Contributed research papers on various aspects of Hindu philosophy, Sanskrit grammar and poetics.

This translation of Randhir Singh's text of the Prem Sumarag presents an extended Sanatan account of Sikh ceremonies, Sikh ideals, and the Sikh way of life, thus providing a fresh insight into the history of Khalsa Rahit.

Articles on Sikh philosophy and history.

Articles on Sikh religion and philosophy.

Born in 1956, Santu Mofokeng formed part of the Afrapix Collective that engaged in exposé and documentary photography of anti-apartheid resistance and social conditions during the 1980s in South Africa. However, Mofokeng was an increasingly important internal critic of mainstream photojournalism, and of the ways black South Africans were represented in the bigger international picture economy during the political struggle. Eschewing scenes of violence and the third-party view of white-on-black brutality in particular, he began his profound explorations of the (...) everyday and spiritual dimensions of African life, both in the city and in the countryside. His formal techniques favor “fictions” that contain smoke, mist, and other matters and techniques that occlude rather than expose. Using angularity and ambivalence, he also ruptures realist expectations and allows space for the uncanny and the supernatural. He works with the notion of seriti . The essay follows strands in Mofokeng’s writings and statements in relation to certain of his photographs, most recently repositioned in the substantial 2007 exhibition Invoice, to argue that he has pushed for a desecularization and Africanization of photography from the 1980s to the present. In more recent work the scourge of apartheid has been replaced by the HIV/AIDS virus, a mutation of nature, exacerbating the spiritual insecurities of many people in post-apartheid South Africa. The essay concludes that Mofokeng’s work poses a critique of the parallel paradigms of Marxist-influenced social history and documentary photography in 1980s South Africa, both still highly influential, by attempting to reinsert aura into photography and by highlighting what secular Marxism has concealed and proscribed. (shrink)

This paper responds to Patricia Hayes’s insightful readings of Santu Mofokeng’s photographic work in South Africa. The paper operates from the premise that photography is a technology of visualization that both draws on and establishes a visual economy through which events and issues are materialized in particular ways. This allows the paper to pose questions and develop understandings about Mofokeng’s work in terms of the way certain factors coalesced to enable a particular representation of black South Africans in the (...) global image economy. Central to this is the role of assumptions about exposure and visibility in relation to violence, assumptions that Mofokeng’s work, as a critique of conventional documentary work, explicitly contests. In exploring the invisibility of everyday life, Mofokeng expands notions of documentary photography and photojournalism. This paper demonstrates this point by connecting Mofokeng’s work to a contemporary controversy in European photojournalism to highlight how a more complex understanding of documentary photography is necessary. (shrink)

“Adam was hurled into Hindustan. In this land there is a mountain called Serandib, and it is reported that there is no higher mountain in all the universe. Adam landed on this mountain.” The subject of Serendib plays an important role in both the geographical and travel literature of the Arabs. Serendib, or Sarandib, is the transcription of the Singhalese name Sinhaladîpa, which means “island of the descendants of lions” (singha, “lions,” in Singhaly). Already, in the Middle Ages, in (...) the year 949, Arab merchants, who were well acquainted with the island of Ceylon, set up a branch in Colombo. The natural beauty and wealth of the island so touched the imagination of Arab voyagers that it appeared in the sixth voyage of Sinbad the Sailor, and it was also believed that Adam lived on the island after having been driven from Paradise: “The island of Serendib is located directly under the equinoctial line…. Men fish for pearls along its banks and at the mouths of its rivers, and some of its valleys are rich in diamonds. As an act of faith I myself took a trip to the mountain, to the very spot where Adam was banished after being exiled from Paradise. I even climbed to its summit.”This excerpt, from The Thousand and One Nights, well summarizes the feelings of those Arab merchants whose accounts of their travels, in large measure, contributed to the spread of myths and legends about Ceylon. (shrink)

ABSTRACT This photo-essay considers the other lives of family photographs by offering an analysis of my mother's collection of professional studio portraits and other vernacular photographs shot between the mid 1950s and late 1960s. How do we read the photo-archive of an 'Indian' woman born in 1941 to parents who were wards of the colonial state? A woman who was one generation removed from the sugar-cane plantations and coal mines where Indians were indentured as a coercive labour force? Influenced by (...) Santu Mofokeng's project The Black Photo Album and Tina Campt's method of 'listening to' rather than 'looking at' photos, I refigure the family photo-archive to produce The Brown Photo Album, which is an experiment in seeing and being seen. In a context where the institutional visual archives of colonialism and apartheid have trained South African publics to see and thus know the Indian in very specific ways, this article redirects us away from the violence of the visual to the relationship between race, aesthetics and affect. It positions the family photo album not only as an alternative archive of the Indian experience but also as an archive through which we can begin to comprehend the Indian experience otherwise. This project probes the making of Indianness in the Natal Midlands, shifting the lens from urban centres like Durban and Johannesburg. As a work in progress, I present The Brown Photo Album as an experiment, an iteration of a project, a praxis of refiguring family photos in order to understand what this archive can reveal about our past, presents and futures. (shrink)

The notion of the archive covers two kinds of knowledge: knowledge and memories that can be articulated and objectified by convergent discursive rules, and knowledge that remains overlooked because of the same discursive rules, now working as rules of exclusion. Many contemporary art practices foreground these exclusions from the archive by presenting them as yet another archive. Artists highlight this residue of the archive by collecting images that were until then not considered to be archivable, that is, of any value (...) or importance. In this article I will discuss work of Santu Mofokeng, Akram Zataari, Walid Raad, and Darius Jablonski as examples of such archival artistic practices. (shrink)