(1) https://www.google.co.in/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=dayanita%20singh%20saligao
(2) See below... http://indiatoday.intoday.in/story/in-dayanita-singhs-chronicle-of-life-in-goa-the-photograph-and-photographed-become-one/1/233296.html Eternity in monochrome In Dayanita Singh's black-and-white chronicle of life in Goa the photograph and the photographed become one. Sonia Faleiro January 15, 2001 | UPDATED 12:45 IST It's 5.55 p.m. In Saligao, Goa, the sky has turned a deep orange. The fairy lights (a Christmas week frivolity) that curl around trees in gardens slowly spring to life and the Star of Bethlehem that hangs from the roofs of houses - Casa Bobo 1890, Villa Princessa - have been switched on. At the end of the narrow road, a few steps ahead of which has the church, sits photographer Dayanita Singh. It may seem incomprehensible to many why Singh, 39, should choose to spend her evenings on the porch of the Saligao Institute, that amiable old building that hosts tambola and bridge sessions every evening. It's easy to dismiss Saligao as a one-horse town, to point to its football field, haunted by clusters of crows and sleepy dogs, as just one indication of the vado's (ward) extreme lethargy. Singh, who first visited Saligao last December to stay with a friend, however has ample cause to say, "I love it. I see no reason to return (to Delhi)."  If not followed to the institute, the a forementioned road leads up a steep incline flanked by fields. Higher still, a temple bathed in gleaming white paint is festooned with ribbons. As the sun sets and the weather cools, Saligao's green, light blue, orange and brown houses throw their shadows with a casual shrug. A few minutes later at 6 p.m., "Demello Vado", Singh's photo exhibition of 44 black and white images of Saligao (with a clutch from Rachol, Chandor, Margao and Loutolim) is open to the public. "Demello Vado", as photographer Pablo Bartholomew who was at its December 16 opening observed, is not about "Old Goa". It is also not, as Singh suggests, so dramatic as to be in danger of attracting "curious busloads". It is instead an outsider's inside view of a Goan family - of the people, their rituals and their religion. As Rosarina Cordeiro sits straight-backed on a swing, hands crossed on her lap, a mantilla covering her graceful silver hair, and the windows throw their shadows on to the wall behind her, one acquires a startling glimpse of the dignity of age. Her grandchildren, a pre-teen boy and girl, sit side by side in the parlour of the same house, the boy displaying all the ease of one thrown headlong into the Dudsagar Falls, the girl, as composed as young ladies are wont to be. The plump seats, the fading photos, the delicate curios, tell of youth in age, of the present in a room built on the past.  Dayanita Singh A graduate of the National Institute of Design, Ahmedabad, Singh initially distinguished herself as a photojournalist. Published prominently in the US and UK, her content - sex workers in Mumbai, eunuchs and their place in Indian society, women industrialists in Delhi - and style have been described as an "object lesson in the way fantasy and everyday life interact (The New York Times). "Work of a gone century," she says, reading aloud from a copy of a 1999 India Today profile of her photos (Issue dated Dec 20, 1999, Inside Eye). Cigarette in hand, brow furrowed, Singh says, "They asked me where I would be when my work was no longer contemporary." "This," she looks around, "is the answer." Visitors exclaim in delight as they recognise family and friends in the 2 ft by 2 ft laminated pictures. Several swoop over Singh, engulfing her petite frame. "This would be considered sacrilege anywhere else," she says, of her art being prodded by Saligao's collective hands. "But as a photographer you take so much from your subjects, it's only fair to give something back." So the exhibition that opened with feasting and festivity (think 60 people dancing the mando) will close on January 16, with the presentation of the photographs to the subjects. "A s a photographer I'm forever feeding off people," she insists.  LIVING HERITAGE: Dayanita Singh's photos are an outsider's view of a Goan family, its people and its religion Singh's transition from documentative to interpretive photography is subtly illustrated in "Demello Vado". It seems only just, therefore, that Demello be a name she conjured up and that her favourite photo of the collection be a rack of cups, their delicate china surfaces embroidered with a confection of flowers. "One can only imagine what's behind them," says Singh. Another photo, all white lace and molten eyes, is of bride Rowena Kapparath standing by the priest on her wedding day (her husband has been spliced out of the photo with delightful cheek). There are homes too, Singh's first step towards focusing only on the inanimate. "You don't have to have people in your photos to say something," she says. Hence, a church facade bathed in night-light. And as a suggestion for introspection, a stall selling "Chinese and Tandoori" sports the bright red of Coca-Cola and dwarfs the magnificent Saligao Church behind it. In another, illustrator Mario Miranda's altar in his ancestral home gives off the heady smell of incense, and writer Mario Cabral e Sa's house is all calm and cold floors. "You bring out the colours in black and white," a visitor says to Singh. She is intrigued. "Your pictures are devastating," says a journalist. Back in Delhi, Singh's base, the congratulations are more subdued. Photographer Raghu Rai's praise ("she's very dedicated") is thrown aside. His observation that "She is yet to discover new spaces and new energies in her work", spat at. "It's an irresponsible thing to say," says Singh, "I am very offended." She gets fidgety. "I get printed all over the world," she says. "But one wants so much to get recognition in one's own country." Geetanjali Sinha, currently curating "Vilaas" in Mumbai, where Singh's are the only photographs among art depicting pleasure, is unequivocal. "Her photographs have the quality of suggestion," she says. "She represents photography as an art." Singh is unappeased. Singh's itinerary for 2001 includes an exhibition of her work at the Tate Modern, London, in February, as part of "Century City: Art and Culture in the Modern Metropolis". She is also working on a portfolio of museum or "display" pictures. The piece de resistance though, is a 10-year retrospective of her work, to be published in October by Scalo Publishers, Switzerland. Four hundred pages, 250 photographs. Not bad for someone who, when she was starting out on her career, was told by India's then numero uno lensman, "Why do you want to be a photographer? You're a woman. You should get married." As the exhibition closes at 8 p.m., Dayanita Singh can introduce you to at least three score people who are terribly glad she didn't take the advice. On 21 February 2016 at 18:03, foxmax <[email protected]> wrote: > Who is this Dayanita? > > What is her Saligao connection? > -- _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ _/ Frederick Noronha | http://about.me/noronhafrederick | http://goa1556.in _/ P +91-832-2409490 M 9822122436 Twitter @fn Facebook: fredericknoronha _/ Goa,1556 CC shared audio content https://archive.org/details/goa1556 _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ -- -- Saligao-Net is at http://groups.google.com/group/saligao-net To post to this group, send email to [email protected] To unsubscribe email [email protected] --- You received this message because you are subscribed to the Google Groups "Saligao-Net" group. 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