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  • Semana: Moments, Memories & Memorabilia (Savia Viegas)

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    Frederick Noronha
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    Images and their story from Goa. By Savia Viegas.

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    Images and their story from Goa. By Savia Viegas.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    540 views19 pages

    Semana: Moments, Memories & Memorabilia (Savia Viegas)

    Uploaded by

    Frederick Noronha
    Images and their story from Goa. By Savia Viegas.

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 19
    AN INTIMATE JOURNEY THROUGH PHOTOGRAPHS, | SEMANA DA CULTURA Wino-PORTWBWESN, 00. Presents an Exhibition of Old Goan Photographs Moments, Memory & Memorabilia Collated & Curated by Savia Viegas he photographic image played a central role in the visual history of the changing world of the 1840s. It was a world that was colonially inscribed; its geographies redefined and culturally re- conglomerated. It was a world of centres and peripheries linked by power, trade and colonisation. These new political groups had intense activities that linked the axis to the margins and these fringes to each other wherein goods, flora and fauna were relocated. People too moved across immense distances either for work opportunities or propelled by destiny. The invention in 1839 of two methods of permanently-capturing images on metal or paper —daguerreotype or producing an image on paper which was tonally and laterally reversed — changed the way images were made and produced. The photograph was a response to a social and cultural hunger for accurate and real-looking images, whose origins Naomi Rosenblum, the photography historian, locates in the Renaissance. From then on, the processes, techniques and subjects of photography have changed and evolved. As Coco Fusco, director of Graduate Studies for the Visual Arts, Columbia University writes: “We are increasingly reliant on photographs for information about histories and realities that we do not experience directly. By looking at pictures we imagine that we can know who we are and who we were.” This Exhibition seeks to offer a perspective of the history of Goa mirrored through a clutch of old photographs. As we view the images in this exhibition, questions will crop up in the minds of some of the viewers: Why are the common people not in these photographs? Why there are no photographs of Muslim families and those of minorities? Colonialism has left its tell-tale marks on our societies, creating different cultural metaphors for different cultural groups, changing and evolving with the passage of time. These photographs reflect these stark imprints of times gone by, exposing and delving into some common trends. In each Photograph, the identifiable and defined cues as the camera faced its subjects: the distance between the photographer and the posers in the foreground, the pose, clothes and other cultural artefacts coupled with the objects, human and inanimate, in the background, all reflect the unique aesthetics and conventions of the times The Estado of the Portuguese empire was a tiny stretch of shoreline spread across three zones in western India namely Goa, Daman and Diu.

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