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DIMAPUR — Once a photographer, always a photographer.
Photography took a backseat when Jaremdi Wati Longchar decided to pursue an ethnomusicology course, however, her interest remained unchanged. In fact, it was during her time in the field, gathering data for her master's dissertation, that her passion for art resurfaced and fell into place.
The London-based ethnomusicologist and photography enthusiast shared her perspective on art to Eastern Mirror ahead of World Photography Day, observed every year on August 19.
[bsa_pro_ad_space id=1]"Documenting the lives and songs of elderly folk musicians and oral historians in their homes made me realise how much I love storytelling and how I could enhance my storytelling through the visual medium of photography," said Longchar.
Reflecting on her most memorable experience, she recalled capturing moments during the Tsungremmong (festival) celebration in an Ao village, marked by performances from various cultural troupes. She was the sole female photographer at the event, an experience that filled her with a sense of empowerment.
"I like to believe that perhaps a young girl saw me that day and realised that women can stand strong in a patriarchal society and chart their own path when it comes to pursuing their passions," she said.
For Jaremdi Wati Longchar, photography, akin to any art form, is subjective, where 'two people can look at a photo and derive different interpretations from it.'
"Our perception and interpretation of it is informed by so many factors like our memories, our cultural background and our personal experiences. I hope my photos tell a story and that people find some kind of meaning in them," she said.
She said that she prefers to respond intuitively to the environment around her, rather than actively seeking out a subject or scene when she ventures out with a camera. She believes that having predetermined shots in mind restricts her from exploring new possibilities.
[bsa_pro_ad_space id=1] [smartslider3 slider="2"] [bsa_pro_ad_space id=1]"I go with my gut and take photos of scenes or subjects that stir a certain emotion within me," she said.
Discussing the arrangement and composition of her photos, she shared, "I shoot in natural lighting. I like to play a lot with shadows and light. My approach to composition is intuitive as well. When I’m shooting, I don’t get too analytical about it. When I’m out and about capturing people and scenes on the street, things can happen so quickly and if I’m overthinking the technical aspects, the moment is gone."
"This intuition, of course, has come as a result of a lot of bad shots! But that’s how you get better at your art: making mistakes and learning from them," she added.
"An intriguing aspect of it is being able to allow ordinary people and what we may perceive as everyday mundane moments to own the space in that one frame," she said. "It’s about finding little pockets of joy and beauty in the everyday chaos."
When asked about the significance of feedback in photography, she replied, “As someone who is on a lifelong journey of learning, whether it be photography or music, I value feedback, positive or negative. It allows me to grow and evolve in my art. But I also have to remember that art is subjective and that people will have varying opinions on my work. Some people will like it, some people won’t and that’s absolutely fine.”
"At the end of the day, it’s my deep love for photography and storytelling that keeps me going on this journey. If I rely on validation from other people to find value in what I do, then I’m not doing it for the right reasons," she added.
Jaremdi Wati Longchar said, "Oral historians are the keepers of our ancestors’ stories, and one must put in a more concerted effort to engage with them."
"Whenever I look back on the photographs of ageing folk musicians I’ve taken during my ethnomusicology fieldwork, there is a feeling of both joy and sadness. Joy, because I’m grateful to have had the opportunity to sit with them and document the songs and stories of our forefathers. The sadness comes from knowing that oral historians like them will be no more and a lot of our history and traditions will be lost to us when they leave this world," she shared.
When asked about her photography experience in Nagaland and the UK, she replied: "When I visit Nagaland, a lot of my photography happens for research purposes so the focus is on people and framing their personal stories. And since I’m not able to visit home as much as I want to, I try to capture every single moment as much as I can. So I’d say, I lean more towards documentary photography. Here in the UK, it’s mostly street photography, candid photos I take when I’m travelling in and around the city for work."
"But at the heart of it all is the element of storytelling," she remarked, noting that her distinctive approach to photography is influenced by her personal experiences and her identity as an indigenous woman living in a multicultural city.
"And as someone who is self-taught, I’m still trying to find my voice. So to anyone who wants to dip their feet into the world of photography, go for it! Be patient with yourself and don’t box yourself into a specific category. Allow yourself the freedom to explore your instrument. Let the ebb and flow of life inspire you, be constantly in awe of the world around you and you’ll find beauty in all the little moments," she shared.
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