Pablo Bartholomew’s Pictures of the Naga People Are a Crash Course in Anthropology

At an unsuspecting glance, five tiny brass ‘faces’ made into a pendant with colorful beads and strings would probably just be an eye-catching necklace. But photographer Pablo Bartholomew says these brass faces may represent the number of human heads carried by a Naga warrior wearing a necklace. Bartholomew knows what he’s talking about – for more than 10 years, he has traveled deep into the Naga region, often alone, to learn more about their life and culture.

The photographs he took there between 1989 and 2000 have been brought together in an ongoing exhibition NagasoPresented by Nine Fish Art Gallery and Dot Line Space in Byculla, Mumbai. Accompanying the photographs are Naga artifacts from the Great Eastern Home Collection of Nine Fish Gallery founder Anurag Kanoria. Large wooden sculptures, furniture and ceremonial jewelery (like necklaces) add to the immersion of the show.

The term ‘Naga’ is used to describe more than 30 tribes who live along the Patkai mountain range, which extends across several geopolitical boundaries. Despite the umbrella term, the Nagas are a diverse people speaking over 60 dialects. The broader Naga identity symbolizes a proud people, who uphold their own constitution and flag.

dangers of bravery

Inspired by stories he heard as a young boy from his father, art critic and photographer Richard Bartholomew, Pablo began his career as a photojournalist in the 1990s to document the many living and dying traditions of the Nagas. Took time out Traveling in his modified jeep, which would serve as a mobile studio, generator van and equipment carrier, Bartholomew not only faced threats from uncharted terrain, wild animals and secret tribes, but also persistent low-level clashes between Naga rebels. Created a war-like situation. Indian Armed Forces.

An installation in the exhibition | photo credit: Pablo Bartholomew

He recalls one such perilous journey he made to depict the Tangkhul Nagas on their magnificent lion heads, which are decorated with hornbill feathers, a brass dish and human hair, with red and white seeds. There is a jaw piece made of wood. Worn exclusively by men of the northern Tangkhul tribe of India and Myanmar, they symbolize male courage, strength and virility.

front row view

“To create this set of photographs, I had to go to a remote border village without a proper road. The drive was all downhill. I had opted to drive late in the evening to avoid detection by local authorities and security forces as otherwise I would have needed multiple permissions. Driving in the dark, following illegal logging truck tracks, I couldn’t see much of the landscape, only what was shown in the headlights. When I finally found the village where there was no electricity, the villagers were shocked to see me alone in their vehicle. Earlier no outsider had dared to enter his village. They gave me food and shelter for the night. I explained to them what pictures I wanted to take and the next morning with their cooperation, I made the pictures I wanted. Then I took the back trip on the Imphal-Jesami-Kohima road, which took me to another adventure – the story of another day. ,

flexible beauty

Bartholomew, a Padma Shri and L’Ordre des Arts et des Lettres awardee, is probably one of the few outsiders to have observed certain Naga cultural practices, many of which are now outlawed. One such is headhunting, which, despite being banned by the British, embodies a certain military might and valor that still defines the Naga tribes. Through the photographs, one gets a front-row view of amazing sights such as a hut filled with human skulls, which is called a mock-battle ritual. mangpaThe formal establishment of a log drum that occurs only once in 30–50 years, or the uplift of a megalithic.

Among the extraordinary displays of supremacy, Bartholomew’s images of Naga women in their daily lives stand out as they tend to their children, farm or household chores, or enjoy a few rare moments for themselves. Although, as anthropologist Dolly Kikon points out, the concept of the “empowered Naga woman” is a myth, Naga society is essentially patriarchal, with the women in photographs radiating a flexible beauty.

From the nature-inspired homes of the Nagas to their warrior rituals; From their music, dance and sculpture to their hunting practices; From their elaborate costumes and jewelry to their rigid social hierarchy, the exhibition is a real crash course in Naga anthropology. The photos are accompanied by detailed captions and a video, though just the visual takeaway is also incredibly rich.

in the show, NagasoNine Fish Art Gallery, Byculla, Mumbai, until 10 April.

The author is a culture writer and an interfaith studies scholar.