From left to right: Riyal Riffai, Pirainila Krishnarajah, Lojithan Ram, Nayanahari Abeynayake
Upon entering ESPACE 24 Gallery at Alliance Francaise, Madras, one encounters a larger-than-life picture of protestors outside the Galle International Cricket Stadium on one side, looming curtains with desperate faces on it on the other side, and straight ahead a
photograph of a person holding up an empty plate and a question mark. And all the while a documentary plays on the other side of the curtains with people singing songs of revolution. The photo exhibition “The People’s Voice is Louder” organised by Goethe Institut of India, and Sri Lanka in collaboration with Chennai Photo Biennale, as part of the project “Capturing the Current”, is thus grim, potent, and moving. “The People’s Voice is Louder” premiered at the Kochi-Muziris Biennale in February 2023. The exhibition was a reflection of the recent political and economic crisis in Sri Lanka through the lenses of four Sri Lankan photographers – Riyal Riffai, Pirainila Krishnarajah, Lojithan Ram, and Nayanahari Abeynayake. Following is a dive into the lives of the photographers exploring the conception of the protests, the transformative power of art, and hopes for a torn country.
Rising fuel prices, and desperate faces. Photograph by Nayanahari Abeynayake displayed at AF Madras | Shrita N
Can the person responsible for the lack of access to food please stand? Photograph by Nahayanahari Abeynayake | Shrita N.
Pre-loved cameras and film rolls
While some find their passion at an early age, to some it comes out of a strong need to bring about a change. For Lojithan Ram the interest was born from drawing and tinkering with film rolls, which grew into establishing community-based projects such as “WEAREFROMHERE” and “Batticola Photo History Archive” as an attempt to “archive the changes within the community caused by gentrification” and “preserving cultural heritages and creating a historical narrative through vintage photographs.” For Pirainila Krishnarajah it was a combination of interest in photography since childhood and her Media Studies degree. The journey was different for Riyal Riffai. In 2021, when he was in between jobs, he bought a camera from his friend. In April 2022, when the protests had started to kindle, he felt the need to document them. On top of this, the medicine shortage in Sri Lanka due to the crisis had deeply affected him. Thus it was during the protests that he found his calling. For him, the protests meant “stepping forward into photojournalism.” He initially didn’t think of the process as journalism, but just as “an attempt to archive everything.”
“Amplifying people’s voices”
The first reaction to dissent by those in power is to shut it down. Erasure of dissent becomes the priority rather than addressing it. Thus it becomes all the more important to amplify the voices of protest when the cause is just. “As an artist and social activist deeply concerned about social issues and committed to preserving an accurate historical record for future generations, I felt compelled to document the ongoing crisis and mass protests without any hesitation,” says Lojithan Ram. While the heartland of Sri Lanka fought back against the government, the fringes remained quieter. “It has been a tough time for many industries to face this challenge as well. One such industry is the fishing industry. So these photos are the result of wanting to document that too,” says Krishnarajah, who documented the struggles of the fishing community in Kurunagar.
When the fisherfolk get caught in fishy politics. Photographs by Pirainila Krishnarajah | Shrita N.
Tear gas, mobs, and detainment
Oftentimes peaceful protests turn violent. State-sponsored violence as a measure for a crackdown, or provocation by other parties, is not uncommon. The paranoia surrounding protests leads to unjust arrests, infliction of violence on unarmed civilians, and even deaths. Riffai too had his fair share of near-death experiences. He was detained on account of allegedly taking pictures in a supposedly “high-security” area, but was released a few hours later as they had nothing against him. Another time he was surrounded by tear gas and nearly blacked out, and along with his friends was even chased by mobs who were lured into turning against the protestors. Documenting protests poses another threat: privacy concerns. The pictures taken by these artists can be potentially misused in the wrong hands. “I was so conscious and aware of taking pictures of the participants in the protest because I didn't want my photographs to be evidence against them at some point,” says Lojithan Ram. For Krishnarajah, the hurdles were slightly different. The hesitance that the fisherpeople had, fearing arrests, to speak about their situation posed a challenge to documentation. The army too caused further difficulties for the documentation.
Scenes from the frontlines. Photographs by Riyal Riffai | Shrita N.
Despite the risks, the photographers were strong in their resolve to document the protests. “Media and politicians erase what went on.… If I didn’t take the risk, and knowing the privilege that I’m in, I would be guilty right now,” says Riffai. The same sentiment is shared by Abeynayake, as expressed by her during the panel discussion organised by Goethe Institut in Kochi. For Lojithan Ram, “having personally witnessed the origins of this crisis and the profound impact it has had on the economic and political stability of [his] nation, [he] [has] sought to delve into the depths of this situation and capture the diverse narratives of those directly and indirectly affected.”
“Chai in a coconut shell over wine in a golden mug”
Albeit their noble intentions, exhibitions like these bring in only small, and often elitist, crowds. They happen in pockets, or avenues which the common people don’t frequent. “I feel guilty that my work is out here in this way,” says Riffai, “but exhibitions are important because that gives access to people, and people also should be aware to look into these things”, he adds. In Krishnarajah’s view, awareness about issues such as the crisis shouldn’t be limited to exhibitions and panel discussions alone; the need to be aware must arise within oneself. “These are only documentations. I am not imposing any opinion on anyone. It is the job of an artist to create the work. Its interpretation is up to them [the public]”, she adds.
On a more optimistic note, Lojithan Ram mentions how they want to screen the documentary in multiple locations worldwide. “Although our dreams may not have been realised and a solution may still elude us, we remain steadfast in our commitment to fight for a better future,” he says. He also mentions that there was a heavy reliance on news reports and YouTube videos to understand the situation, but none of them really provided a comprehensive understanding of the conception of the protests or the lived experiences of the people. However, upon watching the documentary "People's Voice is Louder," the audience got a deep dive into the experiences of Sri Lankans. The documentary evoked intense emotional reactions in them. “The act of archiving and documenting events and situations holds great importance for future interpretations of the past. Art possesses the transformative power to change perspectives, serving as a wordless storytelling tool,” says Lojithan Ram.
“We are very entertained by hatred”
9th July this year marked one year of the Sri Lankan protests or the Aragalaya. If one were to ask whether the situation is any better, the answer is bleak. There are still multiple import bans in place, the costs of food supplies are skyrocketing, and freedom of speech is a luxury. In a nutshell, the future of the country seems vulnerable. When asked about the state of freedom of speech, Riffai says it “doesn’t exist. Things have changed under the current rule.” There are stricter regulations against protests now. According to Lojithan Ram, he can't “take [his] photographs to the public in Sri Lanka, and can't exhibit [his] photographs there for safety reasons.” Although the documentary was screened in Kochi, Ahmedabad, and Chennai initially and the photographs in Chennai, they “were able to screen the film in Colombo yesterday [July 9, 2023] for the first time after one year with all the questions and fear.”
There has been a communal, linguistic, and social divide in Sri Lanka. The protest brought in something of a “V for Vendetta” situation. The question of whether the situation brought the different groups together or has overshadowed the divide altogether evokes a rather promising response. In Riffai’s view, although people “are very entertained by hatred” (referring to the communal divide), the “crisis brought everyone to a common platform.” In the words of Lojithan Ram, the protests thus “represent a collective outcry from people across the nation” transcending boundaries of caste, religion, wealth, and poverty, as they fight for their rights and their future. “This protest stands as a unified voice, devoid of expectations but fueled by the passion of the youth, the concerns of parents for their children's future, and the unwavering dedication of every Sri Lankan citizen”, he adds. From daily wage labourers and military personnel to government servants and artists, and students with their Anthare movement, the protests provided everyone an arena to exhibit their leadership or contribute in any way they could.
Hopes for a torn country
In the vulnerable state that Sri Lanka is in, one can only hope for a better future. “I’m not hopeful with the current state of everything,” says Riffai. But he holds faith in art and its ability to evoke strong emotions. As a musician himself, who has worked with bands such as Dot Dotay, Paranoid Earthling, and Orange Mango, he requests that musicians and artists not make political statements but “ make social statements.” “I hope people become more aware, become more empathetic, I hope people start hugging trees. I want peace and for everyone to just chill,” he adds on a lighter note. Expressing a strong need for a radical change in the system, Lojithan Ram mentions that, “it is imperative that we strive for systemic transformation and establish a foundation of political stability within our nation, as this is essential for governing our country in a peaceful and harmonious manner.”
There is much to learn from the socio-political turmoils of every country. And our neighbour has taught us a huge lesson which cannot be put in better words than V from V for Vendetta: “Our masters have not heard the people's voice for generations and it is much, much louder than they care to remember.” The people’s voice, indeed, is much louder.
A certain ungracious guest has overstayed their welcome; it’s time to send them out. Photographs by Lojithan Ram | Shrita N.