Documentation of Visual Culture
Aman Bhardwaj || Semester -5 || Graphic Design || 2014
Documentation of Visual Culture
Course : ‘Documentation of Visual Culture’ aims to build skills of observation and analysis as well as knowledge w.r.t. visual language and socio-cultural perspectives of graphic design through study, discussion and observation. The course also seeks to ask questions about visual sensibilites as personal, national, ethnic and global through comparisons of traditional and popular culture today.
Assignment : We were asked to each pick a space in Ahmedabad, research it and through field trips, document a particular aspect of the visual culture in that space.
The temple in the background is a popular landmark of my chosen space for the study - Gulbai Tekra.
Faculty : Immanuel Suresh
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Welcome to ‘aapnu Hollywood’ Gulbai Tekra, also known by locals as ‘Hollywood’, is probably Ahmedabad’s most famous slum, located between Gujarat University Road and CG Road. It’s on Gulbai Tekra road straight ahead from Panchvati panch-rasta if you’re going from Paldi via Mahalaxmi char-rasta.
It is known best as the site where Ganpati idols are made and sold for the annual Ganesh Chaturthi Puja which subsequently go for Visarjan (immersion).
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Documentation of Visual Culture
Choice of space :
Objective of research:
During my second year, Suresh had
The people and art of Gulbai Tekra have,
mentioned in conversation that one must
for over 4 decades, been widely influential
document Gulbai Tekra as it would be a
on the visual culture of western states
truly educational experience. At the time,
of India; especially, on the celebration of
I had no idea what he was talking about.
Ganesh Chaturthi in these areas.
Subsequently, I once noticed lots of white
Masters of their craft - creating quality
Ganpati busts and bodies while traveling
and quantity - while remaining flexible to
in an auto. Eventually, the pieces came
changes in the market, these artists and
together over the year.
their trade make for an interesting case study in the subject.
So when the assignment was given, despite having explored other areas of
I’ve chosen to study the space as a
Ahmedabad, I chose to document this
marketplace of religious artefacts.
curious, fascinating place.
Methodology: Field trips were the primary source of information for the research. Based on previous learnings, conversations were the first and foremost means of understanding the context. Secondary information was obtained from articles and blog posts. Photographs were taken on the last couple of trips and focus on the period of sale of the idols. Discussions with Kunal, who took up the same place as it was related to his subject of study for Design Project, were useful in ascertaining focus areas to research.
Gulbai Tekra
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The people of Gulbai Tekra are always
Vinod bhai believes that what’s unique
in a good mood, always open to talk to a
about Gulbai Tekra is that is complete
wandering stranger. The first house one
trust between all the residents. When
comes across coming from Panchvati is
I asked him why the place is called
owned by the man in the picture above -
Hollywood, he said, “Sab ke paas jitna hai,
Vinod Bhai. Like all other houses, during
utne se khush rehte hain. Kisi ko aur nahi
Ganesh, it transforms into a workshop
chahiye, bada makaan, gaadi, kisi ko nahi
cum showroom. Unlike most other houses,
chahiye. Sab aise hi mast rahte hain, isliye
his house boasts some large, intricate idols
is ko Hollywood bulaate hain”.
including one with a continuous flow of
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water running from a shankh (shell) in
They are also a photogenic crowd - on the
Ganeshji’s hand onto a Shivling and one
right is one of the many pictures of Usha
idol (now sold) which, according to him,
I was requested to take. The kids seem to
was ranked the best of this year.
enjoy many visiters’ attention.
Documentation of Visual Culture
As a space, one can see Gulbai Tekra transform throughout of the year in a periodic fashion.
Though Ganesh Chaturthi is not the only festival they make idols for - Navratri and Vishwakarma Puja are other examples - it is surely the biggest, most famous. Traffic jams, which are not otherwise uncommon here, are at their worst as you can see in the picture above.
If one believes that the most universal thing about humans is their diversity, Usha smiling : notice the paint on her hands - sign of a young artist.
Gulbai Tekra during Ganesh is a live example of the same.
Gulbai Tekra
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Devotees travel across states for their idols and yet, are completely tireless. The idol makers attract customers from Andhra Pradesh, Rajasthan and Madhya Pradesh and boast of having big clients in Baroda, Pune and Mumbai as well.
The story of the idol-makers is also one that doesn’t belong solely to Ahmedabad. The initiator of this business hub, Modabhai learnt the techniques of idolmaking at Agra in the ‘50s where his parents used to stay. When he came to Ahmedabad in the ‘70s, he taught dailywage labourers in the neighbourhood some of whom then went to Surat, Mehsana and Rajkot, thus giving rise to ‘Ganpati bappa morya’ bands sold here are worn by many in the boisterous crowd.
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Documentation of Visual Culture
generations in a new clan of god-makers whose origin lies here at Gulbai Tekra.
The vigorous beat of dhols surrounds you from every direction as the party goes on. It is said to be social reformer Bal G. Tilak’s strategy that the Ganesh Utsav moved out of homes onto the streets as a way to bring the masses together during the colonial period, introducing these gigantic idols which would at the end be immersed. The large-scale song and dance is understandable if one looks at the amount of money being spent on just the idols - you know it’s a big occasion when the average item costs well above ten thousand rupees with the most expensive ones going into lakhs.
Most fascinating are the myriad versions of idols including those based on other Gods and one on a cartoon about Ganesh.
The mob ranges from teenage boys (above) to middle-aged men, very few females.
Gulbai Tekra
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Notice in practice the ritual of keeping the Lord blindfolded in transit to the house.
The purposes of the idols vary from installation in homes for family prayers to large pandals organized by mandals. Amongst the traffic jams of trucks and the stampedes of pedestrians, one notices small to medium idols getting packed up (left) and carried (above) to cars or autos once the deal is fixed and the transaction carried out. Policemen (right) are present especially at night to invigilate.
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Documentation of Visual Culture
Interestingly, once most of the business is done, the residents put up their own pandals. They celebrate at any time they want as “God doesn’t keep a watch on when you pray�. Post-sale is a time to relax for the residents after months of struggle. A bulk of the annual income has been gathered at this point and debts can be repaid. The moneylenders are generally people from within the community, staying either at Gulbai or at the native place of the artisans (around Marwar, Rajasthan and Northern Gujarat). The thelawalas watch the show each year.
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Sculpting and painting come naturally to every person here. Most of the younger ones have learnt the techniques and participate fully in the work but are also getting educated. Usha’s relative (on the left), for example, is well-versed with types of cameras and had a good idea what design college is like. One of the artists I met is currently studying Fine Arts. It’s interesting to guess at whether idolmaking is more a business for the people of Gulbai Tekra or a religious act; although they conventionally worship other regional Gods, many consider their craft a form of worship.
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Documentation of Visual Culture
The idols, as is widely known, were
However, it remains a concern, in our
traditionally made of clay like the eco-
political and economic environment, that
friendly models now popular with many
these makers of vital cultural artefacts
well-to-do customers. The usual method
are underprivileged, unacknowledged. An
is - coir gives the volume upon which the
autowala once gave me a lengthy lecture
forms are cast with a half and half mix
about many of the current residents
of clay and plaster of paris (PoP) - which
having been unjustly kicked out of their
makes the idols last for longer before they
previous houses and about hardworking
are immersed. While some of the artists
youngsters losing opportunities so that
apparently take reference from calendars
under-qualified ‘Parmars’ and ‘Solankis’
and cards with pictures of the deity, most
take up coveted government positions. I
insist that they need no aid for visualizing.
believe the government should intervene.
Gulbai Tekra
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Mies said, “God is in the details.� The picture provides compelling evidence.
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Documentation of Visual Culture
When I had first introduced myself, Murji
Coincidentally, on one day, I saw a
bhai (left and above) instantly voiced
customer who’d failed to bargain for a
his disappointment that I hadn’t visited
15,000 rupee piece with Vinod bhai take
earlier in the year. He went on to explain
home a similar piece from Murji bhai’s
the basic process of building the idols
workshop for 9,000 rupees.
before saying warmly, “Agle saal pakka
On another visit, he told me that financial
aana do mahine pehle se hi, ek ek cheez
problems had forced him to sell off at
sikha doonga!” to which I replied, excited,
lower rates initially.
with a “Bilkul!”. He lives with a family of approximately six and spends the
When bigger brands (backed by designers)
remainder of the year working at the club
justify high prices with the manual effort
at the Sardar Patel Stadium along with his
that goes into the product, I wonder if
eighteen year old son, Manoj, who failed at
there is a way for these artisans to earn
academics and will get married soon.
more for all the hard work they invest.
Gulbai Tekra
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In conclusion, I must acknowledge that the scope of this
The assignment made me alert to some
document is small and that it fails to really
things I wasn’t alert to before and opened
deliver new insights regarding visual
up a new box of questions in my head.
culture. I am excited to personally take
Observing visual culture is very important
up a better planned, more comprehensive
for us; to be analytical, everyday, as
study of Gulbai Tekra around the year
communication designers, not just seeing
(and respect my pact with Murji bhai).
the aesthetic quality but also the political, social, economic, cultural contexts.
Documentation is something I struggled with - how to capture observed events and processes in a form that communicates your thoughts accurately to others - but found to be equally vital.
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Documentation of Visual Culture