The intersection of art, culture, and play finds a compelling voice in Homo Ludens: Art of Play, an exhibition that celebrates the universal joy of play through diverse artistic expressions. A collaborative effort between the Museum of Goa (MOG) in Pilerne, North Goa, and the Netherlands’ LaLa Foundation, the exhibition explored how the concept of play enriches and transforms our understanding of daily life. Within this vibrant showcase, Cycle Diaries: A Photo Exhibition highlighted the enduring role of bicycles in rural and urban life, capturing their essence as tools of both utility and amusement. Among the standout works was Sumit Sanyal’s Biscuit Challenge, which won second place for its dynamic portrayal of play in the heart of rural India.
In an interview with Sanyal, his reflections offer a deeper understanding of the inspiration, challenges, and artistic philosophy that shaped his award-winning photograph and broader documentary practice. From the spark ignited by a documentary on war photography to his observations of disappearing traditions and everyday life, Sanyal’s journey reveals a profound commitment to storytelling through the lens of photography. This dialogue not only provides insights into his creative process but also underscores the evolving role of documentary photography in a rapidly changing world.
Q. Can you tell us about your journey into photography? What inspired you to pursue this field?
Sumit Sanyal: After completing my graduation and while preparing for the CAT and MAT exams, I watched a lot of films and documentaries. One that stood out was War Photographer by Christian Frei, a documentary on James Nachtwey. It was deeply inspiring and sparked my interest in photography, motivating me to pursue the field.
Q. How did your education at the National Academy of Photography shape your approach to photography?
Sumit Sanyal: In the initial days, we do need some theoretical classes, but in my personal opinion, we need a mentor in photography who can guide us and update us at every step, more than just a teacher passing on theoretical knowledge. This was a realisation I had during my time at the National Academy of Photography.
Q. What motivates you to focus on documentary photography specifically?
Sumit Sanyal: The world and the people around us are changing everyday, whether it is in the domain of culture, transport, landscape or even our parents. This makes documentary photography challenging and exciting too.
During my early days of learning and practicing photography, there were instances like the termination of a narrow gauge line in our state, leading to the disappearance of islands due to climate change. Traditional rural sports, professions and cultures were also vanishing. That’s when the urge to document everything began.
Q. Could you describe the process of creating your award-winning piece, ‘Biscuit Challenge’ at ‘Cycle Diaries: A Photo Exhibition’ at the Museum of Goa ? What was your vision for this photograph?
Sumit Sanyal: The photo ‘Biscuit Challenge’ which was selected for the 2nd prize at ‘Cycle Diaries: A Photo Exhibition’ at Museum of Goa, was taken in Purulia during Chata Parab (a celebration by Santhal tribals). We had gone there for a bull fight, but due to restrictions from wildlife conservation groups and law enforcement agencies, the event was canceled. With nothing else to do, I wandered around the fair and noticed a group of people cheering. Upon closer inspection, I realised it was a biscuit-eating contest while riding bicycles. The main challenge in capturing this shot was the low light and the constant movement, making it difficult to get the right action.
Q. What does the theme of play mean to you, and how do you think it is reflected in your work at the Museum of Goa?
Sumit Sanyal: The theme at Museum of Goa’s ‘Cycle Diaries: A Photo Exhibition’ was to showcase the element of play through cycles. So while selecting the photo, there was an obvious lookout for a cycle in the photo and they were playing the biscuit game in the picture which correlated with the play element. So, this picture became an obvious choice.
Q. How do you choose the subjects or events that you photograph? Are there specific criteria that guide your selections?
Sumit Sanyal: Sometimes events are random, like natural calamities or disasters and occur suddenly. There are also events I need to cover based on assignments. For independent projects, however, I often have more than three-four topics at a time. In such cases, I gather information about the subject, its location and local contacts, which are crucial for the project’s success. Then, I prioritise which one to cover first. For example, if I know river erosion typically happens in a specific month based on previous years, I plan accordingly. The same applies to rural sports — I contact participants or organisers to gather details about locations and dates. In some cases, the dates and locations remain the same every year, making it easier.
Q. What role does storytelling play in your photography? How do you ensure that your images convey a narrative?
Sumit Sanyal: Play essentially refers to amusements involving athleticism and the Museum of Goa’s ‘Cycle Diaries: A Photo Exhibition’ was the perfect platform to showcase this through photography. In rural India, the cycle is an integral part of daily life. A bit of acrobatics on the cycle combines both amusement and athleticism. I believe my photograph represents the theme of play, particularly in the context of rural India, and aligns perfectly with MOG’s exhibition theme.
Q. You have been shortlisted for prestigious awards like the Climate Visuals photography award. How do such recognitions affect your motivation and future projects?
Sumit Sanyal: Yes, getting shortlisted or awarded always feels special and it works as a motivation for me. It also helps me to evaluate my works.
Q. As a stringer photographer for Anadolu Agency, how do you balance freelance work with personal projects? What challenges do you face in this regard?
Sumit Sanyal: The best part of working as a stringer for Anadolu Agency is that I can choose or pitch the stories I want to cover, except in a few instances where they assign specific events or subjects. There have been only a few occasions when I had to postpone personal projects due to overlapping assignments from Anadolu Agency (a Turkish news agency).
Q. How do you see the role of documentary photography evolving in today’s time?
Sumit Sanyal: Documentary photography is a genre focused on capturing reality through images, offering insight into different events, cultures and situations. I believe its core purpose has remained the same.
Feature Image: Sumit’s artwork won third place at the ‘Cycle Diaries’ photo exhibition.| Courtesy: MOG
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