakarni, Sivasri Pulumavi, Skanda Satakarni, Gautamiputra Yajna Satakarni, Vijaya Satakarni, Vasishtiputra Chandra Satakarni, Pulumavi, Kausikiputra Satakarni, Saka Satakarni, Rudra Satakarni, Kumba Satakarni and Karna Satakarni.

Let us see when the purana’s are written?
Puranas were written between 300AD to 1000AD. A difference of around 500 years, significant time for discrepancies to creep in. which is why it misses out on many names and many characteristics of Satavahana’s. The reason why they were Andhra’s has crept in.

Some writers like V.S. Sukthankar, H. C. Raychaudhury and K. P. Jayaswal have not accepted the identification of Satavahanas with the Andhras.They have argued that the inscriptions mention these rulers as Satavahanas and not as Andhra’s, and that the language of the inscriptions is Prakrit and not Andhra. Moreover, the early evidences of the Satavahanas rule are not found in Maharashtra, and they might only have drifted into Andhradesa towards the end of their rule.

Some of these kings are not listed in the Puranas. It may be relevant to note that except for Chimuka no other Satavahana king called himself as Satavahana. Most others called themselves as Satakarnis or Pulumavis after their great early rulers of that name. No purana ever mentioned a king by the name as Satavahana or Sadavahana.

Let us see other evidences.

1. Contemporary inscriptions at Hathigumpha (150BC) referred to them as
Satavahanas
2. Line four of Hathigumpha inscription refer him as Satakamni
3. Epigraph of Visitthiputta Ananda of (1st Century BC) refer him as Satakani
4. Nasik Inscription of (1st century BC) refer him as Sadakani
5. Nanghat inscription refer Satakani
6. Coins issued by Satavahanas refer as Satakani, Satakamni


Vahana and kanni means same that is son, so we can reasonably assume sata as dynastic name. It means Sata’s Son

You can see none them refer them as Andhra’s, only in purana’s you can see Andhra Tag that is also not to the same names. So we can clearly see Satavahana’s are not Andhra’s.

So if they are not Andhra’s who are they?
1.Satavahan’s have their capital in Paithan. The ancient city of Pratisthan
now Paithan was the seat of Satvahana dynasty who ruled from 2nd century
BC to 2nd century AD. This is in ancient kuntala (kanara country) and not
Andhra.
2.Chutu’s (another line of Satkarnis) occupied most of the western Karnataka
with a capital at Vaijayantipura (Banwasi). Even though one more line of
Satakarni’s ruled Andhra, but chutu’s are called Kannada rulers.
3.Kuntala Satakarni denotes the king is from kuntala not Andhra.
4.Satavahanas never called themselves Andhra’s
5.Sukthankar held the view that Bellary district was the original home of
the Satavahanas
6.Satavahan’s were more interested in western region than in eastern Andhra
region showing they were not from the region

So Satavahan’s are of Kuntala and Kannada origin not Andhra Origin



Kuntala
In ancient times the areas south of the Godavari river including southern districts of modern Maharashtra, northern districts of modern Karnataka and south Karnataka districts of Shimoga and Chitradurga were collectively called Kuntala. An inscriptional passage the upper valley of the Krishna points to this theory [Ep. Ind., Vol. XII, p. 153. See Mirashi, Studies in Indology,]. In the Sanskrit work Udayasundarikatha of Soddhala (11th cent. A.D.) Pratishthana on the Godavari is said to be the capital of the Kuntala country. In early times Kuntala was probably included in the larger country called Maharashtra. The Aihole inscription of Pulakeshi II includes all these areas mentioned in Kuntala as Maharashtra. This designation of the entire area seems to be confirmed in Chinese notes as well. During these times, Kuntala came to denote the predominantly Kannada-speaking country, further corroborating views of historians such as Dr. Altekar and Dr. P.B. Desai. The Early Chalukyas of Badami and the Later Chalukyas of Kalyani were known as Kuntaleshvaras or lords of Kuntala. All their inscriptions are in Kannada and Sanskrit and their regal capitals at different times, Badami, Manyakheta(Malkhed in Gulbarga district) and Kalyani were also in present day Karnataka, which historically would be southern Kuntala. During these times however, the districts of Kolhapur, Satara, Sholapur, Ahmadnagar and Bid which are now Marathi-speaking, were included in Kuntala, indicating that Kannada country spread much further north of today's political boundaries. The Kannada classic Kavirajamarga calls the entire region between the Godavari and Kaveri rivers as Karnataka indicating Kannada country at one time extended far north and east of present day boundaries. Perhaps this was the region that embraced Hale Kannada as the official language. It is well known that during these times, Kannada and Telugu were written in Hale Kannada script. The Early Rashtrakuta, who were ruling over this territory as feudatory of the Chalukyas, were known as Kuntaleshvaras as well and their inscriptions call their overlords at that time as Karnataka Bala. Much later their imperial empire would rule large parts of India from regal capital Manyakheta in present day Karnataka, though as their empire grew they had many provincial capitals.


Their oldest inscription is found in Satara district of Maharashtra belonging to 6th century. In it Rashtrakuta king Avidheya has donated a village to learned Brahmins. The inscription is in Sanskrit written in Brahmi script. This has confirmed their origin at above place generally called Kuntala. From above theories it is clear that the ancient regional names such as Kuntala, Karnata or Maharshtra may have covered large common areas in the deccan at different times in Indian history

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