14. An organised event

THE FOLLOWING IS A SELECTION OF PHOTOGRAPHS FROM THE ANNUAL DANCES HELD AT A TIBETAN MONASTERY IN EASTERN INDIA; AS WELL AS THE PHOTOGRAPHS, I HAVE RELATED MY EXPERIENCE OF MAKING THEM


I had researched the occasion of dancing at a Tibetan monastery in eastern India and arrived the day before they were due to begin. On the previous evening, a monk was practicing his steps with help from another and I was able to survey the area in which the dances were to take place. I found a good vantage point and made note of where the light would be coming from the next day although the dances were not to begin until the sun was low in the sky.

I had obtained permission to photograph and knew some of the senior monks. This helped me to feel relaxed about photographing although I was aware of a “thin maroon line” that I did not want to cross.

The selection of images here were drawn from over 300 made during the event that lasted some 2 hours although a few initial images were made earlier in the day. The event called Gutoor is actually a ceremony of several days of which the last afternoon involves the ceremonial dances and a fire ritual.

The first few images of monks entering for the dance and then actually dancing were quite easy to make. Although feeling slightly self-conscious at not being where the audience should be, my little territory did not impose on anyone. I was able to keep at a distance from the action. Shooting into the light did not make photographing easy but did help to add some drama into the situation.

young monks, part of the ceremonial entrance to the dance

black hat dancers perform in the courtyard

The second photograph shows the dancers spread around the courtyard. The light is noticeable yet dull. Photographing from the centre of the entrance might have been compromising if more participants were to enter at this point, I did not think they would for the dance was now underway which also meant people were not looking in my direction. I did not want to stand out from the crowd but be part of what was happening.

The Abbot and his daughters

My next move was however out of line. Seeing the abbot watching the dance with his four daughters, I manoeuvred myself around to make a photo of them in the act of seeing the drama unfold as this seemed to be a key shot since the dances, a form of liberation through seeing, ask one to observe them with a meditative view. However, in the minute it took for me to make these images, I disturbed one of the daughters who got up and moved to the back. It is at times like these that I question my whole role of photographer; there seems little worth in photographing a situation if one is going to compromise it. One might make more sales but the photographer may well be considering the situation along other lines than purely commercial ones; photographing traditional events can help to bring them recognition and understanding from people who might otherwise scorn them. Many photographers would appear to operate from a point of view that at least emphasizes with the subject if only as a means to make good photographs.

The celebrants depart for the cross roads

Soon after this, the dances in the courtyard drew to a close and the dancers followed by the spectators, walked off across the monastic compound to see the fire ceremony ritual that was held on the outskirts of the village. Here, one did not feel out of place as everyone was following everyone else and ceremony was for awhile absent.

Preparing for the fire ceremony

Once the monks had reached a crossroads on the outside of town, they formed a circle around an unlit pyre. The main black hat dancer, as these robed monks are referred to, read from scriptures. I kept a place near to the action but at the edge of the crowd; it might have worked to get closer to the head monk but a telephoto lens sufficed. Did not want to be between the head monk and the pyre since he started throwing things at it, an action hard to capture convincingly in the failing light.

Not unlike spirits from the netherworld, local people descend on the fire

Then the fire was lit and a ritual item tossed into it; an action to capture that was enhanced by the flames from the pyre. I joined forces with the mass of people who rushed forward to see if they could get anything from the fire for some objects had been knocked sideways. By being part of this group, I trusted I was not interfering and was not of course interested in salvaging anything except photographs from the occasion.

The Black Hat dancers start to walk back to the monastic courtyard

There then followed more prayers before the entourage of robed figures set off for the monastery compound. By remaining to the side of the road as participants passed, I felt I was not being too intrusive rather one of the celebrants of this festive rite. Low light meant sharp images were not easy to make and blurred results gave a sense of movement without loosing the colourful atmosphere.

A Black Hat dancer leaves the courtyard

The dance continued for awhile in the courtyard which was lit by lights from the temple. I started to photograph on another side of the courtyard before moving to stand by the entrance-exit to catch dancers as they emerged. Flash did not seem out of place here as the light shone on the area as well.

The jubilation on the faces of the Abbot's daughters give a sense of the occasion

The dance finished and people started to leave. People were friendly towards me and one or two of the abbot’s daughters, one of whom I seemed to have offended, posed for me and made funny gestures; in the photograph here they are however not "acting up" but relating to the general situation. It was an occasion of celebration not seriousness and I was left with the feeling that I had been part of it  all rather than imposing my wish to make photographs upon it.