Dastavezi | the Audio-Visual South Asia

Drawn to Change: Image-Text Interplay in Indian Graphic Journalism

Ira Sarma — 2024-12-21

This article introduces Indian graphic journalism by exploring the general dynamics of
the interplay of text and sequential visual narrative within this medium. A close reading
of a selected work—a graphic feature on the suicide of the Dalit student Rohith
Vemula in 2016, published on the Indian news platform The Quint—shows that the
genre's success is driven largely by three key factors: the accessibility of images, their
captivating nature, and their ability to convey additional layers of meaning. An overview
of the current landscape of Indian graphic journalism will contextualize the findings,
emphasizing the diversity of genre within the format. The article demonstrates
that graphic journalism spans various genres with reportage, feature stories, and opinion
pieces standing out as the most prominent within the Indian context. Across these
genres, the inherent subjectivity of the drawn image is employed deliberately to challenge
dominant narratives and bring marginalized voices to the forefront, giving rise to
diverse forms of “visual activism” and creating valuable archives of protest and social
commentary.

The Bleeding Heart: Arshi I. Ahmadzai's Exploration of Feminine Identity

Arshi Irshad Ahmadzai — 2024-12-21

This article showcases the complex intersection of feminine identity and cultural
heritage through the work of artist Arshi I. Ahmadzai. Drawing on Persian and Mughal
miniature traditions together with the abstract aesthetics of the Bauhaus, Ahmadzai’s
recent series explore how women experience emotional and physical transformations.
Central to her work is the recurring symbol of the bleeding heart, which embodies pain,
vulnerability, and a deep emotional connection. Through her use of fabric, natural
pigments, and Urdu writing—often intentionally unreadable—Ahmadzai blends poetry
with artistic expression, creating a unique visual language that resonates across
cultural boundaries. Her experiences in India, Kabul, and Weimar (Germany)
profoundly shape her art practice. This article captures how Ahmadzai’s art not only
reflects her personal struggles with patriarchal norms but also offers a universal
commentary on the sanctity of the feminine experience, culminating in a body of work
that is both intimate and powerful. Her art engages deeply with Sufi tradition and is an
exploration of pain, resilience, and the sacredness of the feminine in a modern, global
world.

Documentary Filmmaking: Notes on Survey City and the Need for Films that Concern Mass Social Movements

Tarini Manchanda — 2024-12-21

This article encapsulates a history of social justice filmmaking in India or South Asia
more broadly with regard to what is being heralded as the Indian documentary wave
since 2021-till date. It asks what role funding institutions and grant-making bodies play
who tend to cater to their audiences more than the instincts of justice that tend to
motivate filmmakers who pursue stories about underrepresented communities or
social justice. The article complicates the discussion on the process of making social
justice films, and delves into the complexity of form and content vs. addressing social
issues, as well as the sociological aspects of a non-fiction film and its production.

Pandharpur Wari: Pilgrim Sojourn in the City of Pune

Suchetana Banerjee — 2024-12-21

The Pandharpur wari is an iconic annual pilgrimage in Maharashtra that starts from the
towns of Alandi and Dehu. It has a rich tradition dating back to the thirteenth century.
The wari (Marathi term for pilgrimage, also associated with the specific pilgrimage to
the temple town of Pandharpur) involves hundreds of thousands of devotees known
as varkaris walking for 21 days through villages and cities, traveling around 250
kilometers by foot to meet their beloved deity Vitthal at his temple in Pandharpur. The
pilgrimage, passing through the city of Pune, is a significant event, because it
transforms the city’s atmosphere into one of devout reverence and collective
celebration for three days. Varkaris carry with them padukas, impressions of the feet
of saintly poets of Maharashtra, to meet Vitthal. The poet–god relationship, central to
the wari, underscores a devotional ethos that is inclusive and accessible to the
common person, reinforcing the ideals of mutual respect and coexistence. In an era
marked by political fragmentation, the Pandharpur wari stands as an example of hope,
enacting how cultural and spiritual practices can bridge divides and cultivate a sense of
collective identity and solidarity. Thus, the wari is more than a pilgrimage; it is a living
tradition that fosters unity and love and is a testament to enduring faith and communal
harmony. This audiovisual essay offers an immersive experience of the wari in Pune.